History of art Books

Table of Contents“Voorwoord”, Adi Martis & Evert van Uitert “De Amsterdamse stadstekenacademie: een 18de-eeuwse 'oefenschool' voor modeltekenaars. Met een lijst van redevoeringen”, Paul Knolle “Van Isaac en Apollo. De prijswinnende tekeningen van de Amsterdamse stadstekenacademie”, Johannes Offerhaus “Het ontstaan van het kunstnijverheidsonderwijs in Nederland en de geschiedenis van de Quellinusschool te Amsterdam (1879-1924)”, Adi Martis “Mathieu Lauweriks als leraar in het kunstnijverheidsonderwijs”, Maureen Trappeniers “'Schoonheids- en kunstonderwijs voor het volk'. De invloed van de reformpedagogie op het tekenonderwijs in Nederland rond 1900”, Iris Fey “De Nieuwe Kunstschool (1933-1943)”, Joke Hofkamp & Evert van Uitert

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Table of Contents“Voorwoord”, A.W.A. Boschloo, C.W. Fock & J.R. ter Molen “A Chalice of Bavaria in Gouda, Part I: The Chalice's Origin and Style”, Yvonne Hackenbroch “A Chalice of Bavaria in Gouda, Part II: The Chalice's History since the Reformation”, Karel Citroen “Engels borduurwerk in de Nederlanden: bijdrage tot de oplossing van een omstreden probleem”, Mireille Madou “Klein gedraaid houten huisraad uit de Middeleeuwen”, J.G.N. Renaud “Een Hollands Scipio tapijt 'De Overgave van Carthago' anno 1609”, A.M.L.E. Mulder-Erkelens “De juwelen en kleding van Maria van Voorst van Doorwerht”, L.J. van der Klooster “'Dan isser de Borduerwercker...'“, Saskia de Bodt “Oudheden uit Rubens' verzameling te Leiden”, F.L. Bastet “De grote trap van het huis Honselaarsdijk, 1633-1638”, R. Meischke “De tuinen van het Mauritshuis”, J.J. Terwen “'Godt gheeft die wasdom'. Rondom een Utrechtse puntschotel uit 1624”, P.P.W.M. Dirkse “Het Amsterdamse geelgieterambacht in de 17de eeuw. Enige meesters”, B. Dubbe “Schepbekertjes of mosterdpotjes uit de tweede helft van de 16de en de eerste helft van de 17de eeuw”, D.F. Lunsingh Scheurleer “Drie glazen uit het Museum van het Koninklijk Huisarchief”, P.C. Ritsema van Eck “The Origins of the Joined Chest of Drawers”, Benno M. Forman “Het stoeltje van de radja van Solor”, P.H. Pott “Holland and Sweden in the 17th Century: Some Notes on Dutch Cultural Radiance Abroad”, C. Hernmarck “Een zilveren luiermand in de Wallace collection”, J.R. ter Molen “De Leidse chirurgijns en hun kamer boven de waag”, Ch. Thiels, with an appendix by A.M. Luyendijk-Elshout “Furniture from the Netherlands at Ham House”, Peter Thornton “Daniel Marot and the First Duke of Montagu”, Gervase Jackson-Stops “Delfts aardewerk op het Loo”, A.M.L.E. Erkelens “Een raadselachtige barometer”, E.A. Canneman “'Een wijle rust in de buitensael': een gebeeldhouwde tuinbank naar ontwerp van Daniel Marot”, Herbert J. Hijmersma “A propos de Boulle et du Grand Dauphin”, Pierre Verlet “Bizarre patronen in linnen damast”, C.A. Burgers “Een zaalbeschildering van Gerard Hoet in 'De Slangenburg': de liefdesgeschiedenis van Aeneas en Dido”, E.J. Sluijter “Ein Deckenbildentwurf zur Verherrlichung des ersten preußischen Königs als Prinz von Oranien”, Helmut Börsch-Supan “Osinga State te Langweer en de Leeuwarder decorateurs van het eerste kwart van de 18de eeuw”, Herma M. van den Berg “'Beelden en Rariteijten' in de verzameling Valerius Röver”, J.G. van Gelder “De handel van de V.O.C. in oosters lakerk in de 18de eeuw”, C.J.A. Jörg “Waaiers, dertig jaar archiefonderzoek en verzamelen”, I.H. van Eeghen “Een kamer van Jacob de Wit thuisgebracht”, C. Willemijn Fock “Marten Jozef Geeraerts (1707-1791), naar aanleiding van twee Leidse opdrachten”, A.J. van Dissel “Enkele Louis XVI-meubelen in Nederland”, R.J. Baarsen “Dutch Silver in Dublin”, A.N. Zadoks-Josephus Jitta “Enkele kanttekeningen bij de inrichting van de nieuwe vluegel van het Stadhouderlijk Kwartier”, C.E. Zonnevylle-Heyning “Een alliantiefeest te Rotterdam en de inrichting van de feestzaal, volgens de beschrijving van Nicolaas Muys”, B. ter Molen-den Outer “Het Huis Hodshon te Haarlem: verband tussen vormgeving en functie bij een voornaam woonhuis uit het eind van de 18de eeuw”, C.A. van Swigchem “Ulrich Gualtherus Hemmingson, V.O.C. dienaar en verbindingsschakel tussen China en Nederland”, M.A.P. Meilink-Roelofsz “Nederland op de wereldtentoonstelling van 1851 te London”, J.M.W. van Voorst tot Voorst “Een koninklijke danszaal uit 1854”, Jet Pijzel Dommisse “De 19de-eeuwse museum inrichting van het Rijksmuseum Meermanno-Westreenianum”, Rudolf E.O. Ekkart & Tanja Martin “De stoel in het 19de-eeuwse foto-atelier”, I.Th. Leyerzapf “Een preekstoel naar ontwerp van Piet Mondriaan”, H.C.L. Jaffé “Twee glas-in-loodramen in het huis Wulffraat te Wassenaar”, Chris Rehorst, Jacoba van Heemskerck & Ir. Jan W.E. Buys “Het atelier van Charley Toorop”, N.J. Brederoo “De introduktie van het stalen buismeubel in Nederland”, Rudolphine Eggink “Doelmatig wonen in Nederland: de efficiënt georganiseerde huishouding en de keukenvormgeving 1920-1938”, Peter Fuhring “Industriële ontwerpers ontwerpen industrieprodukten die in massa vervaardigd worden”, Reyer Kras “Lijst van publicaties van Th.H. Lunsingh Scheurleer”, C. Willemijn Fock

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Table of Contents“Voorwoord” “Van Rembrandt tot Crozat. Vroege verzamelingen met tekeningen van Rembrandt”, Peter Schatborn “Philipp von Stosch als Vermittler bei Kunstankäufen François Fagels”, J. Heringa “Anmnerkungen zu den Zeignungssammlungen von Valerius Röver und Goll van Franckenstein”, Hans-Ulrich Beck “De kunstverzameling van John Hope (1737-1784)”, J.W. Niemeijer “Baron van Westreenen als verzamelaar van vroege Italiaanse schilderkunst”, Jan Euwals “De kunsthandelaar Jacques Goudstikker (1897-1940) en zijn betekenis voor het verzamelen van vroege Italiaanse kunst in Nederland”, Charlotte Wiethoff “P.A. Regnault en zijn collectie”, H.L.C. Jaffé

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Table of Contents“Inleiding”, E. de Jong & F.W.G. Leeman “Groepen en stromingen in de Hollandse historieschilderkunst”, Lyckle de Vries “Een album met tekeningen, vervaardigd door Mattheus Terwesten te Rome in 1697”, Marijn Schapelhouman “Beelden van 'leersucht' en tucht. Opvoedingsmetaforen in de Nederlandse schilderkunst van de zeventiende eeuw”, Jan Baptist Bedaux “Michel Anguier's voordracht over de Hercules Farnese, Parijs 1669”, H.-W. van Helsdingen “Giampietro Zanotti en de Accademia Clementina in Bologna”, A.W.A. Boschloo “Mag de bouwkunst van het Hollands classicisme 'palladiaans' genoemd worden?”, J.J. Terwen “De modernisering van de twee grote zalen van het Huis Honselaarsdijk in 1637 door Jacob van Campen”, R. Meischke

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Table of Contents“Voorwoord”, E. de Jong, G.Th.M. Lemmens & P.J.J. van Thiel “Tempel voor Nederland: De Nationale Konst-Gallerij in 's-Gravenhage”, Frans Grijzenhout “Nationale, levende en 19de-eeuwse meesters: Rijksmusea en eigentijdse kunst (1800-1848)”, Ellinoor Bergvelt “De Prijsvragen voor het Muzeüm Koning Willem I en het Rijks Museum 1863-1875”, Karen M. Veenland-Heineman “Carel Vosmaer en het Rijksmuseum”, Nop Maas “'Ons Rijksmuseum wordt een tempel': zur Ikonographie des Amsterdamer Rijksmuseums”, Jochen Becker “'Hangt mij op een sterk licht': Rembrandts licht en de plaatsing van de Nachtwacht in het Rijksmuseum”, Jeroen Boomgaard “'De veelheid en de eelheid': een Rijksmuseum Schmidt-Degener”, Ger Luijten

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Table of Contents“Inleiding”, F.W.G. Leeman & G.Th.M. Lemmens “De 'Lebuinuscodex' en de Franco-saksische school”, E.P. van 't Hull-Vermaas “Die romanische Buchmalerei in der Abtei Saint-Sauveur in Anchin”, P. Cerny “Bolognese miniatuurkunst in Nederlands bezit”, Elly Cassee & Jacky Langezaal “De eerste opdrachtgever van de Petites Heures: een verkenning”, G.B. Krebber “Codicologische kanttekeningen rond een Gulden legende van 1450”, Margriet Hülsmann “Een verlucht handschrift uit Oost-Groningen: het getijdenboek van zuster Alheyt van Limberghen (1491)”, P.M. le Blanc & Jos M.M. Hermans

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Table of Contents“Addio Rez” Bibliografie E.K.J. Reznicek “Experimentele ontwerpen voor kerkelijk meubilair omstreeks 1700”, Willem Bergé “Rembrandt's Basket Arches”, Jan Bialostocki “Een voorstudie van Carel Willink”, A. Blankert “De herkomst van enkele vroege getekende inventies van Abraham Bloemaert van het thema Rust op de Vlucht naar Egypte”, Jaap Bolten “Giuseppe Maria Mitelli (1634-1718): kunstenaar of handwerksman?”, Anton W.A. Boschloo “Het liber amicorum van Mr Carel Martens (1602-1649)”, J.G.C.A. Briels “Abraham Bloemaert en de Vader van de Schilderkunst”, Ben Broos “Tekeningen uit de werkplaats van Pieter Coecke van Aelst voor een serie glasruitjes met de 'Trionfi'“, J. Bruyn “Eine neu entdeckte Zeichnung von Jan Pynas”, Th. Gerszi “A 'Resurrection of Christ' by Gabriel Metsu”, E. Haverkamp-Begemann “A Munich Prayer Book and Jacques de Gheyn II Translatio - Imitatio - Aemulatio?”, Florence Hopper “Twee onbekende vroege tekeningen van Jacob Jordaens”, R.-A. d'Hulst “Peter Vos: getekende metamorfosen”, E. de Jongh “Jan Gossaert North of the Rivers”, J. Richard Judson “Esaias van de Velde and the Chalk Sketch”, George Keyes “'Fontana fatta in borgho alla catena': Zu einer Zeichnung aus der Werkstatt Carlo Madernos”, Johann-Christian Klamt “Elsheimers Aurora-Landschaft in neuem Licht”, Rüdiger Klessmann “Modeltekenaars in zakformaat: een aan J.E. Marcus (1774-1826) toegeschreven tekening”, Paul Knolle “Pieter Saenredam had al getekend wat Matthieu Brouerius de Nidek beschreef: het doxaal en de koorbanken in de Sint-Jan te 's-Hertogenbosch”, A.M. Koldeweij “'De kleine burgemeester' en andere Amsterdamse impressies van Adolphe Mouilleron (1820-1881)”, Wiepke Loos “Wtewael's Netherlandish History Reconsidered”, Anne W. Lowenthal “Frans Floris: een addendum”, Bert W. Meijer “Maria Tenhemelopneming door A. Blocklandt. Ontwerptekeningen voor de prenten door P.C. la Fargue”, J.A.L. de Meyere “Jan Govertsz. van der Aar: On the Identification of Goltzius's Patron”, Lawrence W. Nichols “Het voortleven der Zon-sireen”, J.W. Niemeijer “Janneke Panders en J.R.J. van Asperen de Boer: de ondertekening bij Giovanni di Paolo. Een eerste verkenning”, H.W. van Os “Der zeichner in der kneipe. Das Fortleben einer Brouwer-Legende”, Konrad Renger “Het merkteken van Adriaen Cornelisz. Cater, meesterpottenbakker in Delft”, Marie-Cornélie Roodenburg “Bene Barbatus. Over de oudste Eeuwige Jood in de beeldende kunst”, A.J. van Run “'De hertejacht van Keizer Frederik I Barbarossa en Ubaldino Ubaldini', getekend door Johannes Stradanus”, Dorine van Sasse Ysselt “Een onbekende tekening van Philips van Winghe (1560-1592)”, C. Schuddeboom “A New Drawing by Hendrick ter Brugghen”, Leonard J. Slatkes “Albert Hahn en zijn inspiratiebronnen”, Bettina Spaanstra-Polak “Brink 103 te Deventer: het ontwerpproces van een gevel uit 1895”, Ronald Stenvert “Gerrit Pietersz.: addenda en corrigenda”, Pieter J.J. van Thiel “Heemskercks Romeinse tekeningen en 'Anonymus B'”, Ilja M. Veldman “Rubens' beginnende invloed: Arnout Vinckenborch en het probleem van Jordaens' vroegste tekeningen”, Hans Vlieghe “Van Bloem- en andere 'aertse' geneugten op een tekening in de verzameling Van Leeuwen”, Christina J.A. Wansink “Een 'Cornelis Saftleven' per brief”, An Zwollo

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Table of Contents“Inleiding”, F. Gribling, G. Kieft, A. Martis & J. de Vries “Particulier initiatief als overheidsbeleid. Victor de Stuers en de hervorming van het tekenonderwijs”, Adi Martis “Het ornament, het verleden en de natuur. Drie hoofdthema's in het denken over vormgeving in Nederland 1870-1890”, Mienke Simon Thomas “'Iemand als U': brieven tussen Jan Eisenloeffel en A.J.M. Goudriaan, 1918-1929”, Frits Scholten “Voor geluid gevormd: vormgeving van Philips radio's, 1924-1940”, Janine Verstegen “'Das Volksempfinden bestimmt die Gestaltung': de stijl van het meubel in Nazi-Duitsland 1933-1939”, Wim Meulenkamp “Drieloop, driespruit en driekruinenboom: Germaanse symbolen op Nederlandse munten”, Kees Broos “De leefomgeving in populaire tijdschriften, 1965-1975”, Lieske Tibbe “Anderson 3789. De grafische geschiedenis van een detail van de Sixtijnse Kapel”, Ghislain Kieft “Kunstnijverheid, industriële vormgeving en de kunstgeschiedenis”, Renny Ramakers

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Table of Contents“Voorwoord”, Wouter Kloek & Gerard Lemmens “Pieter Aertsen en het probleem van et samenstellen van zijn oeuvre”, Wouter Kloek “Interpreting Pieter Aertsen: The Problem of 'Hidden Symbolism'”, Keith Moxey “'Alter Einoutus': Over de aard en herkomst van Pieter Aertsens stillevenconceptie”, Reindert L. Falkenburg “Pieter Aertsen's Meat Stall: Divers Aspects of the Market Piece”, Ethan Matt Kavaler “Voorstellingen van Christus in het huis van Martha en Maria in het zestiende-eeuwse keukenstuk”, Hans Buijs “De tekeningen van Pieter Aertsen en Joachim Beuckelaer”, Wouter Kloek “Enkele aspecten van de schilderspraktijk in het atelier van Pieter Aertsen natuurwetenschappelijk nader bekeken”, Jacqueline M.C. Boreel & Francis W.H. van Zon-Christoffels “Pieter Aertsen in het restauratie-atelier van het Rijksmuseum”, Martin Bijl, Manja Zeldenrust & Wouter Kloek “Het Petrus en Paulus altaarstukvan Pieter Pietersz in Gouda. Verslag van een natuurwetenschappelijk onderzoek”, Peter van den Brink “Monumentale glasschilderkunst in de kathedraal van Granada: Teodoro de Holanda, de Meester van de Verloren Zoon en de relatie tot Pieter Aertsen", Zsuzsanna van Ruyven-Zeman

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Table of Contents“Inleiding”, Reindert Falkenburg, Jan Piet Filedt Kok & Huigen Leeflang “Karel van Mander, Het leven van Hendrick Goltzius (1558-1617) met parafrase en commentaar”, Hessel Miedema “Hendrick Goltzius: Documents and Printed Literature Concerning his Life”, Lawrence W. Nichols “Hendrick Goltzius 1961-1991: een overzicht van dertig jaar onderzoek”, E.K.J. Reznicek “Een teruggevonden Laatste Oordeel van Hendrick Goltzius: Goltzius' relatie met de Antwerpse uitgever Philips Galle”, Manfred Sellink “Hendrick Goltzius: Engraver, Designer and Publisher 1582-1600”, Jan Piet Filedt Kok “Jacob Matham Goltzij Privignus: Jacob Matham graveur et ses rapports avec Hendrick Goltzius”, Léna Widerkehr “Calligraphic Inscriptions on Dutch Mannerist Prints”, Amy Namowitz Worthen “Goltzius' Zintuigen, Seizoenen, Elementen, Planeten en Vier tijden van de dag: van allegorie naar genre-voorstelling”, Ilja Veldman “Venus, Visus en Pictura”, Eric J. Sluijter “Goltzius' Great Hercules: Mythology, Art and Politics”, Beth L. Holman “Goltzius: Karel van Manders 'mecenas groot'“, Marjolein Leesberg “'Die wahre Kunst ist bescheiden und schweigsam': Zu Goltzius' Midasurteil von 1590”, Doris Krystof “Engraving as Imitation: Goltzius and His Contemporaries”, Dorothy Limouze “Hendrick Goltzius en Cornelis Ketel: 'hertsen vrienden'?”, To Schulting “The Painting Technique of Four Paintings by Hendrick Goltzius and the Introduction of Coloured Ground”, Ella Hendriks, Anne van Grevenstein & Karin Groen “Schildertechniek: middel en doel? De Mercurius en Minerva van Hendrick Goltzius”, Koos Levy-Van Halm, with Lucy L.E. Schlüter “Bibliografie”, J. Kosten

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Table of Contents“Inleiding / Introduction” “Over kunst en kunstgeschiedenis in Italië en de Nederlanden”, Bert W. Meijer “In de suizende stilte van de binnenkamer: Interpretaties van het Arnolfini-portret”, Bernhard Ridderbos “'Uno maestro solenne': Joos van Wassenhove in Italy”, Mark L. Evans “'Fecero al Cardinale di Portogallo una tavola a olio': Netherlandish influence in Antonio and Piero Pollaiuolo's San Miniato altarpiece”, Paula Nuttall “Maarten van Heemskerck en Italië”, Ilja M. Veldman “Entre Bruxelles et Séville: Peter de Kempeneer en Italie”, Nicole Dacos “Italiaanse ontwerpen voor citadellen in de Nederlanden (1567-1571): Het model van Paciotto versus de locatie gerichte methode van Campi”, Charles van den Heuvel “Lomazzo, Lampsonius en de noordelijke kunst”, Rogier van Son “De Nederlandse handel in Italiaans marmer in de 17de eeuw”, Frits Scholten “Giovanni Antonio Pellegrini 1716-1718: A Venetian painter in the Low Countries”, Bernard Aikema & Ewoud Mijnlieff

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Table of Contents“Voorwoord” “Een beeld van verbrokkeling: Onderzoek naar laatgotische en renaissance beeldhouwkunst in Nederland sinds 1945”, Victor M. Schmidt “Beelden in de Dom van Utrecht in de zestiende eeuw”, Arie de Groot “Middeleeuwse beelden in Venray en hun onderlinge samenhang”, Lydia Beerkens “Dutch Ivories of the Fifteenth Century”, Richard H. Randall, Jr. “Tussen Jacob van Minniken en Jorijs de beeldsnijder: De Hollandse beeldhouwkunst omstreeks 1400”, Dick E.H. de Boer “Het laatmiddeleeuwse passiebeeld: Een interpretatie vanuit de theologie- en vroomheidsgeschiedenis”, Charles M.A. Caspers “Levende beelden en beeldende kunst: De thematiek van de Oudenaardse processietableaux”, B.A.M. Ramakers “De Aaltense kruiswegstaties”, Frits Scholten “Laatmiddeleeuwse figurale grafsculptuur in Nederland”, H. Tummers “Het Marianum of Onze-Lieve-Vrouw-in-de-zon: Getuige van een laat-middeleeuwse devotie in de Nederlanden en in Duitsland”, Maurits Smeyers “Een laat-middeleeuws schoorsteenfries uit Utrecht met de bekoring van Antonius”, H.L.M. Defoer “The Monument of Elisabeth Morgan: Issues and Problems in Late Renaissance Sepulchral Art”, Cynthia Lawrence “The Jubé of Mons and the Renaissance in the Netherlands”, Ethan Matt Kavaler “A Monument for Roma Belgica: Functions of the oxaal at 's-Hertogenbosch”, Mariët Westermann

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Table of Contents“Introduction: Putting Bruegel in His Place. Contextual Studies of Pieter Bruegel the Elder”, Mark A. Meadow “’Ego enim quasi obdormivi’: Salvation and Blessed Sleep in Philip Galle's Death of the Virgin after Pieter Bruegel”, Walter S. Melion “Pieter Bruegels Nestrover en de mens die de dood tegemoet treedt”, Pierre Vinken & Lucy Schlüter “Bruegel en de rederijkers: Schilderkunst en literatuur in de zestiende eeuw”, B.A.M. Ramakers “De subventione pauperum: Zu Pieter Bruegels Caritas mit den sieben Werken der Barmherzigkeit von 1559”, Ursula Härting “Pieter Bruegel in the Capital of Capitalism”, Larry Silver “Pictorial Satire, Ironic Inversion, and Ideological Conflict: Bruegel's Battle between the Piggy Banks and Strong Boxes”, Ethan M. Kavaler “Bruegel's Procession to Calvary: Aemulatio and the Space of Vernacular Style”, Mark A. Meadow “Toward the Contextualization of Pieter Bruegel's Procession to Calvary. Constructing the Beholder from within the Eyckian Tradition”, Joseph F. Gregory “Imitating Nature / Imitating Bruegel”, Nina Eugenia Serebrennikov “Bibliographie”, Jürgen Müller

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Table of Contents“Introduction”, Mark A. Meadow “1549 Knight's Game at Binche: Constructing Philips II's Ideal Identity in a Ritual of Honor”, Emily Peters “Ritual and Civic Identity in Philip II's 1549 Antwerp Blijde Incompst”, Mark A. Meadow “'Greater than Ever He Was': Ritual and Power in Charles V's 1558 Funural Procession”, Stephanie Schrader “'Veele huyskens daer De Retoryck op was': Stellages van rederijkerskamers bij Blijde Inkomsten”, W.M.H. Hummelen “De Const getoond: De beeldtaal van de Haarlemse rederijkerswedstrijd van 1606”, B.A.M. Ramakers “The Court in the City, the City in the Court: Denis van Alsloot's Depictions of the 1615 Brussels 'ommegang'“, Margit Trofner “'Groote costen en magnificien': Die Haager Hochzeit von 1638 - Formen und Funktionen eines Festes”, Jochen Becker “Grensoverschrijdende feestarchitectuur: Het vuurwerktheater voor de Vrede van Aken in de Hofvijver (1749) als exponent van internationaal classicisme”, Freek Schmidt “Hans Makart, De intocht van Karel V: Een diachrone evaluatie”, Hessel Miedema

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Table of Contents“Introduction”, Reindert Falkenburg & Mariët Westermann “Exporting Art across the Globe: The Antwerp Art Market in the Sixteenth Century”, Filip Vermeylen “Second Bosch: Family Resemblance and the Marketing of Art”, Larry Silver “Marked for the Market?: Continuity, Collaboration and the Mechanics of Artistic Production of History Painting in the Francken Workshops in Counter-Reformation Antwerp”, Natasja Peeters “Exploring Markets for Netherlandish Paintings in Spain and Nueva España”, Neil De Marchi & Hans J. Van Miegroet “Over Brabantse vodden, economische concurrentie, artistieke wedijver en de groei van de markt voor schilderijen in de eerste decennia van de zeventiende eeuw”, Eric Jan Sluijter “Auction Sales of Works of Art in Amsterdam (1597-1638)”, J. Michael Montias “Een nieuwe markt voor kunst: De expansie van de Haarlemse schilderijenmarkt in de eerste helft van de zeventiende eeuw”, M.E.W. Boers “Fray en Leelijck: Adriaen van de Venne's Invention of the Ironic Grisaille”, Mariët Westermann “The Art of Bookkeeping: Pieter Serwouters (1586-1657) and the Status of Pictorial Accounts in Seventeenth-Century Holland”, Claudia Swan

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Table of Contents“Wooncultuur in the Netherlands: A Historiography in Progress”, Mariët Westermann “Het huis, de natuur en het vroegmoderne architectonisch kennissysteem van Simon Stevin”, Heidi de Mare “De stadhouder, zijn secretaris en de architectuur: Jacob van Campen als ontwerper van het Huygenshuis en de hofarchitectuur onder Frederik Hendrik”, Pieter Vlaardingerbroek “'His Excellency at Home': Frederik Hendrik and the Noble Life at Huis Honselaarsdijk”, R. Tucker “The décor of Domestic Entertaining at the Time of the Dutch Republic”, C. Willemijn Fock “Eenvoudig en stil: Studeerkamers in zeventiende-eeuwse woningen, voornamelijk te Amsterdam, Deventer en Leiden”, Jaap van der Veen “Artifacts of Domestic Life: Bruegel's Paintings in the Flemish Home”, Claudia Goldstein “Imga(in)ing Prosperity: Painting and Material Culture in the 17th-Century Dutch Household”, Julie Berger Hochstrasser “Women in Vermeer's Home: Mimesis and ideaion”, H. Perry Chapman “Public and Private Life in the Art of Pieter de Hooch”, Martha Hollander “'For People of Fashion': Domestic Imagery and the Art Market in the Dutch Republic”, Wayne Franits

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Table of Contents“Inleiding / Introduction”, Mark Meadow “Ambiguous Intentions, Multiple Interpretations: An 'Other' Look at Printed Images from the Sixteenth Century”, Jan Van der Stock “Cordis circumcisio in spiritu: Imitation and the Wounded Christ in Hendrick Goltzius's Circumcision of 1594”, Walter S. Melion “Mastering the Medium: Reference and Audience in Goltzius's Print of the Circumcision”, James J. Bloom “Adriaen Huybrechts, the Wierix Brothers, and Confessional Politics in the Netherlands”, James Clifton “Van de tiran verlost: Het boekje Tyrannorum praemia. Den loon der tyrannen van Willem van Haecht (1578)”, Yvonne Bleyerveld “Een riskant beroep: Crispijn de Passe de Jonge als producent van nieuwsprenten”, Ilja Veldman “Plotting Imperial Campaigns: Hieronymus Cock's Abortive Foray into Chorography”, Nina Eugenia Serebrennikov “Medical Culture at Leiden University ca. 1600: A Social History in Prints”, Claudia Swan

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Table of Contents“Introduction”, Herman Roodenburg “Kinderen van Saturnus: Afstand en nabijheid van boeren in de beeldende kunst en het toneel van de zestiende eeuw”, Bart Ramakers “Parading Hilarious Exotics in the Spanish Netherlands”, Johan Verberckmoes “Heathendom and Civility in the Historia Indiae Orientalis: The Adaptation by Johan Theodor and Johan Israel de Bry of the Edifying Series of Plates from Linschoten's Itinerario”, Ernst van den Boogaart “Albert Eckhout's Paintings of the 'wilde natien' of Brazil and Africa”, Rebecca Parker Brienen “Clothing, Customs, and Mercantilism: Dutch and Chinese Ethnographies in the Seventeenth Century”, Dawn Odell “'Wild and Barbaric Manners': The Exotic Encountered in a Dutch Account of Australian Aborigines in 1705”, Eric Venbrux “Huishoudingen van 'Caffers' en 'Hottentotten': Voorstellingen van inwoners van zuidelijk Afrika in de Gordon Atlas”, Siegfried Huigen “Een nieuwe opdracht voor de kunst: Exotisme in beweging. Etnografische beelden rond 1800”, Eveline Koolhaas-Grosfeld “Exotisme en populaire antropologie: Een Javaans dorp op de Wereldtentoonstelling in Parijs (1889)”, Marieke Bloembergen “Piet Gerrits en de Heilig Land Stichting”, Jan de Hond

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Table of Contents“In Pursuit of Virtue”, Joanna Woodall “Malerei und Künstler-virtus in der Niederlande des 16. Jahrhunderts”, Caecilie Weissert “Pictura’s Excellent Trophies: Valorizing Virtuous Artisanship in the Dutch Republic”, Celeste Brusati “Italienreise als Tugendweg: Hendrick Goltzius’ Tabula Cebetis“, Tristan Weddigen “‘Strijd tegen Onverstandt’: Das Urteil des Midas und die Virtus der Landschaftmalerei bei Gilles van Coninxloo,Karel van Mander und Hendrick Goltzius”, Martin Raspe “Political and Painterly Virtue in Cornelis Cornelisz. van Haarlem’s Wedding of Peleus and Thetis for the Haarlem Prinsenhof”, Lisa Rosenthal “Virtue and Diligence: Jan Brueghel I and Federico Borromeo”, L.C. Cutler “Peter Paul Rubens and the Value of Friendship”, Kate Bomford “Sprezzatura, Nettigheid, and the Fallacy of ‘Invisible Brushwork’ in Seventeenth-Century Dutch Painting”, Maria-Isabel Pousao-Smith “Frans Hals’s Virtuoso Brushwork”, Christopher Atkins “Virtuosity and Declensions of Virtue: Thomas Arundel and Aletheia Talbot Seen by Virtue of a Portrait Pair by Daniel Mytens and a Treatise by Franciscus Junius”, Anastassia Novikova “A Leisurely and Virtuous Pursuit: Amateur Artists, Rembrandt, and Landscape Representation in Seventeenth-Century Holland”, Michael Zell

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Book SynopsisAlthough studies of specific time concepts, expressed in Renaissance philosophy and literature, have not been lacking, few art-historians have endeavored to meet the challenge in the visual arts. This book presents a multifaceted picture of the dynamic concepts of time and temporality in medieval and Renaissance art, adopted in speculative, ecclesiastical, socio-political, propagandist, moralistic, and poetic contexts. It has been assumed that time was conceived in a different way by those living in the Renaissance as compared to their medieval predecessors. Changing perceptions of time, an increasingly secular approach, the sense of self-determination rooted in the practical use and control of time, and the perception of time as a threat to human existence and achievements are demonstrated through artistic media. Chapters dealing with time in classical and medieval philosophy and art are followed by studies that focus on innovative aspects of Renaissance iconography.Table of ContentsList of Illustrations ........ ix Acknowledgments ........ xix Color Plates Introduction ........ 1 PART ONE: SOURCES AND PROTOTYPES OF THE RENAISSANCE ICONOGRAPHY OF TIME 1. Concepts of Time in Classical Philosophy ........ 5 2. Classical Personifications of Time ........ 13 3. Early Christian and Medieval Concepts of Time ........ 39 4. Time and Temporality in Medieval Art ........ 53 5. The Romanesque Zodiac: Its Symbolic Function on the Church Facade ........ 87 PART TWO: CHANGING CONCEPTS OF TIME IN THE RENAISSANCE Introduction: Changing Concepts of Time in the Renaissance ........ 115 6. The Renaissance Personification of Time in Illustrations to Petrarch’s Trionfo del Tempo ........ 117 7. Time, Virtuousness and Wisdom in Giorgione’s Castelfranco Fresco ........ 173 8. Kairos/Occasio—Vicissitudes of Propitious Time from Antiquity to the Renaissance ........199 9. Veritas filia temporis: Time in Cinquecento Propaganda ........ 245 Epilogue ........ 305 Appendix I: Catalogue of Illuminated Manuscripts of Petrarch’s Trionfi Located in European and American Collections ........ 313 Appendix II: Illustrated Incunabula and Books Containing Petrarch’s Trionfi, 1478–1610 ........ 336 Select Bibliography ........ 339 Index ........ 353

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Book SynopsisAt a time of growing interest in relations between Marxism and Romanticism, Andrew Hemingway’s essays on British art and art theory reopen the question of Romantic painting’s ideological functions and, in some cases, its critical purchase. Half the volume exposes the voices of competing class interests in aesthetics and art theory in the tumultuous years of British history between the American Revolution and the 1832 Parliamentary Reform Act. Half offers new perspectives on works by some of the most important landscape painters of the time: John Constable, J.M.W. Turner, John Crome, and John Sell Cotman. Four essays are hitherto unpublished, and the remainder have been updated and in several cases substantially rewritten for this volume.Trade Review"... the book has to be recommended not only as an impressive work of art historical rigour, but also as a timely reminder within the current conjecture that the stakes of Marxist art history not only concern which class controls the proper names of history, but whether our understanding of our own history, art and culture, and the class basis of them, is rational or ideological." - Richard Hudson-Miles, in: Marx & Philosophy Review of Books "This remarkable book on the complex, contradictory relations between aesthetics, politics and the art of landscape painting in the eighteenth and nineteenth centuries is the product of more than three decades' patient, perceptive thinking about their constellation. Its probing, historically nuanced interpretations of individual canvases and their ideological accretions are as elegant as they are rigorous; and its ongoing attempt to map the theoretical and political contours of Marxist theories of art and aesthetics, to which it represents a signal contribution itself, is commanding. Landscape between Ideology and the Aesthetic is a fascinating as well as fitting testament to Andrew Hemingway's influential career as an unapologetically Marxist art historian." – Matthew Beaumont, Professor of Nineteenth-Century Literature, University College London "Andrew Hemingway’s collection of essays on eighteenth-century aesthetics and Romantic landscape painting, written over many years, demonstrates vividly the contribution that Marxism has made to both subjects. The essays on Cotman, Crome, Constable and Turner are filled with powerful insights and provide richly persuasive interpretations of classic works by placing them within a cogent intellectual framework that involves astute readings of their historical and literary context." – David Bindman, Emeritus Professor of the History of Art, University College London "This exceptionally fine study offers a nuanced and profound historical analysis of varieties of late eighteenth- and early nineteenth-century British art. Wearing his learning lightly, Hemingway integrates the finest detail of close empirical research into an enjoyably readable narrative. He demonstrates conclusively how a critically-sophisticated Marxist approach opens up extraordinarily rewarding insights into a cultural history where the pictorial interplayed with the economic, literary, and political. He offers as outstanding an account of the ideas of the eighteenth-century Scottish philosophers as of the Norwich painters and along the way resoundingly demonstrates quite how much of actual value is to be had from the disciplined and multidisciplinary interrogation of historical art. One of the leaders of that group of scholars which reinvigorated the study of British historical art in the 1980s, Andrew Hemingway invites younger scholars now to take up the scholarly baton." – Michael Rosenthal, Emeritus Professor of the History of Art, University of WarwickTable of ContentsList of Illustrations ... vii Acknowledgements ... xi Sources and Occasions ... xii Introduction: Theoretical Apologia ... 1 Aesthetics and Ideology 1 The Science of Taste in the Eighteenth Century: Philosophical Criticism and the Scottish Historical School ... 41 2 Academic Theory versus Association Aesthetics: The Ideological Forms of a Conflict of Interests in the Early Nineteenth Century ... 86 3 Bourgeois Critiques of the Monopoly of Taste ... 114 4 Genius, Gender, and Progress: Benthamism and the Arts in the 1820s ... 150 5 Cultural Philanthropy and the Invention of the Norwich School ... 181 Landscape and Ideology 6 Meaning in Cotman’s Norfolk Subjects ... 217 7 Sheep as a Pictorial Motif: Pastoral and Counter-Pastoral ... 246 8 Artisanal Worldview in the Paintings of John Crome ... 297 9 John Crome’s ‘Local Scenery’: Iconography and the Ideology of the Picturesque ... 336 10 Constable and his Audience: An Argument for Iconography ... 387 11 The Field of Waterloo Exposed: Turner, Byron, and the Politics of Reaction ... 420 Coda: Regarding Art History ... 459 Bibliography ... 464 Index ... 492

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Book SynopsisThe ubiquity of references to dogs in medieval and early modern texts and images must at some level reflect their actual presence in those worlds, yet scholarly consideration of this material is rare and scattered across diverse sources. This volume addresses that gap, bringing together fifteen essays that examine the appearance, meaning, and significance of dogs in painting, sculpture, manuscripts, literature, and legal records of the period, reaching beyond Europe to include cultural material from medieval Japan and Islam. While primarily art historical in focus, the authors approach the subject from a range of disciplines and with varying methodology that ultimately reveals as much about dogs as about the societies in which they lived. Contributors are Kathleen Ashley, Jane Carroll, Emily Cockayne, John Block Friedman, Karen M. Gerhart, Laura D. Gelfand, Craig A. Gibson, Walter S. Gibson, Nathan Hofer, Jane C. Long, Judith W. Mann, Sophie Oosterwijk, Elizabeth Carson Pastan, Donna L. Sadler, Alexa Sand, and Janet Snyder.Trade Review"Indeed, there is much to admire in this volume, including the passionate position the authors appear to take in relation to their subject matter." Pia F. Cuneo, University of Arizona, in Renaissance Quarterly 71, no. 1 (Spring 2018): 259-261.Table of ContentsContents Note to the Reader ix Acknowledgments x List of Figures xii List of Contributors xviii Abstracts xxv Introduction: Our Dogs, Our Selves 1 Laura D. Gelfand Part 1 Literal and Literary Dogs 1 In Praise of Dogs: An Encomium Theme from Classical Greece to Renaissance Italy 19 Craig A. Gibson 2 Who Did Let the Dogs Out?—Nuisance Dogs in Late-Medieval and Early Modern England 41 Emily Cockayne 3 Wolf Cubs, the Butchers, and the Beaune Town Council 68 Kathleen Ashley 4 Dogs in Medieval Egyptian Sufiji Literature 78 Nathan Hofer Part 2 Signs, Symbols and Dogs 5 Fables, Bestiaries, and the Bayeux Embroidery: Man’s Best Friend Meets the “Animal Turn” 97 Elizabeth Carson Pastan 6 Federico Barocci’s Faithful Fidos: A Study in the Efffijicacy of Counter- Reformation Imagery 127 Judith W. Mann Part 3 Love and Dogs 7 And Your Little Dog, Too: Michal’s Lapdog and the Romance of the Old Testament 165 Alexa Sand 8 The Commedia of Joachim and Anna at the Scrovegni Chapel 187 Jane C. Long 9 Die Jagd nach der Treue, or When Desire Met Devotion 218 Jane Carroll Part 4 Death and Dogs 10 From Biblical Beast to Faithful Friend: A Short Note on the Iconography of Footrests on Tomb Monuments 243 Sophie Oosterwijk 11 The Canine Domain: At the Feet of Royal Tomb Efffijigies in Saint-Denis 261 Donna L. Sadler 12 Eternal Devotion: The Stone Canine Companions of Gothic Castile y León 279 Janet Snyder Part 5 Good Dogs and Bad Dogs 13 Medieval Scavengers: Dogs in Japanese Handscrolls 303 Karen M. Gerhart 14 Dogs in the Identity Formation and Moral Teaching Offfered in Some Fifteenth-Century Flemish Manuscript Miniatures 325 John Block Friedman 15 Metaphorical Dogs in the Later Middle Ages: The Dogs of God and the Hounds of Hell 363 Walter S. Gibson Bibliography 387 Index 418

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Book SynopsisEnvisioning Others offers a multidisciplinary view of the relationship between race and visual culture in the Spanish- and Portuguese-speaking world, from the kingdoms of Spain and Portugal to colonial Peru and Colombia, post-Independence Mexico, and the pre-Emancipation United States. Contributed by specialists in Latin American and Iberian art history, literature, history, and cultural studies, its ten chapters take a transnational view of what ‘race’ meant, and how visual culture supported and shaped this meaning, within the Ibero-American sphere from the late Middle Ages to the modern era. Case studies and regionally-focused essays are balanced by historiographical and theoretical offerings for a fresh perspective that challenges the reader to discern broad intersections of race, color, and the visual throughout the Iberian world. Contributors are Beatriz Balanta, Charlene Villaseñor Black, Larissa Brewer-García, Ananda Cohen Suarez, Elisa Foster, Grace Harpster, Ilona Katzew, Matilde Mateo, Mey-Yen Moriuchi, and Erin Kathleen Rowe.Trade Review"...All of which is to say that the parts I found especially interesting in Envisioning Others were those that delved into or at least made the reader aware of strange and surprising categories and concepts that attempted to name and control difference.” Byron Ellsworth Hamann (Ohio State University) in The Medieval Review 16.11.31 "Quem se dedica à cultura visual religiosa e seu impacto no cotidiano, inclusive a relação entre a religião proposta e praticada e o sistema de racismo, vai beneficiar-se significativamente e, eventualmente, encontrar inspiração para novos projetos de pesquisa, inclusive, em relação à escolha da metodologia... Em sua totalidade, a obra é um convite ao/à cientista da religião para investigar não somente o aspecto religioso nas representações da cultura material e visual brasileira, mas também as relações entre imagem, religião e gênero ou imagem, religião e trabalho ou imagem, religião e política e outras.” Helmut Renders in Horizonte, Belo Horizonte, v. 14, n. 42, p. 670-679, abr./jun. 2016Table of ContentsContents Acknowledgements vii List of Illustrations viii List of Contributors xii Introduction: Race, Color, and the Visual in Iberia and Latin America 1 Pamela A. Patton 1 The Black Madonna of Montserrat: An Exception to Concepts of Dark Skin in Medieval and Early Modern Iberia? 18 Elisa A. Foster 2 Visualizing Black Sanctity in Early Modern Spanish Polychrome Sculpture 51 Erin Kathleen Rowe 3 The Color of Salvation: The Materiality of Blackness in Alonso de Sandoval’s De instauranda Aethiopum salute 83 Grace Harpster 4 Imagined Transformations: Color, Beauty, and Black Christian Conversion in Seventeenth-Century Spanish America 111 Larissa Brewer-García 5 White or Black? Albinism and Spotted Blacks in the Eighteenth-Century Atlantic World 142 Ilona Katzew 6 Making Race Visible in the Colonial Andes 187 Ananda Cohen Suarez 7 From Casta to Costumbrismo: Representations of Racialized Social Spaces 213 Mey-Yen Moriuchi 8 Tropical Dreams: Promoting Brazil in Nineteenth-Century us Media 241 Beatriz E. Balanta 9 The Form of Race: Architecture, Epistemology, and National Identity in Fernando Chueca Goitia’s Invariantes castizos de la arquitectura española (1947) 266 Matilde Mateo 10 Race and the Historiography of Colonial Art 303 Charlene Villaseñor Black Selected Bibliography 323 Index 362

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Table of ContentsA. N. ZADOKS-JOSEPHUS JITTA Graecia eapta en de Romeinsche kunst J.H.JONGKEES De 'Apotheose van Claudius' in het Haagsche Penningkabinet E. H. TER KUILE De bouwgesehiedenis van de Hervormde Kerk te Elst in de Overbetuwe P. T. A. SWILLENS In de spiegel van Jan van Eijek HANS-MARTIN ROTERMUND Rembrandt und die religiösen Laienbewegungen in den Niederlanden seiner Zeit L.J.BOL Adriaen S. Coorte, stillevenschilder

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Table of ContentsAlexander Byvanck H. FRANKFORT(London), Egyptian and Assyrian Reliefs A.E. VAN GIFFEN (Groningen), Praehistorische huisvormen op de zandgronden K. FRIIS JOHANSEN (Copenhagen), A Greek Gold Ornament from Early Archaic Time G. SCHNEIDER-HERRMANN (Den Haag), Het schild van Herakles A.BOËTHIUS (Goteborg), Marconi's "Tempio L" in Agrigento, An Unsolved Problem B. ASHMOLE (London), A Greek Relief Rediscovered CH. PICARD (Paris), Muses et Inspiratrices litteraires en Grece VIOLETTE VERHOOGEN (Bruxelles), Une péliké rétrouvee GISELA M. A. RICHTER (New York), Red-and-Black Glaze J. CHARBONNEAUX (Paris), Un couvercle de miroir à decor argenté et grave au musee du Louvre G. VAN HOORN (Utrecht), Charon, Charu, Kerberos A. ALFöLDI (Basel), Porträtkunst und Politik in 43 v. Chr C. SCHWEITZER (Tübingen), Altrömische Traditionselemente in der Bildniskunst des dritten nachchristlichen Jahrhunderts C. C. VAN ESSEN (Rome), Amphore d'apparat de l'époque des Antonins H. G. BEYEN (Groningen), Die grüne Dekoration des Oecus am Peristyl der Casa del Menandro K. SCHEFOLD (Basel), Die Troiasage in Pompeji R. BIANCHI BANDINELLI (Firenze), Virgilio Vaticanus 3225 e Iliade Ambroslana

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Table of ContentsIn Memoriam Willem Vogelsang A.W. BYVANCK, Willem Vogelsang, 1875-1954 J. V. C. BAKKER-HEFTING, Professor Vogelsang: leermeester met geest en hart R. SCHULTE NORDHOLT-TREEP, "Bijvak-studente" bij professor Vogelsang P. T. A. SWILLENS, Professor Vogelsang als tekenaar G. VAN HOORN, Griekse vazen te Utrecht A.W. BYVANCK, Le problèrne du Psautier de Paris J. G. VAN GELDER, Een 13de eeuws psalterium met een Utrechtse kalender D. H. G. BOLTEN, Over de bouwgeschiedenis van de St. Bavokerk te Aardenburg FR. VAN THIENEN, "Heden en verleden" in het laat-Gothische costuum J. Q. VAN REGTEREN ALTENA, Hugo Jacobsz S. H. LEVIE, De portretten van Michelangelo door Daniele da Volterra G. J. HOOGEWERFF, Manierisme M. ELISABETH HOUTZAGER, Opmerkingen over het werk van Hendrick Terbrugghen. G. KNUTTEL WZN., De Nachtwacht en de Gysbrecht A. B. DE VRIES, Negentiende eeuwse kunstcritiek en zeventiende eeuwse Schilderkunst JKVR. C. H. DE JONGE, Van costuumstudie tot costuummuseum TH. M. DUYVENÉ DE WIT-KLINKHAMER, Diana en Actaeon door Paulus van Vianen BEATRICE JANSEN, Chinese invloeden op polychroom Delfts aardewerk: de Hoppesteyns ANNE BERENDSEN, Rarae aves

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Table of ContentsW. S. HECKSCHER, The .Anadyomene in the Mediaeval Tradition (Pelagia-Cleopatra- Aphrodite). A Prelude to Botticelli's "Birth of Venus" P. J. VINKEN, Non Plus Ultra. Some Observations on Geofroy's Tory's Printer's Mark I. BERGSTRÖM, The Iconological Origins of Spes by Pieter Brueghel the Elder E. K . J. REZNICEK, Jan Harmensz. Muller als tekenaar E. R. MEIJER, Een onbekend schilderij van Claude Vignon in Amsterdam J. A. EMMENS, Ay Rembrant, Maal Cornelis stem G. ROOSEGAARDE BISSCHOP, De geschilderde maquette in Nederland L. GANS, Jan Verkade : een bepaald aspect van zijn kunst uit de jaren 1891-1910

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Table of ContentsG. 1. LIEFTINCK, Kunstwerk of juweel? Het gebedenboek van de heer C. H. Beels te Hilversum JHR. P. J. VAN WINTER, De Hollandse Tuin H.- M. ROTERMUND, Rembrandts Bibel W. Gs HELLINGA, De bewogenheid der Staalmeesters. Enkele beschouwingen over wegen en grenzen der interpretatie R. VAN LUTTERVELT, De Grote Ruiter van Rembrandt. W. A. KEUZENKAMP, Neo-Gothiek, lege imitatie of levende uitdrukkingsvorm? J. FONTEIN, Twee theekommen van Chojiro

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Table of ContentsL. BRAND PHILIP, The Peddler by Hieronymus Bosch, a Study in Detection F. WINKLER, Die Wiener Kreuztragung B. HUNNINGHER, De Amsterdamse Schouwburg van 1637. Type en karakter W. H. VAN SETERS, Oud-Nederlandse parelmoerkunst. Het werk van leden der familie Belquin, parelmoergraveurs en schilders in de 17e eeuw

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Table of ContentsB. ASHMOLE, Not by Agoracritus A. HEIMANN, An Ivory in the Victoria and Albert Museum its Iconography and Provenance J. SCHOUTEN, De nieuwe Pourbus in Gouda L. MÖLLER, Anatomia - Memento Mori R. B. F. VAN DER SLOaT, Harnassen uit einde 16e en begin 17e eeuw in denoordelijke Nederlanden C. H. DE JONGE, Hollandse tegelkamers in duitse en franse kastelen uit de eerste helft van de 18e eeuw R. MEISCHKE, Achttiende-eeuws klassicisme: twee bouwkundige prijsvragen

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Table of Contents“Ten geleide”, Herman Roodenburg “Being the Cout of Nassau: Refiguring Identity in Space, Time and Stone”, Ethan M. Kavaler “'His Majesty's Most Majestic Room': The Division of Sovereign Identity in Philip II of Spain's Lost Portrait Gallery at El Pardo”, J. Woodall “'Self-Imaging and the Engraver's virtù: Hendrick Goltzius's Pietà of 1598'“, Walter S. Melion “'Eene der deftigsten dragten': The Iconography of the Tabbaard and the Sense of Tradition in Dutch Seventeenth-century Portraiture”, Marieke de Winkel “Civic Guard Portraits: Private Interests and the Public Sphere”, Ann Jensen Adams “Regenten in het zwart: vroom en deftig?”, Irene Groeneweg “The Beholder as Work of Art: A Study in the Location of Value in Seventeenth-Century Flemish Painting”, Elizabeth Honig “Jan Steen, Frans Hals, and the Edges of Portraiture”, Mariët Westermann “'Met een wenende ziel... doch droge ogen': Women Holding Handkerchiefs in Seventeenth-Century Dutch Portraits”, Stephanie S. Dickey “Jan Steen as Family Man: Self-Portrayal as an Experiental Mode of Painting”, H. Perry Chapman “Young Women Preferred White to Brown: Some Remarks on Nicolaes Maes and the Cultural Context of Late Seventeenth-Century Dutch Portraiture”, Wayne Franits “'Welstand' en 'wellevendheid'. Over houdingen, gebaren en gelaatsuitdrukking in de schilderkunst, de toneelkunst en de rhetorica: de inbreng van het classicisme, Herman Roodenburg

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Book SynopsisIn The Imagined and Real Jerusalem in Art and Architecture specialists in various fields of art history, from Early Christian times to the present, articulate a variety of cultural, religious and political implications of the visualization of Jerusalem. This collection of essays calls attention to two axes emerging from the study of Jerusalem in art: on the one hand, the volatile contemporary situation, and on the other hand, the abiding chain of meanings that history imparts to the city. From a contemporary perspective and within a broad historical context, the book discusses in depth a series of Western artworks, artefacts, and buildings providing new insights into memory processes and mechanisms of representation of Jerusalem.Table of ContentsContents Acknowledgements List of Illustrations List of Contributors Introduction – Recollection in Patches Part 1 - Competing Memories and Contrasting Meanings 1 Sites and Senses: Mapping Palestinian Territories in Mona Hatoum’s Sculpture Present Tense Anneke Schulenberg 2 The Green Line: Potency, Absurdity, and Disruption of Dichotomy in Francis Alÿs’s Intervention in Jerusalem Mette Gieskes 3 Jerusalem as Trauerarbeit: On Two Paintings by Anselm Kiefer and Gerhard Richter Wouter Weijers 4 Ezekiel for Solomon: The Temple of Jerusalem in Seventeenth-century Leiden and the Case of Cocceius Jeroen Goudeau 5 Jerusalem as Palimpsest: The Architectural Footprint of the Crusaders in the Contemporary City Mariëtte Verhoeven 6 Translations of the Sacred City between Jerusalem and Rome Sible de Blaauw Part 2 - Imitation and Translocation 7 The Reconquered Jerusalem Represented: Tradition and Renewal on Pilgrimage Ampullae from the Crusader Period Katja Boertjes 8 ‘As if they had physically visited the holy places’: Two Sixteenth-century Manuscripts Guide a Mental Journey through Jerusalem (Radboud University Library, Mss 205 and 233) Hanneke van Asperen 9 Jerusalem in Renaissance Italy: The Holy Sepulchre on the Sacro Monte of Varallo Bram de Klerck 10 Overdetermination of a Heavenly Jerusalem: Contemporary Windows by Gérard Garouste and Jean-Michel Alberola Daan Van Speybroeck 11 ‘You want to take us to Jerusalem …’: Medinat Weimar: A Second Jerusalem in Contemporary Visual Arts and Klezmer Songs Rudie van Leeuwen Index

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Book SynopsisArt and Architecture in Ladakh shows how the region’s cultural development has been influenced by its location across the great communications routes linking India with Tibet and Central Asia. Edited by Erberto Lo Bue and John Bray, the collection contains 17 research papers by experienced international art historians and architectural conservationists, as well as emerging scholars from Ladakh itself. Their topics range widely over time, from prehistoric rock art to mediaeval Buddhist stupas and wall paintings, as well as early modern castle architecture, the inter-regional trade in silk brocades, and the challenges of 21st century conservation. Taken together, these studies complement each other to provide a detailed view of Ladakh’s varied cultural inheritance in the light of the latest research. Contributors include: Monisha Ahmed, Marjo Alafouzo, André Alexander, Chiara Bellini, Kristin Blancke, John Bray, Laurianne Bruneau, Andreas Catanese, Philip Denwood, Quentin Devers, Phuntsog Dorjay, Hubert Feiglstorfer, John Harrison, Neil and Kath Howard, Gerald Kozicz, Erberto Lo Bue, Filippo Lunardo, Kacho Mumtaz Ali Khan, Heinrich Poell, Tashi Ldawa Thsangspa and Martin Vernier.Trade Review'The book is an ambitious effort that brings together a wide range of conversations about Ladakhi’s heritage of art and architecture. The two editors must be commended for their ability to allow each topic the space it deserves, while still managing to keep the book together as a coherent whole. A key strength of the book is the critical tone and the diversity of sources it taps to develop its arguments.(...) In addition to the past, the book also dwells on current issues, while also keeping an eye on future possibilities and challenges. This is best epitomised by the concluding chapters that discuss the importance of heritage conservation in the present and the future.' Sunetro Ghosal, Ladakh Studies, 33 (September 2015) 'The volume will become an indispensable reference work for all academic libraries focussed on the HImalayas and Tibet as well as on India.' Amy Heller, Arts Asiatiques, 70 (2015).Table of ContentsIntroduction – Erberto Lo Bue and John Bray 1. Ancient Petroglyphs of Ladakh: New Discoveries and Documentation - Tashi Ldawa Thsangspa 2. Embedded in Stone – Early Buddhist Rock Art of Ladakh - Phuntsog Dorjay 3. Historic Ruins in the Gya Valley, Eastern Ladakh, and a Consideration of Their Relationship to the History of Ladakh and Maryul - Neil and Kath Howard. With an Appendix on the War of Tsede (rTse lde) of Guge in 1083 CE by Philip Denwood 4. An Archaeological Account of Ten Ancient Painted Chortens in Ladakh and Zanskar - Quentin Devers, Laurianne Bruneau and Martin Vernier 5. The Chorten (mChod rten) with the Secret Chamber near Nyarma - Gerald Kozicz 6. The Dating of the Sumtsek Temple at Alchi - Philip Denwood 7. The Iconography and the Historical Context of the Drinking Scene in the Dukhang at Alchi, Ladakh - Marjo Alafouzo 8. The Wood Carvings of Lachuse. A Hidden Jewel of Early Mediaeval Ladakhi Art -Heinrich Poell 9. The mGon khang of dPe thub (Spituk): A Rare Example of 15th Century Tibetan Painting from Ladakh - Chiara Bellini 10. Chigtan Castle and Mosque: a Preliminary Historical and Architectural Analysis - Kacho Mumtaz Ali Khan, John Bray, Quentin Devers and Martin Vernier 11. Lamayuru (Ladakh) – Chenrezik Lhakang: The Bar Do Thos Grol Illustrated as a Mural Painting - Kristin Blancke 12. The Lost Paintings of Kesar - John Bray 13. Tshogs zhing: a Wall Painting in the New ’Du khang of Spituk (dPe thub) - Filippo Lunardo 14. From Benaras to Leh - the Trade and Use of Silk-brocade - Monisha Ahmed 15. Conservation of Leh Old Town – Concepts and Challenges - André Alexander with Andreas Catanese 16. Revealing Traditions in Earthen Architecture: Analysis of Earthen Building Material and Traditional Constructions in the Western Himalayas - Hubert Feiglstorfer 17. Conservation of Architectural Heritage in Ladakh -John Harrison Bibliography List of Contributors Index

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Book SynopsisIn Archaeology of Tibetan Books, Agnieszka Helman-Ważny explores the varieties of artistic expression, materials, and tools that have shaped Tibetan books over the millennia. Digging into the history of the bookmaking craft, the author approaches these ancient texts primarily through the lens of their artistry, while simultaneously showing them as physical objects embedded in pragmatic, economic, and social frameworks. She provides analyses of several significant Tibetan books—which usually carry Buddhist teachings—including a selection of manuscripts from Dunhuang from the 1st millennium C.E., examples of illuminated manuscripts from Western and Central Tibet dating from the 15th century, and fragments of printed Tibetan Kanjurs from as early as 1410. This detailed study of bookmaking sheds new light on the books' philosophical meanings.Trade Review'Helman-Ważny’s approach is exhaustive, and it is her ability to make engrossing even the most detailed and painstaking analysis of manuscripts as the physical manifestation of fibre and ink that renders her book essential to the study, not only of Tibetan material culture and textuality, but of Tibetan culture as a whole.' Simon Wickhamsmith, Rutgers, The State University of New Jersey; Posted to New Asia Books, http://newbooks.asia/review/documents-artefacts

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Book SynopsisThis book is about the Dominican church in Antwerp (today St Paul’s). It is structured around three works of art, made or procured by Peter Paul Rubens: the Fifteen Mysteries of the Rosary cycle (in situ), Caravaggio’s Rosary Madonna (Vienna) and the Wrath of Christ high altarpiece (Lyon). Within the artist’s lifetime, the church and monastery were completely rebuilt, creating one of the most spectacular sacred spaces in Northern Europe. In this richly illustrated book, Adam Sammut reconceptualises early modern churches as theatres of political economy, advancing an original approach to cultural production in a time of war. Using methodologies at the cutting edge of the humanities, the place of St Paul’s is restored to the crux of Antwerp’s commercial, civic and religious life.Table of ContentsAcknowledgements List of Figures List of Illustrations List of Tables Abbreviations Introduction Part I: The Fifteen Mysteries of the Rosary Cycle, 1568–1671 1 Guns and Rosaries: The Ecclesia Laicorum as a Realm of Memory  1 Iconoclasm and the Revolt  2 Places and Realms of Memory  3 The Art of Memory and the Art of Preaching  4 The Enemy Within  5 Conclusion 2 The Mystery Machine: The Cycle as a Proponent of Piety and Peace  1 Antwerp and the Archdukes  2 Joannes Boucquet, ‘A Highly Distinguished Prior’  3 The Rosary Brotherhood  4 Peace and Pictura Sacra  5 Conclusion Part II: Caravaggio’s Rosary Madonna, c.1603–51 3 ‘Outstandingly Great Art yet Not High in Price’: The Rosary Madonna as a Sacred Commodity  1 Made in Rome  2 The Entombment  3 The Death of the Virgin  4 ‘A Very Dear Friend of Caravaggio’s’  5 Conclusion 4 Four Liefhebbers and a Funeral: Procuring The Rosary Madonna for Profit, Fame and Love  1 Love Actualised  2 Friends with Benefits  3 The Gift Economy  4 Two Become One  5 The Art-Lover Formerly Known as Prince  6 The Godly Feast  7 The Art of the Deal  8 Conclusion Part III: Rubens’s Wrath of Christ High Altarpiece, 1618–42 5 Apocalypse Later: Michaël Ophovius and the Ecclesia Fratrum  1 The Archaeology of the Choir  2 Unemotional Rescue  3 Back to Basics  4 ‘The Hangman’s Noose for the Bishop’s Mitre’  5 ‘Tears of Blood’  6 Hero-Worship  7 Rubens and ’s-Hertogenbosch  8 Heart of Glass  9 Conclusion Conclusion Figures References 447 Index 515

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Book SynopsisThis book throws new light on the question of authorship in the Latin literature of the later medieval and in the early modern periods. It shows that authorship was not something to be automatically assumed in an empathic sense, but was chiefly to be found in the paratextual features of works and was imparted by them. This study examines the strategies and tools used by authors ca. 1350-1650, to assert their authorial aspirations. Enenkel demonstrates how they incorporated themselves into secular, ecclesiastical, spiritual and intellectual power structures. He shows that in doing so rituals linked to the ceremonial of ruling, played a fundamental role, for example, the ritual presentation of a book or the crowning of a poet. Furthermore Enenkel establishes a series of qualifications for entry to the Respublica litteraria, with which the authors of books announced their claims to authorship.Trade Review“An important, original, and impressively well-researched study.” David Rijser, University of Amsterdam. In: Renaissance Quarterly, Vol. 72, No. 1 (spring 2019), pp. 249-251.

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Book SynopsisThis volume puts together a first-of-a-kind handbook, and contains the most important termini technici, expressions, and techniques connected to the traditional art of Persian calligraphy, calligraphy as well as related arts, like illumination, historiated painting, book binding, etc. The content is based on thirty prominent classical Persian treatises, composed between twelfth and twentieth centuries.Table of ContentsEditor’s Preface Author’s Note Translator’s Note List of Illustrations Notes on Alphabetical Order, Pronunciation, Transcription and Dates Transcription Tables Abbreviations The Persian Treatises as Primary Sources on Iranian Calligraphy آ ا ب پ ت ث ج چ ح خ د ذ ر ز س ش ص ض ط ظ ع غ ف ق ک گ ل م ن و ه ی Appendix 1: Map of Greater Iran Appendix 2: Map of the Persianate World Appendix 3: Major Islamic Dynasties Bibliography of Cited, Selected Related Works, and Abbreviations Index of Personal and Historical Names Index of Technical Notions, Materials and Terms General Index

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Book SynopsisReceptions of Antiquity, Constructions of Gender in European Art, 1300-1600 presents scholarship in classical reception at its nexus with art history and gender studies. It considers the ways that artists, patrons, collectors, and viewers in late medieval and early modern Europe used ancient Greek and Roman art, texts, myths, and history to interact with and shape notions of gender. The essays examine Giotto's Arena Chapel frescoes, Michelangelo's Medici Chapel personifications, Giulio Romano's decoration of the Palazzo del Te, and other famous and lesser-known sculptures, paintings, engravings, book illustrations, and domestic objects as well as displays of ancient art. Visual responses to antiquity in this era, the volume demonstrates, bore a complex and significant relationship to the construction of, and challenges to, contemporary gender norms.Trade Review"Overall, this collection of essays explores new, gendered ground in the firmly rooted classical tradition in Renaissance art, and scholars from art history, literature, and gender studies will all find this book to be informative. The volume sheds much light on an important subject that has not received the attention it deserves from scholars; (...) I have no doubt that future explorations of gendered receptions of antiquity in Renaissance visual culture will draw on the many insights of these essays." Allison Fisher, Renaissance Quarterly, Volume 70, Number 1 "As is often found with such books, there is variability among the essays, but the overall quality is excellent.There are numerous figures included within the essays demonstrating the care with which each scholar considered the evidence for their claims.(...) The variety of approaches to the topic of gender in the reception of classical art highlights how fruitful this topic is. The overall effect is the demolition of static, prescriptive notions of gender over the period in question and to demonstrate the multivalence of many classical motifs." Natasha Amendola, The Medieval Review 16.12.12 "Ultimately, the collection of essays is perhaps the ideal format for poststructuralist approaches to art history. A clear principle—the relative “horizon of expectations”—underpins the otherwise sui generis data of a multitude of case studies, each with her own nuanced stories that might be overshadowed by a broader narrative, and art history is richer as a result." Rebecca Shields, Rutgers University, Woman's Art Journal 38, 1, summer 2017. "A strength of the essays is the way in which scholars note that the interpretation of the classical figures was not static; repeatedly the reader is shown that interpretations change over time and are based on the circumstances of the viewer, differentiated by gender or by social and economic status. This book is a valuable and welcome addition to the study of late medieval and early modern receptions of gender and classical antiquity in visual culture. (...) The editors and most contributors are art historians, but the methodological perspectives and conclusions offered here will be of broad interest to scholars across the humanities." Rita Keane, Drew University, Speculum, 94/4 (October 2019).Table of ContentsTABLE OF CONTENTS Contributors Acknowledgments Introduction: Classical Reception, Gender Studies, and Art History (Marice Rose and Alison C. Poe) 1. Cross-Dressing in the Arena Chapel: Giotto's Virtue Fortitude Re-examined (Mary D. Edwards) 2. The Liminal Feminine: Illuminating Europa in the Ovide Moralise (K. Sarah-Jane Murray with Ashley A. Simone) 3. A Giant Corrupt Body: The Gendering of Renaissance Roma (Genevieve S. Gessert) 4. Luca Signorelli's Veturia Persuading Coriolanus to Spare Rome and Viewers in the Palazzo Petrucci, Siena (Stephanie C. Leone) 5. Queer Fragments: Sodoma, the Belvedere Torso, and Saint Catherine's Head (Timothy B. Smith) 6. The Trouble with Pasiphae: Engendering a Myth at the Gonzaga Court (Maria F. Maurer) 7. Vision, Voluptas, and the Poetics of Water in Lorenzo Lotto's Venus and Cupid (April Oettinger) 8. The Crone, the Witch, and the Library: The Intersection of Classical Fantasy with Christian Vice during the Italian Renaissance (Patricia Simons) 9. Picturing Rape and Revenge in Ovid's Myth of Philomela (Hetty E. Joyce) 10. Figuring Florence: Gendered Bodies in Sixteenth-Century Personifications and Their Antique Models (Claudia Lazzaro) 11. Conjugal Piety: Creusa in Barocci's Aeneas' Flight from Troy (Ian Verstegen) 12. Ancient Idols, Lascivious Statues, and Sixteenth-Century Viewers in Roman Gardens (Katherine M. Bentz) Index

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Book SynopsisThis is the first study in any language to trace the emergence of the art historical interest in icon painting in the nineteenth century with its evident impact on the course of Russian modernism in the twentieth century. Given the surge in popularity of the Russian avant-garde, a book devoted to the gradual awareness of the artistic value of icons and their effect on Russian aesthetics is timely. The discoveries, the false starts, the incompetence, the interaction of dilettantes and academics, the meddling of tsars and church officials, all make for a fascinating tale of growing cultural awarenss. It is a story that prepares the ground for the explosioin of Russian cultural creativity and acceptability in the early twentieth century.Trade Review"a superb English translation of Gerold Vzdornov’s 1986 seminal study of the nineteenth century’s discovery and study of Russian medieval icons and frescoes within imperial Russia. The welcome English version of one of his encyclopedic and beautifully illustrated monographs should become a staple of every university library and essential reading for scholars and students interested in the history and culture of imperial Russia." "The evidence and conclusions of this monograph should shatter once and for all various preconceived notions that the destruction of Russian religious art began with the Bolshevik regime, that restoration work always involved modern understandings of the word “restoration,” and that Russian medieval painting was revered throughout the ages." "Through the lens of art history Vzdornov delivers nothing less than a reinterpretation of late imperial Russian history and a chronicling of the destruction of much of ancient medieval Russian and Ukrainian art up through the turn of the twentieth century. It is little wonder that medievalists and early modernists often have to rely on surviving embroideries and manuscript illustrations to reconstruct the art and symbolism of their eras." Christine D. Worobec, review of The History of the Discovery and Study of Russian Medieval Painting, by Gerol’d I. Vzdornov, Journal of Icons Studies 2 (2019) - https://doi.org/10.36391/JIS2/006BRTable of ContentsPreface Chapter One General Information on Russian Icons and Frescoes The religious nature of Medieval Russian painting. — Untoward conditions of icon preservation. The destruction of surface texture and the darkening of the icon’s protective coat. Restoration techniques. — Mural paintings and causes of their poor condition. — Seventeenth-century conservation in the Moscow Kremlin. — On the rare deliberate alterations of painting in Rus'. — The eighteenth-century attitude to works of antiquity. — “Conservation" in the reign of Catherine II. — Medieval Russian painting and Mikhail Lomonosov. — Jacob von Stählin’s materials and their significance for the history of Russian art. Chapter Two First Steps in the Discovery of Medieval Russian Painting Russian antiquities discovered in the late eighteenth century. — Historico-archaeological expedition of K. M. Borozdin (1809—10). — From monuments of written language to those of painting. N. M. Karamzin’s comment on the manuscript illuminations and mosaics of the Kievan St. Sophia. — The fate of the frescoes of the St. George Church in Staraya Ladoga. — P. I. Keppen and his List of Russian Monuments Subservient to the Compilation of the History of Arts and National Palaeography (1822). — Prerequisites for the growth of public interest in Russia’s history: the upsurge of popular-patriotic sentiment during the war against Napoleon; the aesthetic of romanticism in literature and art; the internal policy of Nicholas I. Chapter Three The Artist-Archaeologist F. G. Solntsev and the Artist-Restorer N. I. Podkliuchnikov F. G. Solntsev and his artistic and archaeological activities. — The uncovering of the frescoes of the St. Demetrius Cathedral in Vladimir. — Restoration of wall paintings in the Kievan St. Sophia. — The 1842 law on the preservation of monuments. — Once again concerning the fate of the frescoes in Staraya Ladoga. — The beginning of conservation work in Moscow. — N. I. Podkliuchnikov as first professional restorer of medieval Russian painting. — The conservation of the iconostases in the Dormition Cathedral of the Moscow Kremlin and the church in the village of Vasil'evskoe near Shuia. — F. G. Solntsev’s drawings in Drevnosti Rossiiskogo Gosudarstva (Antiquities of the Russian State). — Publication of mosaics and frescoes of the Kievan St. Sophia. — Addendum: the artist-archaeologist N. N. Martynov and his collection of sketches of medieval paintings of Novgorod, Pskov, and Staraya Ladoga. Chapter Four The 1840s: Men of Letters, Palaeologists, Collectors N. D. Ivanchin-Pisarev and S. P. Shevyrev. — Historico-archaeological works of I. M. Snegirev and I. P. Sakharov. — The Old Believer community and its significance in the preservation of old artworks. — I. M. Snegirev’s discourses with icon painters and connoisseurs of icon painting at the Preobrazhenskoe and Rogozhskoe cemeteries. — Private and public collections of icons. Criteria for their selection. — Moscow home chapels (molennye) as described by F. I. Buslaev. — A. F. Sorokin’s collection. Classification of Sorokin collection of icons in accordance with notes made by the collector. — Ancestral collections. Icons of the Stroganov school in S. G. Stroganov’s collection. — M. P. Pogodin’s old artworks repository. — D. A. Rovinskii and his book, Obozrenie ikonopisaniia v Rossii do kontsa XVII veka (A Survey of Icon Painting in Russia up to the End of the Seventeenth Century). Chapter Five F. I. Buslaev and His Contemporaries The 1860s Narodnost' as the key idea of the era. — Precursors of Moscow museums. The Moscow Public Museum and the Rumiantsev Museum. — P. I. Sevast'ianov and his archaeological expeditions and collections. — A. E. Viktorov. First publications of the Moscow Public Museum. — The Society of Medieval Russian Art at the Moscow Public Museum. The Society’s publications. — F. I. Buslaev. His biography and works on art. — Foreign critics’ comments on Russian art as reviewed by F. I. Buslaev. — S. D. Filimonov as editor, scholar, and collector. — Russian antiquities assembled at the St. Petersburg Academy of Arts. — V. A. Prokhorov. His journals, Christian Antiquities and Archaeology and Russian Antiquities. — V. A. Prokhorov’s lectures on the history of Medieval Russian art delivered at the Academy of Arts. Chapter Six Learned Societies The flourishing of learned societies in the second half of the nineteenth century. — Russian Archaeological Society. — Archimandrite Makarii (Macarius) and his church-archaeological descriptions. — Once more on the Russian Archaeological Society. — A. V. Prakhov. His scholarly and artistic discoveries in Kiev, Vladimir-Volynskii, and Chernigov. A. V. Prakhov’s work as a copyist. — The Moscow Archaeological Society. — Count A. S. Uvarov’s views on medieval Russian art. — Once more on the Moscow Archaeological Society. — The discovery of frescoes on the altar-screen of the Dormition Cathedral in the Moscow Kremlin. — The discovery of murals in the Dormition Cathedral in Vladimir. — The restoration of frescoes in the Annunciation Cathedral of the Moscow Kremlin. — The renovation of sixteenth-century murals in the Dormition Cathedral of the Sviiazhskii Monastery. — The restoration of the iconostasis in the Cathedral of Our Lady of Smolensk at the Novodevichii Convent in Moscow. — The Archaeological Commitee and the Academy of Arts. — The architect V. V. Suslov and his restorations in Pereslavl-Zalesskii, Pskov, and Novgorod. — Copying of frescoes in Staraia Ladoga, Mirozh, and the St. Sophia Cathedral in Novgorod. — The Society of Lovers of Ancient Literature and Art. Chapter Seven Museums, Private Collections, and Exhibitions The concept of a national museum as presented in the projects of F. P. Adelung and G. von Wiechman. — The Historical Museum in Moscow. I. E. Zabelin and V. N. Shchepkin. — The museum in Tver. A. K. Zhiznevskii. — The Rostov museum. — Provincial statistical boards and learned archival commissions. — Church museums. — The Synodal vestry in the Moscow Kremlin. The Archimandrite Savva (Sabbas) and his Index for the viewing of the vestry. — The museum of church archaeology at the Kiev Ecclesiastical Academy. N. I. Petrov. — The collections of A. E. Sorokin, A. N. Murav'ev, and Porfirii Uspenskii. — Museums of church archaeology at the ecclesiastical academies of Moscow and St. Petersburg. — The department of church archaeology at the Society of Lovers of Spiritual Enlightenment and the Society’s museum. — The Tula eparchial depository of antiquities. Depositories of antiquities in Vladimir and Archangel. — Private museums of V. A. Prokhorov, F. M. Pliushkin, A. S. Uvarov, and P. I. Shchukin. — The collectors N. M. and A. M. Postnikov and I. L. Silin. Antiquaries T. F. and S. T. Bolshakov. — N. S. Leskov and his contribution to the popularization of Medieval Russian painting. — Russian antiquities at the World Exposition in Paris in 1867. — Exhibitions at archaeological congresses. Church antiquities at the exhibition of the Eighth Archaeological Congress in Moscow in 1890. — The art and archaeology exhibition in St. Petersburg in 1898. On the Moscow exhibitions of the representations of Christ and the Mother of God in 1896 and 1897. Chapter Eight Academy and University Scholarship Medieval Russian painting as reflected in the Proceedings of the Second Department of the Academy of Sciences. I. I. Sreznevskii. — Descriptions of manuscript collections and single codices as a source for the study of Byzantine and Russian miniatures. V. N. Shchepkin’s views on the illuminated manuscripts. — Chairs of the history of art in metropolitan and provincial universities. — N. P. Kondakov. The Odessa period of his life and work: from classical archaeology to the history of Byzantine art. — Kondakov’s contemporaries. — The St. Petersburg period of Kondakov’s life and work: from Byzantine to Russian antiquities. The importance of his report “On the Scientific Objectives of the History of Medieval Russian Art.” — V. V. Stasov. His articles on art. The atlas The Slavonic and Eastern Ornament in Ancient and Modern Manuscripts (1887). — Problems of art and literature in works by A. I. Kirpichnikov. — Church archaeology as a subject of study and teaching in theological academies. I. D. Mansvetov, A. A. Dmitrievskii, A. P. Golubtsov. N. V. Pokrovskii and his iconographic investigations. — Art issues in E. E. Golubinskii’s History of the Russian Church. — E. K. Redin and D. V. Ainalov. Conclusion Index

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Book SynopsisIn The Conspiracy of Modern Art the Brazilian critic and art-historian Luiz Renato Martins presents a new account of modern art from David to Abstract Expressionism. The once vibrant debate on these touchstones of modernism has gone stale. Viewed from the Sao Paulo megalopolis the art of Paris and New York - embodying Revolution, Thermidor, Bonapartistm and Bourgeois ‘Triumph' - once more pulsates in tragic key. Equally attentive to form and politics, Martins invites us to look again at familiar pictures. In the process, modern art appears in a new light. These essays, largely unknown to an English-speaking audience, may be the most important contribution to the account of modern painting since the important debates of the 1980s.Table of ContentsAcknowledgements Credits Painting, Between Gewalt and Labour: introduction to The Conspiracy of Modern Art by Steve Edwards 1 The Conspiracy of Modern Art 2 The Hemicycle: The Image of the Nation Form 3 Marat by David: Photojournalism 4 18th Brumaire, the Fabrication of a Totem: Freud, David and Bonapartism 5 Remains of Voluptuousness 6 The Returns of Regicide 7 Parisian Scenes 8 Two Scenes on the Commodity 9 Painting as Labour-Form 10 Transition from Constructivism to Productivism, According to Tarabukin 11 Argan Seminar: Art, Value and Work 12 Political Economy of Modern Art I: Entries for Combat 13: Political Economy of Modern Art II: Lessons and Modes of Use Index of Artworks Cited Bibliography

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Book SynopsisThe Hieroglyphenkunde by Karl Giehlow published in 1915, described variously by critics as “a masterpiece”, “magnificent”, “monumental” and “incomparable”, is here translated into English for the first time. Giehlow’s work with an initial focus on the Hieroglyphica of Horapollo, the manuscript of which was discovered by Giehlow, was a pioneering attempt to introduce the thesis that Egyptian hieroglyphics had a fundamental influence on the Italian literature of allegory and symbolism and beyond that on the evolution of all Renaissance art. The present edition includes the illustrations of Albrecht Dürer from the Pirckheimer translation of the Horapollo from the early fifteenth century.Trade Review“[Giehlow’s] monograph is seen as a pioneering work in proposing that Egyptian hieroglyphics had an important influence in the literature of allegory and symbolism in the Italian Renaissance and in Renaissance art. […] Subsequent scholarship has shown Giehlow’s treatise to be a pioneering work, and hopefully this publication will inspire further investigation.” John Hendrix, Roger Williams University. In: Renaissance Quarterly, Vol. 69, No. 1 (Spring 2016), pp. 230-231.Table of ContentsIntroduction Chapter 1 · Scope and aim of the study Chapter 2 · The hieroglyphs of the Italian humanists Chapter 3 · Hieroglyphs on the Egyptian monuments known in Rome in the XVth century Chapter 4 · Fra Francesco Colonna and his hieroglyphs Chapter 5 · Hieroglyphic studies in the Italian cinquecento Chapter 6 · The Hieroglyphica of Pierio Valeriano Bolzano: a life’s work Chapter 7 · The hieroglyphic origins of the Emblemata of Alciato Chapter 8 · The hieroglyphics of the German and French humanists Appendices and bibliography Index

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Book SynopsisCe livre présente une étude historique et culturel sur l'art figuration humaine et le portrait dans un contexte islamique médiéval basé sur des sources littéraires et iconographiques. Avec: Sheila Blair; Éloïse Brac de la Perrière; Oleg Grabar; Kata Keresztely; Mika Natif; Yves Porter; Houari Touati This book presents an art historical and cultural study of human figuration and portraiture in a medieval islamic context, based on literary and iconographic sources. With contributions by: Sheila Blair; Éloïse Brac de la Perrière; Oleg Grabar; Kata Keresztely; Mika Natif; Yves Porter; Houari TouatiTrade Review"L’ouvrage apportera indéniablement au chercheur un nouvel éclairage des questions traitées et permettra de repenser divers aspects du statut et de l’histoire de la figuration humaine dans l’art islamique. Grâce au cahier iconographique, le lecteur peut suivre l’argumentation, voire vérifier certaines indications au fil de la lecture. S’il faut signaler un défaut à cet ouvrage, c’est sa relative concision. Si elle paraît constituer une garantie de la qualité des contributions sélectionnées, celles-ci ouvrent de nombreuses perspectives et soulèvent de nouvellesquestions que le lecteur curieux souhaiterait voir poursuivies au-delà de l’abondante bibliographie proposée en fin de volume". Katia Zakharia in arabica 63 (2016) 377-418. "En s’attachant à expliquer les conditions du développement et de la légitimation de l’image figurée et d’une certaine iconophilie dans la culture islamique, l’ouvrage apporte de nouveaux éléments de réflexion sur la conception de l’art islamique". Sandra Aube in Bulletin critique des annales islamologiques, 2015, 30, pp.46-48. "...the contributions made by the essays collected in this volume are numerous and manifold. They draw attention to a number of little known or unknown textual sources. They put forward a variety of opinions and attitudes regarding the image. They offer alternate perspectives and in-depth reflections on the issue of portraiture, notably highlighting the highly symbolic and essentialist character of paintings." Nourrane Ben Azzouna, University of Strasbourg.Table of ContentsIntroduction, Houari Touati Le régime des images figuratives dans la culture islamique medieval, Houari Touati Une brève histoire des portraits d’auteurs dans les manuscrits islamiques, Sheila S. Blair Réflexions préliminaires sur les portraits d’auteurs dans l’art islamique : Le cas de Moïse dans le Jāmi‘ al-Tawārīkh de Rashīd al-Dīn, Mika Natif Histoire des portraits du prophète Muḥammad, Oleg Grabar et Mika Natif Le portrait dans l’Orient musulman pré-moderne : une décantation du modèle en son essence, Yves Porter (en collaboration avec Richard Castinel) Les représentations humaines dans la peinture arabe medieval. L’exemple du Ḥarīrī-Schefer, Kata Keresztely Des idées aux images : les personnages indiens dans la miniature islamique, Éloïse Brac de la Perrière Illustrations Les auteurs Cahier iconographique

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Book SynopsisAnalyzing the literature on art from the fifteenth and sixteenth centuries, The Spiritual Language of Art explores the complex relationship between visual art and spiritual experiences during the Italian Renaissance. Though scholarly research on these writings has predominantly focused on the influence of classical literature, this study reveals that Renaissance authors consistently discussed art using terms, concepts and metaphors derived from spiritual literature. By examining these texts in the light of medieval sources, greater insight is gained on the spiritual nature of the artist’s process and the reception of art. Offering a close re-readings of many important writers (Alberti, Leonardo, Vasari, etc.), this study deepens our understanding of attitudes toward art and spirituality in the Italian Renaissance.Table of ContentsAcknowledgments List of Illustrations Introduction Chapter One Art and Compunction: Francesco Bocchi’s Mystical Experience of Art Compunction in Renaissance Literature on Art Compunction and Popular Devotion at the Santissima Annunziata in Florence Francesco Bocchi’s Ekphrasis, Catharsis and Compunction Purging and Nourishing Chapter Two Leon Battista Alberti’s ‘De pictura’ and the Christian Tradition of the Liberal Arts An Image Formed in the Mind and an Imitation of Nature The Liberal Arts in Alberti and the Christian Tradition Study and Composition: Painting as a Form of Meditation A Part and a Whole: Alberti’s Beauty Chapter Three The Word of God and the Book of the World in the Writings of Leonardo da Vinci Leonardo as a Reader of Spiritual Literature Tears and Laughter in Leonardo The World is a Book Judgment and Love: Ogni Dipintore Dipinge Se In One Instant Alone Chapter Four: Part One Imagining the Souls of Holy People Lifting the Veil of the Body The Soul of a Work of Art: The Agency of Sacred Art The Sweetness of Honey: Painted Flesh, Veils and Interiority Perfection of Body and Soul: The Souls of Artists and of Paintings Chapter Four: Part Two The Impossibility of Picturing Virtue: The Face as a Natural Sign The ‘Costume’ of Virtue, Seeing Beneath the Veil and Francesco Bocchi Chapter Five Invention and Amplification: Imagining Sacred History Gabriele Paleotti’s Theory of Sacred Art and Contemplative Ascent How Images are Like Scripture and Like Sermons in Paleotti’s ‘Discorso’ Rhetoric, Reading and Remembering in Pictorial Invention The Circumstances of Sacred History From History of Allegory in Sacred Art Chapter Six Vasari’s City of God: Spirituality, Art and Architecture in Vasari’s ‘Lives’ and ‘Ragionamenti’ Spirituality in Vasari’s Literary Context The Stones of Memory in the Palazzo Vecchio The Architecture of Allegory in Vasari and Hugh of St. Victor The Time of Allegory and the Space of History Conclusion Bibliography Index

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Book SynopsisNatural hazards punctuate the history of European towns, moulding their shape and identity: this book is devoted to the artistic representation of those calamities, from the late Middle Ages to the 20th century. It contains nine case studies which discuss, among others, the relationship between biblical imagery and the realistic depiction of urban disasters; the religious, political and ritual meanings of “destruction subjects” in early modern painting; the image of fire in Renaissance treatises on architecture; the first photographic campaigns documenting earthquakes’ damages; the role of contemporary art in the elaboration of a cultural memory of urban destructions. Thus, this book intends to address one of the main issues of Western civilization: the relationship of European towns with their own past and its discontinuities. Contributors are Alessandro Del Puppo, Isabella di Lenardo, Marco Folin, Sophie Goetzmann, Emanuela Guidoboni, Philippe Malgouyres, Olga Medvedkova, Fabrizio Nevola, Monica Preti and Tiziana Serena.Table of ContentsContents Preface vii List of Table and Figures xv List of Contributors xix xxi Part 1 The Representation of Urban Disasters in a Long-Term Perspective 1 Transient Cities: Representations of Urban Destructions in European Iconography in the Fourteenth to Seventeenth Centuries 3 Marco Folin 2 When Towns Collapse: Images of Earthquakes, Floods, and Eruptions in Italy in the Fifteenth to Nineteenth Centuries 33 Emanuela Guidoboni PART 2 Images of Ruination and Hopes for Redemption 3 Urban Responses to Disaster in Renaissance Italy: Images and Rituals 59 Fabrizio Nevola 4 In the Beginning, There was Fire: Vitruvius and the Origin of the City 75 Olga Medvedkova 5 “Cities of Fire”: Iconographic Fortune, Taste and Circulation of Fire Paintings between Flanders and Italy in the early Sixteenth Century 100 Isabella di Lenardo 6 The Destruction of the City: A Pledge of Salvation? Some Reflections about Monsù Desiderio and the Genre of “Destruction Painting” 116 Philippe Malgouyres PART 3 Urban Disasters on Display: Art, Documentation, Remembrance 7 Catastrophe and Photography as a “Double Reversal”: The 1908 Messina and Reggio Earthquake and the Album of the Italian Photographic Society 137 Tiziana Serena 8 Meidner’s Urban Iconography: Optical Destruction and Visual Apocalypse 164 Sophie Goetzmann 9 Destruction and Construction in Contemporary Art. Three Cases in Twentieth-Century Italy (Gibellina 1968, Friuli 1976, Napoli 1980) 179 Alessandro Del Puppo Index of Names 193 Index of Places 203

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Book SynopsisDie Studie untersucht die ironische Erzählweise Rembrandts und stellt dabei dessen Nachtwache ins Zentrum der Untersuchung. Zentral ist dabei die kritische Auseinandersetzung mit der klassizistischen Kunsttheorie eines Franciscus Junius. The study analyzes Rembrandt’s ironic narrative techniques, focusing on the artist’s group portrait the Night Watch. Central to the inquiry is the artist’s critical engagement with the classical art theory of Franciscus Junius.Trade Review"a far-ranging and highly erudite study … a major contribution to rhetorical theory in the visual arts and Rembrandt studies." – Amy Golahny, Lycoming College, in: Journal für Kunstgeschichte 19/4 (2015), pp. 376-385 "[Jürgen Müller] is well known for probing and original interpretations of both Bruegel and Erasmus, often in light of the ironic rhetoric of Erasmus of Rotterdam, and this book adds a keystone to his ongoing project of reading major artworks of the Netherlands through the lens of Erasmus. […] this book, like everything written by Jürgen Müller, offers fresh thinking and close observations, which challenge received wisdom. […] It should lead the thoughtful reader to return to Rembrandt (or Bruegel) for informed, renewed close inspection." – Larry Silver, University of Pennsylvania, in: Sehepunkte 15/12 (2015) "Das Resultat dieser anregenden Arbeit verdient Beachtung. Dank seiner Quellenkenntnis ist es dem Autor gelungen, Rembrandts raffinierte Verschleierung und spöttische Verarbeitung seiner Vorbilder überzeugend zu entschlüsseln und so dem bisher kaum bekannten Ironiker auf die Spur zu kommen." – Franz Zelger, in: Neue Zürcher Zeitung, 23 August 2016 "Jürgen Müller ist mit diesem Buch ein Wurf gelungen, der durch aufmerksamste Suche nach Vorbildern und Motiven Instrumente sinnstiftender und sinnerhellender Interpretationen gewonnen hat, die Rembrandt in neuem Licht als kunsttheoretisch denkenden Maler erscheinen lassen. […] Originell ist Müllers Buch zum einen vom Ansatz her und zum andern durch die Tatsache, dass hier endlich wieder einmal der kuhne Versuch einer rein intellektuellen Interpretation eines Hauptwerks der europaischen Kunst des Barock unternommen wird." – Andreas Prater, Universität Freiburg, in: Kunstchronik 69/4 (April 2016), pp. 180-187Table of ContentsVORWORT EINLEITUNG Der scheißende Künstler Methodenfragen und Gang der Untersuchung I. Rembrandtmythen 1. Das Bild Rembrandts in der klassizistischen Kunstkritik 2. Das Amsterdamer Rembrandtdenkmal 3. Untergehende und Hinübergehende – Rembrandt als revolutionäres Genie 4. Wie Rembrandt zum Erzieher wurde 5. „Nichts von Wert“ – Hans Steinhoffs Film „Rembrandt“ von 1942 II. Ars humilis 1. Die Leidener Anfänge 2. Plötzlichkeit 3. Helldunkel als Erzählform 4. Nah und fern zum Bilde 5. Totlachen 6. Bildironie 7. Erasmus' Adagium „Sileni Alcibiadis“ oder „Schijn Bedrieght“ 8. Der Maler als Proteus III. Silenische Bilder 1. Das Problem der Nachahmung in der niederländischen Kunsttheorie 2. Imitatio oder Dissimulatio? Zur Praxis der Motivübernahme am Beispiel von Michelangelos Cascina-Schlacht 3. Obscuritas picturae 4. „Een antieckse Laechon“ 5. Die Blendung Simsons – schöner oder hässlicher Schmerz? 6. Der Raub des Ganymed – Klassizismus als Witz 7. Augenzwinkern 8. Die Judenbraut IV. Die Nachtwache 1. Rembrandt und Raffael 2. Personen und Figuren 3. Der Mythos von Rembrandts Nachtwache 4. Der Maler als Souverän 5. Komische Motive 6. Rembrandts Nachtwache und Raffaels Schule von Athen 7. Spielende Kinder und die Ikonographie des schlafenden Mars 8. „Handelinghe“ – von richtiger und falscher Nachahmung 9. Stil und Geschichte im „Welttheater“ Bibliographie Abbildungsverzeichnis

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