History of art Books

Book SynopsisFrom the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto’s ideas.Trade ReviewThis book's dialogue between the greatest American philosopher of art and his distinguished Italian colleague presents a great deal of previously unpublished information, much of the highest value. You will find here vital details about the aesthetic theory and art criticism of Arthur Danto. -- David Carrier, author of Proust/Warhol: Analytical Philosophy of ArtThe book is best for those who are Danto ‘completionists’ and those interested in Danto on philosophy of art qua art criticism. The preliminary essays are the most philosophically bountiful. * British Journal of Aesthetics *Serve[s] as an effective introduction to Danto’s work for those unfamiliar with it and a fine coda to his career for the more well-versed reader. * European Legacy *Table of ContentsForeword, by Barry SchwabskyPrefaceIn Judy’s Bedroom1. History and Posthistory (1995)2. Style, Narration, and Posthistory (1998)3. The Angelic vs. the Monstrous (1998)4. Art Criticism as Analytic Philosophy (2012)NotesIndex

Read more less

Book SynopsisWhat happens when the avant-garde grows old? Examining a group of writers and artists who continued the modernist experiment into later life, Scott Herring reveals how their radical artistic principles set out a new path for creative aging.Trade ReviewScott Herring combines new archival research, interviews, and innovative literary analysis in a book that transforms the way we think about aging, modernism, and artistic production. Eloquent, witty, and lucid, Aging Moderns is also a great read. -- Rachel Adams, author of Raising Henry: A Memoir of Motherhood, Disability, and DiscoveryWith groundbreaking research and fierce dedication, Scott Herring gives us a modernism never seen before: flourishing decades after its supposed high point, featuring authors in late life unfazed by bodily afflictions. Still intensely experimental, this is a new and different avant-garde, all the more stunning for being unexpected. -- Wai Chee Dimock, author of Weak Planet: Literature and Assisted SurvivalWith Aging Moderns, Scott Herring recasts the credo of modernist studies and urges us instead to “make it old.” This magnificent book makes a compelling and urgent case for how a focus on old age and aging challenges entrenched understandings of the period and its aesthetics. Grounded in dazzling archival research, Aging Moderns is a profoundly ethical book that redefines collaboration, creativity, and, ultimately, the very conception of modernism. -- Sari Edelstein, author of Adulthood and Other Fictions: American Literature and the Unmaking of AgeAging Moderns challenges both the modernist cult of youth and a pervasive ageism in the culture. Arriving at late modernism via the later life of modernists, Herring rewrites literary history while taking his readers on a fascinating journey through archives and community centers. A remarkable demonstration of criticism as care. -- Heather K. Love, University of PennsylvaniaIn addition to being of interest to students and scholars of modernism, Aging Moderns forces reflections on the barriers and opportunities of senior status toward a realization of critical age studies. * Choice Reviews *Intriguing. * The Gay & Lesbian Review Worldwide *Aging Moderns offers the field an immensely readable approach to forgotten—and largely unknown—works by major literary and artistic figures of high modernism. * American Literary History *Table of ContentsAcknowledgmentsList of IllustrationsList of AbbreviationsIntroduction: Experimental Aging and American Modernism1. Djuna Barnes and the Geriatric Avant-Garde2. The Special Collections of Samuel Steward3. Ivan Albright’s Anti-Antiaging Treatments4. Tillie Olsen and the Old-Old Left5. Queer Senior Living with Charles Henri Ford and Indra Bahadur Tamang6. The Harlem Renaissance as Told by “Lesbian Elder” Mabel HamptonCoda: After Jacob Lawrence at Iona Senior ServicesNotesIndex

Read more less

Book SynopsisWhat happens when the avant-garde grows old? Examining a group of writers and artists who continued the modernist experiment into later life, Scott Herring reveals how their radical artistic principles set out a new path for creative aging.Trade ReviewScott Herring combines new archival research, interviews, and innovative literary analysis in a book that transforms the way we think about aging, modernism, and artistic production. Eloquent, witty, and lucid, Aging Moderns is also a great read. -- Rachel Adams, author of Raising Henry: A Memoir of Motherhood, Disability, and DiscoveryWith groundbreaking research and fierce dedication, Scott Herring gives us a modernism never seen before: flourishing decades after its supposed high point, featuring authors in late life unfazed by bodily afflictions. Still intensely experimental, this is a new and different avant-garde, all the more stunning for being unexpected. -- Wai Chee Dimock, author of Weak Planet: Literature and Assisted SurvivalWith Aging Moderns, Scott Herring recasts the credo of modernist studies and urges us instead to “make it old.” This magnificent book makes a compelling and urgent case for how a focus on old age and aging challenges entrenched understandings of the period and its aesthetics. Grounded in dazzling archival research, Aging Moderns is a profoundly ethical book that redefines collaboration, creativity, and, ultimately, the very conception of modernism. -- Sari Edelstein, author of Adulthood and Other Fictions: American Literature and the Unmaking of AgeAging Moderns challenges both the modernist cult of youth and a pervasive ageism in the culture. Arriving at late modernism via the later life of modernists, Herring rewrites literary history while taking his readers on a fascinating journey through archives and community centers. A remarkable demonstration of criticism as care. -- Heather K. Love, University of PennsylvaniaIn addition to being of interest to students and scholars of modernism, Aging Moderns forces reflections on the barriers and opportunities of senior status toward a realization of critical age studies. * Choice Reviews *Intriguing. * The Gay & Lesbian Review Worldwide *Aging Moderns offers the field an immensely readable approach to forgotten—and largely unknown—works by major literary and artistic figures of high modernism. * American Literary History *Table of ContentsAcknowledgmentsList of IllustrationsList of AbbreviationsIntroduction: Experimental Aging and American Modernism1. Djuna Barnes and the Geriatric Avant-Garde2. The Special Collections of Samuel Steward3. Ivan Albright’s Anti-Antiaging Treatments4. Tillie Olsen and the Old-Old Left5. Queer Senior Living with Charles Henri Ford and Indra Bahadur Tamang6. The Harlem Renaissance as Told by “Lesbian Elder” Mabel HamptonCoda: After Jacob Lawrence at Iona Senior ServicesNotesIndex

Read more less

Book SynopsisThis book investigates attention from a range of disciplinary perspectives, including philosophy, history, anthropology, art history, and comparative literature.Trade ReviewThis book brings together beautifully written and diverse perspectives on attention: as phenomenon, scholarly practice, memoir, meditation, metahistory, and art. Required reading in an era of exponential financialization and attention deficit disorder at civilizational scale. -- Blaise Agüera y Arcas, Google ResearchThese vivid and varied essays are a much-needed antidote to the flattened attention of the click economy. Here are the many dimensions of attention we've been missing: historical, philosophical, psychological, anthropological, and, yes, technological. This timely collection broadens and deepens current debates about the future of attention—and distraction. -- Lorraine Daston, author of Rules: A Short History of What We Live ByScenes of Attention is, in all the best ways, scholarly, inspiring, and unsettling. Its diverse contributors address this most urgent of topics so wisely, and articulate the results of their thinking with such readable lucidity, that one feels as if the complexities of attention had been brought freshly before us, in higher definition than before, and with a depth that had previously been foreshortened. -- Christopher Mole, author of Attention Is Cognitive Unison: An Essay in Philosophical PsychologyA wonderfully eclectic examination of attention, Scenes of Attention illuminates this central aspect of mind through different vignettes and rich theoretical perspectives that reveal the diversity of how we attend, how attention is shaped, manipulated and transformed. Accessible and engaging, it will provide ample material for productive reflection. -- Wayne Wu, author of Movements of the Mind: A Theory of Attention, Intention and ActionA very stimulating volume, Scenes of Attention revolves around the question of how best to approach, understand, and respond to the 'crisis of attention' that we all feel, to varying degrees, in the age of hypermediated multitaskery. These essays provide an interdisciplinary inquiry into the most pressing (and enduring) issues around the attention ecology. -- Dominic Pettman, author of Infinite DistractionTable of ContentsIntroduction, by D. Graham Burnett and Justin E. H. SmithPart I. Histories of Attention1. The Discovery of Attention, by Richard J. Spiegel2. Attention and Boredom in Early American Psychology, by Henry M. Cowles3. Attending to the Birds: Ornithologists and Listening, by Alexandra Hui4. Attention, Art, and Psychotherapeutics, by Julian ChehirianPart II. Philosophies of Attention5. Attention: Mechanism and Virtue, by Carlos Montemayor6. Attention, Technology, and Creativity, by Carolyn Dicey Jennings and Shadab Tabatabaeian7. Attention to Absence and Imagination, by Jonardon Ganeri8. Dispatch from the Jhāna Wars: Attention Practice in Online Buddhism, by John TreschPart III. Attention, Technology, Culture9. Wearable Attention: Course-Correction for Wandering Minds, by Natasha Dow Schüll10. Attentional ‘Ownership’: Online Education and Self-Possession, by Brian Yuan11. Attention is All You Need: Humans and Computers in the Time of Neural NetworksNick Seaver12. Medium Focus, by Joanna FiducciaPart IV. Endgame(s)13. Attention Fast, Attention Slow: Obsession, Compulsion, Holding Close, by Yael Geller14. Units of Intensive Care: Poetic Attention and the Precarious Body, by Lucy Alford BibliographyList of ContributorsIndex

Read more less

Book SynopsisAn in-depth analysis of photography during the Japanese American incarceration during World War IITrade Review"Alinder's fifty-year perspective yields one of the most balanced and informative books on documentary photographs in general and the internment of Japanese Americans in particular. This is a gem of a book. Essential."--Choice"Alinder handles her material skillfully, and in concise and readable style. Her judgments show an incisive mind, and one that resists oversimplification."--American Journalism"An excellent history of the incarceration . . . this is valuable for anyone interested in Japanese-American history."--Multicultural Review"A beautiful and worthwhile read." -- The Journal of American History"A smart and highly interpretive study."--Nichi Bei Weekly"A powerful, incisive monograph on the varied strategies of photographers and subjects at a time of great upheaval and its aftermath."--American Historical Review"Contributes significantly to making the World War II incarceration of Japanese Americans a part of public memory. . . . A book that gracefully navigates the space between academic and public discourse."--American Studies"A sophisticated and deeply historical book that illustrates the multiple roles photographs played in the internment of Japanese Americans during WWII. In addition to detailing how U.S. authorities turned photography against Japanese Americans, the book wisely attends to how the internees and their descendants used the medium to tell competing stories of their incarceration, allegiances, and identities. It is a book sure to appeal to photohistorians, art historians, and scholars of Asian American history."--Martin A. Berger, author of Sight Unseen: Whiteness and American Visual Culture "A dark stain on our country's history, the incarceration of Japanese Americans during World War II brought about a wide range of responses, from quiet grief to angry protest. In Moving Images Jasmine Alinder shows how photography was a key participant in this history and how pictures represented, managed, and confronted such a brutal and dehumanizing set of experiences. This is a very fine and timely book."--Anthony Lee, author of A Shoemaker's Story: Being Chiefly about French Canadian Immigrants, Enterprising Photographers, Rascal Yankees, and Chinese Cobblers in a Nineteenth-Century Factory TownTable of ContentsList of Illustrations ix Foreword Roger Daniels xiii Acknowledgments xv Introduction 1 1. When the Innocents Suffer: Dorothea Lange and the War Relocation Authority 23 2. The Landscape of Loyalty: Ansel Adams's Born Free and Equal 44 3. The Right to Represent: Toyo Miyatake's Photographs of Manzanar 75 4. Art/History: Photographs of Japanese American Incarceration in the Museum 103 5. Virtual Pilgrimage: The Contemporary Incarceration Photography of Patrick Nagatani and Masumi Hayashi 126 Epilogue 155 Notes 163 Bibliography 189 Index 201

Read more less

Book SynopsisArt for everyone--the Federal Art Project's drive for middlebrow visual culture and identityTrade Review “[Grieve’s] tightly constructed and well-argued book touches on critical contemporary issues regarding federal funding of the arts, especially during times of economic distress.”--Journal of Illinois History"Recommended."--Choice "An interesting, well-written and thought-provoking book."--American Studies"This rich study answers many important questions about an intriguing aspect of 1930s culture. The past several years have seen a growing interest in middlebrow culture, and this book will advance that current considerably."--Miles Orvell, author of After the Machine: Visual Arts and the Erasing of Cultural Boundaries"An important and original contribution to our understanding of the role of the Federal Art Project in the context of larger twentieth-century intellectual conceptualizations of the role of art in society, especially regarding middle-class and working-class audiences. Essential reading in twentieth-century art history, folklore, public history, and popular intellectual history--and a pleasure to read."--Erika Brady, author of A Spiral Way: How the Phonograph Changed EthnographyTable of ContentsAcknowledgments ix Introduction 1 1. The Art of Experience 11 2. Inventing a Usable Past 37 3. New Museums and New Critics 59 4. The Federal Art Project and the Making of Middlebrow Culture 83 5. Marketing the American Folk 110 6. Creating the Middlebrow Consumer 135 Conclusion 163 Notes 181 Bibliography 205 Index 223

Read more less

Trade ReviewWilliam Sanders Scarborough Prize, Modern Language Association (MLA), 2017 "This book participates in a flourishing of renewed scholarly interest in the Black Arts Movement. Avilez enters this cluster of work with a distinctive agenda influenced by this recent scholarship while advancing it in an innovative direction. Bringing much-needed attention to visual and narrative arts, Avilez reminds us how, even despite the rhetorical emphasis on musicality as the urtext of black performance, painting, film, and the novel were just as crucial sites of radical experimentation." --Marlon Ross, author of Manning the Race: Reforming Black Men in the Jim Crow Era "Significantly advances the current scholarly reconsideration of the Black Power era's ongoing impact on African American culture. GerShun Avilez does the important work of bringing Queer of Color Critique to bear on an array of literary, visual, and performance-based art created during the Black Arts Movement and through subsequent decades. This critical lens enables him to demonstrate that a wide range of late-twentieth- and early twenty-first-century African American artists--whether sympathetic to or critical of Black Nationalist thought--have engaged it with nuance in their work, producing not only incisive cultural analysis, but also powerful aesthetic experimentation. Radical Aesthetics is a timely and necessary volume."--Evie Shockley, author of Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry "In this beautifully written and finely argued work, GerShun Avilez lucidly demonstrates the many ways in which twentieth century black nationalists paired radical forms of aesthetic experimentation with trenchant political and social critique. The book will thrill anyone interested in the practice and politics of modern American culture." --Robert F. Reid-Pharr, author of Once You Go Black: Choice, Desire, and the Black American Intellectual"This text masterfully does several things at once as it urges for a careful reconsideration of the theories that undergird the Black Arts Movement while instructively showing that these theories exceed themselves and the time period in which they were created when they are revised by artists today. . . . Radical Aesthetics is more than timely, it is essential, required reading."--NewBlackMan (In Exile)"GerShun Avilez's Radical Aesthetics and Modern Black Nationalism is a timely and innovative reinvestigation--or, perhaps more accurately, a reimaging--of intellectual rhetorics around black nationalism" --Journal of American Studies

Read more less

Book SynopsisAn essential guide to building new exchanges and connections in the dynamic worlds of African and global art. Read to explore the reframing of African art through case studies of museums and galleries in the United States, Europe, and Africa.Trade Review"At just under 400 pages, this splendid and impressively researched book has eight chapters that divide thematically into three parts. . . . The main themes centre around artworks, artists, museum exhibits and others, while interviews with artists and curators close each chapter." --Theory, Culture, and Society"The authors' enthusiasm for their analytical approach is admirable . . . very timely and insightful work." --Ethnic and Racial Studies​"Jules-Rosette and Osborne succeed in their intention to illustrate a historical reconstituting of public perception of the African object--from ethnographic curiosity, to influence on other artistic movements, to embrace of the gamut of creative expression." --Choice"African Art Reframed is a qualitative study of the circulation and exhibition of African art in ethnographic and art museums and galleries in Europe, Africa, and the United States. Drawing on years of ethnographic observations, interviews with museum professionals and artists, and extensive archival and visual materials such as museum catalogs, Jules-Rosette and Osborn examine how African art is created, framed, and reframed in museums across three continents." --Symbolic Interaction​”An important intervention featuring new approaches to 'unmixing' in the exhibitionary complex of African and African American Art. It features interviews with French and US-based curators and museum directors engaged in emerging contexts and legacies of ethnographic display.”—Peter J. Bloom, author of French Colonial Documentary: Mythologies of Humanitarianism"African Art Reframed is a masterwork that interweaves theoretical innovations and critical analyses of the power dynamics in museum displays of African art." --Journal of African American History”This book is nothing less than a major breakthrough in museum studies. It is the first to systematically connect museum display practice to the recalibration of 'ethnic identity' that happens after colonialism. Its focus is on the global display of art and crafts from Africa and the African diaspora. But it is essential reading for anyone who wonders about what we want to hear from our forebears as we compel them to speak from behind glass, standing on plinths, and hanging on walls.”—Dean MacCannell, author of The Tourist: A New Theory of the Leisure ClassTable of ContentsList of Illustrations Foreword by Simon Njami Preface and Acknowledgments Introduction: Reframing African Art PART I: ENTERING MUSEUMS AT THE THRESHOLD CHAPTER 1. Lost and Found: Postcolonial Reflections on Colonial Museums CHAPTER 2. Revisiting the Storeroom: Collections and Cultural Surplus CHAPTER 3. Reaching Out: Museums, Audiences, and the Public Sphere PART II: DIALOGUES ON MUSEUM PRACTICES AND ART WORLDS CHAPTER 4. Museums Speak Out: Curators' Dialogues CHAPTER 5. Agitating African Art: Artists' Voices and Audience Responses PART III: UNMIXING AFRICAN ART AND REMIXING THE RESULTS CHAPTER 6. The Theory and Method of Unmixing CHAPTER 7. Remixing the Results and Looking Ahead CHAPTER 8. Personal Journeys and Reflections on African Art Chronology Notes Bibliography Index

Read more less

Book SynopsisImages of Japanese and Japanese American women can teach us what it meant to be visible at specific moments in history. Elena Tajima Creef employs an Asian American feminist vantage point to examine ways of looking at indigenous Japanese Ainu women taking part in the 1904 Louisiana Purchase Exposition; Japanese immigrant picture brides of the early twentieth century; interned Nisei women in World War II camps; and Japanese war brides who immigrated to the United States in the 1950s. Creef illustrates how an against-the-grain viewing of these images and other archival materials offers textual traces that invite us to reconsider the visual history of these women and other distinct historical groups. As she shows, using an archival collection's range as a lens and frame helps us discover new intersections between race, class, gender, history, and photography. Innovative and engaging, Shadow Traces illuminates how photographs shape the history of marginalized people and outlines a method fTrade Review"A tour de force. Creef provides nothing less than a visual pedagogy for Asian American feminism. She mines the dark gaze of imperial power and blank spots of gender history as well as its secrets. When she engages the family album (and story of a hapless Japanese pet dog, Butch) as a site of memory and memorialization, you cannot put the book down."--Leslie Bow, author of “Partly Colored”: Asian Americans and Racial Anomaly in the Segregated South"In this carefully researched book, Elena Tajima Creef offers compelling feminist readings of archival photographs from the first half of the 20th century. . . . The important questions this book raises will no doubt stimulate further discussion and analysis of not only the historic representation of Japanese/American and Ainu women, but more broadly, some visual traces of power and resistance yet to be uncovered and witnessed." --Visual AnthropologyTable of ContentsAcknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ixIntroduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Those “Mysterious Little Japanese Primitives” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Looking at Japanese Picture Brides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413 Beauty behind Barbed Wire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694 Filling in the Blank Spot in an Incomplete War Bride Archive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Epilogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Read more less

Book Synopsis

Read more less

Book SynopsisDocuments the search for the origins of the iconic femme fatale who was depicted as a dangerous, depraved, and deadly woman. This book argues that the evolution of the femme fatale, with both literary and visual links to the biblical Eve figure, came as a response to increasing feminism and the desire by men to halt its spread.Trade Review"An invaluable first collection of fascinating images from the periodical press of the late nineteenth and early twentieth-century."--H-France Review

Read more less

Book SynopsisRadical Aesthetics and Modern Black Nationalism explores the long-overlooked links between black nationalist activism and the renaissance of artistic experimentation emerging from recent African American literature, visual art, and film. GerShun Avilez charts a new genealogy of contemporary African American artistic production that illuminates how questions of gender and sexuality guided artistic experimentation in the Black Arts Movement from the mid-1960s to the mid-1970s. As Avilez shows, the artistic production of the Black Arts era provides a set of critical methodologies and paradigms rooted in the disidentification with black nationalist discourses. Avilez's close readings study how this emerging subjectivity, termed aesthetic radicalism, critiqued nationalist rhetoric in the past. It also continues to offer novel means for expressing black intimacy and embodiment via experimental works of art and innovative artistic methods. A bold addition to an advancing field, Radical AestheTrade ReviewWilliam Sanders Scarborough Prize, Modern Language Association (MLA), 2017— Modern Language Association (MLA)Table of ContentsCoverTitleContentsAcknowledgmentsIntroduction: The Art of RevolutionPart I. The Question of "Closing Ranks"1. The Claim of Innocence: Deconstructing the Machinery of Whiteness2. The Suspicion of Kinship: Critiquing the Construct of Black UnityPart II. The Bodily Logic of "Revolutionizing the Mind"3. The Demands on Reproduction: Worrying the Limits of Gender Identity4. The Space of Sex: Reconfiguring the Coordinates of SubjectivityConclusion: Queering RepresentationNotesIndex

Read more less

Book Synopsis

Read more less

Book SynopsisChicago New Media, 1973-1992 chronicles the unrecognized story of Chicago's contributions to new media art by artists at the University of Illinois at Chicago's Electronic Visualization Laboratory, the School of the Art Institute of Chicago, and at Midway and Bally games. It includes original scholarship of the prehistory, communities, and legacy of the city's new media output in the latter half of the twentieth century along with color plate images of video game artifacts, new media technologies, historical photographs, game stills, playable video game consoles, and virtual reality modules. The featured essay focuses on the career of programmer and artist Jamie Fenton, a key figure from the era, who connected new media, academia, and industry. This catalog is a companion to the exhibition Chicago New Media 1973-1992, curated by Jon Cates, and organized by Video Game Art Gallery in partnership with Gallery 400 and the Electronic Visualization Laboratory. It is part of Art Design Chicag

Read more less

Book SynopsisTrade ReviewThis work should be of great interest to students, scholars, and a general audience interested in African visual culture. * African Arts *This well-written, meticulously researched study will be valuable to all who are interested in African arts. * Choice *Humor and Violence is an excellent book of art historical scholarship and a pleasure to read. * African Studies Review *Strother's expertise, notably, the "reading" of objects as texts is both highly compelling and thought-provoking, and ultimately, herein lies the book's strength. It is well written in accessible narrative style lavishly accompanied by color and black-and-white photographs, together with hand-drawn sketches. This book will no doubt find itself on the bookshelves of those interested in African art. * African Studies Quarterly * Humor and Violence's depth of research and radical interdisciplinarity is breathtaking. * The Art Bulletin *Table of ContentsAcknowledgmentsPreface1. Introduction2. Warning! What do you see? A white man? Or an over-dressed one?3. New Commodities on the Loango Coast (1840-1880)4. Depictions of Human Trafficking on Loango Ivories in the 1880s5. Humor in the Hygiene of Power (ca. 1885-1915)6. By Congolese, for Congolese (1910s-40s) 7. The African Victim in the Congolese Imaginary (1950s-1997)Coda: Congolese Perspectives on Humor and RedemptionNotes BibliographyIndex

Read more less

Book SynopsisTrade ReviewThe pioneering role of J. A. (Jonathan Adagogo) Green's photographic artistry is painstakingly resurrected and perceptively examined in this magisterial study, beautifully produced in large format by the Indiana University Press. * Journal of Folklore Research *"[Green] practiced for only 14 years but the legacy of pictorial history that he created has been given proper focus by the impeccable, collaborative research and interpretative conceptualism of this volume of essays and commentaries edited with guidance from Prof. Alagoa. * The Guardian *"The publication of the book in 2017 has effectively peeled the layer of anonymity from Mr. Green who's work was published in leading publications across the world but who remained largely unknown for decades. . . This landmark book unifies these dispersed photographic images of Jonathan Adagogo Green and presents a history of the photographer and the area and times in which he worked." * Premium Times *Apart from bringing to light one of Africa's underexposed photographers, this much-needed volume offers profoundly generative theoretical frameworks for considering the roles photography has played both on and off the continent in the colonial period and beyond. * African Arts *Table of ContentsAcknowledgementsA Note Regarding Captions IntroductionPart One: Green in Context 1. Picture of the Niger Delta / Ebiegberi Joe Alagoa2. Early Photographers in Coastal Nigeria and the Afterlife of Their Images, 1860-1930 / Christraud M. GearyPart Two: Green and His Oeuvre 3. Image Maker Jonathan Adagogo Green and his Practice / Lisa Aronson4. J. A. Green's Portraits: Picturing People in the Niger Delta / Lisa AronsonPart Three: Viewing Green through Expatriate Eyes5. Differing Views: Imperial Agendas and Personal Histories / Martha G. Anderson6. Envisioning Africa: From Ethnographic Types to Picturesque Views / Martha G. AndersonPart Four: The "Performative" Aspects of Green's Photographs7. Telling Histories: J. A. Green's Photographs in Colonial Albums and Western Publications / Martha G. Anderson8. Green's Photos and the Visualizing and Reinventing of Ijo Histories / Lisa Aronson9. J. A. Green: Pioneer and Legend / Tam FioforiAppendix: TimelineContributorsSelected BibliographyIndex

Read more less

Book SynopsisTrade ReviewThis book alerts us to the pitfalls and potentials of public art in a stimulating and thought-provoking manner, and is highly recommended for specialist readers as well as a broader audience. * African Arts *Table of ContentsIntroduction: Engaging with Public Art in South Africa, 1999–2015 / Kim Miller and Brenda SchmahmannAcknowledgmentsPart 1: Negotiating Difficult Histories1. A Janus-like Juncture: Reconciling Past and Present at the Voortrekker Monument and Freedom Park / Elizabeth Rankin2. A Thinking Stone and Some Pink Presidents: Negotiating Afrikaner Nationalist Monuments at the University of the Free State / Brenda Schmahmann3. The Mirror and the Square—Old Ideological Conflicts in Motion: Church Square Slavery Memorial / Gavin YoungePart 2: Defining and Redefining Heroes4. Public Art as Political Crucible: Andries Botha's Shaka and Contested Symbols of Zulu Masculinity and Culture in Kwazulu-Natal / Liese van der Watt5. Mandela's Walk and Biko's Ghosts: Public Art and the Politics of Memory in Port Elizabeth's City Center / Naomi Roux6. Commemorating Solomon Mahlangu: The Making and Unmaking of a "Struggle" Icon / Gary BainesPart 3: Erasures and Ruins 7. The Pain of Memory and the Violence of Erasure: Real and Figural Displays of Female Authority in the Public Sphere / Kim Miller 8. Transgressive Touch: Ruination, Public Feeling, and the Sunday Times Heritage Project / Duane JethroPart 4: Ephemeral Projects9. Public Art, Troubling Tropes: An Unsettling Intervention in Cape Town/ Shannen Hill 10. Unsettling Ambivalences and Ambiguities in Mary Sibande's Long Live the Dead Queen Public Art Project / Leora Farber11. Unsanctioned: The Inner-City Interventions of Julie Lovelace / Karen von Veh 12. Rage against the State: Political Funerals and Queer Visual Activism in Post-apartheid South Africa / Kylie Thomas13. Tell-Tale Signs: Unsanctioned Graffiti Interventions in Post-apartheid Johannesburg / Matthew Ryan SmithIndex

Read more less

Book SynopsisTrade ReviewThis book alerts us to the pitfalls and potentials of public art in a stimulating and thought-provoking manner, and is highly recommended for specialist readers as well as a broader audience. * African Arts *Table of ContentsIntroduction: Engaging with Public Art in South Africa, 1999–2015 / Kim Miller and Brenda SchmahmannAcknowledgmentsPart 1: Negotiating Difficult Histories1. A Janus-like Juncture: Reconciling Past and Present at the Voortrekker Monument and Freedom Park / Elizabeth Rankin2. A Thinking Stone and Some Pink Presidents: Negotiating Afrikaner Nationalist Monuments at the University of the Free State / Brenda Schmahmann3. The Mirror and the Square—Old Ideological Conflicts in Motion: Church Square Slavery Memorial / Gavin YoungePart 2: Defining and Redefining Heroes4. Public Art as Political Crucible: Andries Botha's Shaka and Contested Symbols of Zulu Masculinity and Culture in Kwazulu-Natal / Liese van der Watt5. Mandela's Walk and Biko's Ghosts: Public Art and the Politics of Memory in Port Elizabeth's City Center / Naomi Roux6. Commemorating Solomon Mahlangu: The Making and Unmaking of a "Struggle" Icon / Gary BainesPart 3: Erasures and Ruins 7. The Pain of Memory and the Violence of Erasure: Real and Figural Displays of Female Authority in the Public Sphere / Kim Miller 8. Transgressive Touch: Ruination, Public Feeling, and the Sunday Times Heritage Project / Duane JethroPart 4: Ephemeral Projects9. Public Art, Troubling Tropes: An Unsettling Intervention in Cape Town/ Shannen Hill 10. Unsettling Ambivalences and Ambiguities in Mary Sibande's Long Live the Dead Queen Public Art Project / Leora Farber11. Unsanctioned: The Inner-City Interventions of Julie Lovelace / Karen von Veh 12. Rage against the State: Political Funerals and Queer Visual Activism in Post-apartheid South Africa / Kylie Thomas13. Tell-Tale Signs: Unsanctioned Graffiti Interventions in Post-apartheid Johannesburg / Matthew Ryan SmithIndex

Read more less

Book SynopsisName an illness, medical condition, or disease and you will find quiltmaking associated with it. From Alzheimer's to Irritable Bowel Syndrome, Lou Gehrig's Disease to Crigler-Najjar Syndrome, and for nearly every form of cancer, millions of quilts have been made in support of personal well-being, health education, patient advocacy, memorialization of victims, and fundraising. In Quilts and Health, Marsha MacDowell, Clare Luz, and Beth Donaldson explore the long historical connection between textiles and health and its continued and ever growing importance in contemporary society. This lavishly illustrated book brings together hundreds of health-related quilts-with imagery from abstract patterns to depictions of fibromyalgia to an ovarian cancer diary-and the stories behind the art, as told by makers, recipients, healthcare professionals, and many others. This incredible book speaks to the healing power of quilts and quiltmaking and to the deep connections between art and health.Trade ReviewThis wide-ranging collection of quilts associated with health is accompanied by the stories of the makers, and shows that this art form can be both beautiful and therapeutic to the quilter, the recipient, and the viewer alike. * Machine Quilting Unlimited *This book will be used and enjoyed for years to come by those seeking further scientific research but also by individuals who know personally, without a doubt, the act of quilting or receiving a quilt is therapeutic for healing of body and soul. * The Quilt Pattern Magazine *"Quilts and Health explores the myriad connections that are forged between disease, recovery, and quilt making." * New Books Network *Richly informed through extensive interviews and quantitative and visual analysis, Quilts and Health will appeal to diverse audiences. One hopes that medical practitioners, who will benefit the most from this beautiful and instructive book, will encounter it and read it with care. * Choice Reviews *The book will appeal to quilt enthusiasts, health care providers, as well as folklorists, and will be equally at home in a hospital waiting area, in a quilt guild's library, or on the desk of those who study quilts and quilt makers. * Western Folklore *Table of ContentsPrefaceAcknowledgmentsIntroduction1. Evidence of the Impact of Quilts and Quiltmaking on Health and Healthcare Outcomes2. The Art of Health-related Quiltmaking3. Individual Experiences of Health and Wellbeing through Quiltmaking4. Public and Collective Quiltmaking for Health and Wellbeing5. Quilts in Healing Environments and Clinical Care6. ConclusionAfterwordAppendix A: Guide to Whatever It Takes: An Ovarian Cancer DiaryAppendix B: Quilt Makers and Quilt Recipients BibliographyIndex

Read more less

Book SynopsisTrade ReviewMetzger demonstrates that artworks can be vessels that cut pathways through surface representations and move us with the undercurrents of our global networks: art offers us the experience of sensing the world in ways that release us from the script of a totalizing representational system. The Chinese Atlantic contributes to a growing body of scholarship dedicated to exploring the role of aesthetics and cultural production in the totalizing representational system of liberal humanism. -- Hadley Howes * ANTIPODE ONLINE *Table of ContentsPrologueIntroduction1. Reeling2. Incorporating3. Flowing4. Ebbing5. EddyingEpilogueIndex

Read more less

Book SynopsisTrade ReviewMetzger demonstrates that artworks can be vessels that cut pathways through surface representations and move us with the undercurrents of our global networks: art offers us the experience of sensing the world in ways that release us from the script of a totalizing representational system. The Chinese Atlantic contributes to a growing body of scholarship dedicated to exploring the role of aesthetics and cultural production in the totalizing representational system of liberal humanism. -- Hadley Howes * ANTIPODE ONLINE *Table of ContentsPrologueIntroduction1. Reeling2. Incorporating3. Flowing4. Ebbing5. EddyingEpilogueIndex

Read more less

Book SynopsisTrade ReviewThroughout this book, Glassie provides a vivid, on-the-ground sense of Johnston's evolving work, from journeyman pottery to installation art. His close observations, high-quality photographs, and liberal quotations from interviews offer a rich document of the potter's aesthetic and technical decisions in the context of the Seagrove vernacular tradition and other artistic realms. Glassie concludes his study with further reflections on friendship, fieldwork, and artistic biography. This excellent book will appeal to a range of scholars and general readers with an interest in folklore, material culture, art history, and the American South. * Journal of Folklore Research *Table of Contents1. Beginnings 2. Apprenticeship 3. East and West 4. Building a Shop and Making a Pot 5. Firing 6. Selling 7. New Directions Afterword Notes Oral Sources Bibliography Index

Read more less

Book SynopsisChronicle of the artist's life and work. Book accompanies the traveling exhibition of Bohm's work that begins at the Brauer Museum March 27, 2020

Read more less

Book SynopsisIn Lebanon, the study of modern artârather than power or hierarchyâhas compelled citizens to confront how they define themselves as a postcolonial nation. In Fantasmic Objects, Kirsten L. Scheid offers a striking study of both modern art in Lebanon and modern Lebanon through art. By focusing on the careers of Moustapha Farrouk and Omar Onsi, forefathers of an iconic national repertoire, and their rebellious student Saloua Raouda Choucair, founder of an antirepresentational, participatory art, Scheid traces an emerging sense of what it means to be Lebanese through the evolution of new exhibition, pedagogical, and art-writing practices. She reveals that art and artists helped found the nation during French occupation, as the formal qualities and international exhibitions of nudes and landscapes in the 1930s crystallized notions of modern masculinity, patriotic femininity, non-sectarian religiosity, and citizenship. Examining the efforts of painters, sculptors, and activists in Lebanon

Read more less

Book SynopsisTrade ReviewScheid's knowledge of Lebanese art, its socio-political context and its historical unfolding are unequal. Her ethnographic immersion in that field is also unequal. What's more, a vast body of comparative and theoretical literature is brought to bear on the subject. The result is a genuinely important work, conceptually innovative, thoroughly educative, and highly stimulating. -- Ghassan Hage, University of Melbourne Future Generations Professor of Anthropology, author of The Diasporic Condition: Ethnographic Explorations of the Lebanese in the WorldWhere there is no art, this book finds much that art does. In a place where the ontology of art is seen as belonging to an elsewhere, this book steams the tapestry of complex local art-acts into view. If concerned with the becoming of art and its social consequences in societies overlooked by high modernism and in turn self-belittling, read Kirsten Scheid's book. -- Walid Sadek, Philippe Jabre Endowed Professor in Art, author of The Ruin to Come, Essays from a protracted warA highly original, richly textured, and meticulously researched study of three major Lebanese artists and their reception in Beirut. The works of Moustapha Farrouk, Omar Onsi, and Saloua Raouda Choucair come alive in Scheid's evocative prose. Essential reading for scholars of modern art in postcolonial, postwar, and Muslim societies. -- Sonal Khullar, W. Norman Brown Associate Professor of South Asian Studies, author of Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990The most important book about middle eastern art and social life I've read, Fantasmic Objects gives Humanists and Social Scientists a uniquely intra-disciplinary tour de force, that produces new knowledge about Lebanon, its art, modern citizenships, double decolonization, and methods to rethink local art histories. Scheid's brilliant offering of taswir, the polysemic Arabic word for imagination, compels us to rethink what art is and does. You need this book; it will change the way you think. Beautifully written, breathtakingly observed, and nothing less than inspiring, this brilliant book will guide art historical enquires of the global for decades to come. -- Hannah Feldman, author of From a Nation Torn: Decolonizing Art and Representation in France, 1945-1962Table of ContentsPreambleAcknowledgmentsNotes on LanguageNotes on Sources1. Introduction: No Art Here2. Exhibitions: Sociality as Fantasm3. Nudes: The Citizen as Fantasm4. Landscapes: The Nation as Fantasm5. Art Lessons: Fantasmic Formations of the Lady-Artist6. Portraits: Towards a Fantasmic Ontology of Art ActsConclusion: Between Art and HereBibliographyIndex

Read more less

Book SynopsisTrade Review"Everything Is Sampled deploys the idea of production in deft and thoughtful manners to think together African arts, the integrity of the discrete aesthetic phenomenon, and the historical matrix within which aesthetic objects gain life. Everything Is Sampled adopts and rechannels terms implicated in the workings of text-making practices like curation, translation, media and modes (streaming technologies included), to establish patterns of changes and regularities in drama, film, video, poetry, and art installation. Individuals interested in lucid cultural analysis ought to find the eminently accessible style of presentation very appealing."—Adeleke Adeeko, Ohio State University"Everything Is Sampled will make significant contributions to African literary and cultural studies, postcolonial studies, and world literature studies. It's central objects of analysis extend over an impressively wide range of artistic productions in sub-Saharan Africa, from the mid twentieth-century to the contemporary moment of globalization and digital culture. This unusual capaciousness is risky but exciting. Adesokan's work takes on this ambitious task with a flair that is at once substantive and stylistic."—Olakunle George, Brown UniversityTable of ContentsPrefaceAcknowledgmentsIntroduction: The New Terrains of African Arts and LettersPart One: Shifting Margins1. Modes of Creative Practice2. Spatial Assemblages: Festivals as CurationPart Two: Across the Digital Divide3. The Griot's Compositions in Time4. Adaptation or Remake: New Formats for Old Prints5. Approaching the World as Platform, Literally6. The Remix: Of New Identities and Technologies of ReuseEpilogue: In Relative AccountAppendixNotesBibliographyIndex

Read more less

Book Synopsis

Read more less

Book SynopsisTrade Review"The book does a wonderful job of complicating histories of photography globally, and through a combination of historical and ethnographic work, shows the enduring but changing power of images in Senegal."—Joshua A. Bell, editor of Linguistic and Material Intimacies of Cell Phones

Read more less

Book SynopsisTrade Review"The book does a wonderful job of complicating histories of photography globally, and through a combination of historical and ethnographic work, shows the enduring but changing power of images in Senegal."—Joshua A. Bell, editor of Linguistic and Material Intimacies of Cell Phones

Read more less

Book SynopsisThe Andean Hybrid Baroque is the first comprehensive study of the architecture and architectural sculpture of Southern Peru in the late colonial period (1660s-1820s).Trade Review“Gauvin Alexander Bailey’s The Andean Hybrid Baroque is a magnificent and ambitious study that not only covers an important geographic area of the southern Andes but also encompasses, in an informative and ordered style, a complex and dense constellation of pre-Hispanic and European cultural references in constant change.” —Ramón Mujica Pinilla, Universidad de San Marcos, Lima, Peru“Gauvin Alexander Bailey’s new book will surely become a textbook and standard resource for Andean art and architecture. With exciting insights into the colonial period in the southern Andes for the avid reader, and with original archival research for the inquisitive scholar, The Andean Hybrid Baroque challenges many of the facile suppositions about the indigenous and European cultural encounter and religious worldview. The author examines church facades in Peru and Bolivia, dating and scrutinizing the detailed carving work of native artists and combining that visual information with the testimony of colonial historians, inquisition records, and the images on textiles and queros (drinking cups). The result is an original and nuanced contribution to Andean scholarship.” —Jaime Lara, University of Notre Dame“In a field which has long been populated by ‘anonymous’ or ‘unknown’ masters, Bailey does important work bringing to light the names of indigenous, mestizo, black, criollo, and European craftsmen, artists, and architects, illustrating the complexity of the artistic and political situation during the colonial era.” —Renaissance Quarterly“In this ambitious and lavishly illustrated volume Gauvin Alexander Bailey reconsiders the imagery carved on the stone facades and portals of a group of colonial churches in present-day southern Peru and northern Bolivia. More than 170 photographs display the visual opulence and lush variety of the ornamentation. . . . His research demonstrates that that notion of ‘hybridity’ in colonial Latin American visual culture is still very much an issue in scholarship today.” —The Americas“Dealing with the late colonial period (1660s–1820s), Gauvin Alexander Bailey . . . [presents a] pioneering and reliable, detailed survey Renaissance scholars can attach to their knowledge of the sixteenth century architecture and anthropology.” —Bibliotheque d’Humanisme et Renaissance“. . . the book’s highly systematic and methodical approach and the wealth of information that is contained within it, so painstakingly researched and brought together, enables the book to do exactly what [Bailey] says it will do and solidly fills the gaps that have hitherto been left in scholarship on the theme. . . this work is an impressive and necessary keystone for any future scholar of religious architecture in the colonial Andes.” —Ecclesiastical History“[A]rt and architectural history are still bound to centuries-old ideas of purity, and The Andean Hybrid Baroque is an important step towards liberating art and architecture from the idea of purity and the consequent exclusion of alterity.” —Bulletin of Latin American Research“This book has two contributions of note. First, the gallery of photographs provides an invaluable resource to scholars interested in the material at hand. Second, Bailey’s documentary transcriptions in the appendices are certain to be mined by future scholars. . . . With these inventories laid forth by Bailey, the book advances a consideration of the periphery of the Spanish colonial world as a dynamic place of architectural, sculptural, and social innovation deserving further study.” —Art Bulletin

Read more less

Book SynopsisSeventeenth-Century European Drawings in Midwestern Collections: The Age of Bernini, Rembrandt, and Poussin brings together nearly two hundred treasures of the Baroque age from museum collections throughout the Midwest. The volume presents a fascinating and representative selection of Italian, Dutch, Flemish, and French drawings in Midwestern repositories, offering new insights on many of these works of art. Many are relatively unknown, and some have never before been published. Authored by major scholars in the field, the catalogue presents each drawing along with a concise description with full scholarly apparatus. Four essays, written by Babette Bohn, George S. Keyes, Kristi A. Nelson, and Alvin L. Clark, Jr., respectively, introduce the Italian, Dutch, Flemish, and French schools. The catalogue''s introductory essay, by Shelley Perlove, places these works within the historical, iconographic, and stylistic currents of seventeenth-century art. The catalogue is designed to hTrade Review"An energetic and talented team of the foremost American scholars of seventeenth-century European drawings have combined forces to produce a fascinating compendium for the Midwest Art History Society. In a breathtaking sweep through an abundance of Italian and Dutch drawings, to a more succinct representation of Flemish and French masterpieces, this volume offers a remarkable range of material and subjects from this dramatic era in European history. Interesting works of high quality capture the magic and energy of the Baroque, whether acknowledged gems or lesser-known treasures. In addition to the highly readable entries, there is a fascinating Introduction and overview by Shelley Perlove and rich and rewarding essays on the various schools by Babette Bohn (Italian), George Keyes (Dutch), Kristen Nelson (Flemish) and Alvin Clark (French). There are certain to be delightful surprises for even the most seasoned connoisseur." —Suzanne Folds McCullagh, Anne Vogt Fuller and Marion Titus Searle Chair and Curator, Department of Prints and Drawings, The Art Institute of Chicago"This stunning book brings together more than one hundred drawings by major seventeenth-century artists selected from eighteen municipal and university museums in Midwestern collections. It shows how these museums contribute so much to the wealth of old master drawings in American collections. The Dutch, Flemish, French, and Italian drawings are discussed by seven well-known art historians and museum curators, illustrated in color, with additional text figures. The editors visited more than forty Midwestern collections to make their careful selections for this beautifully produced volume." —Anne-Marie Logan, independent scholar and specialist in northern European drawings“This catalogue . . . distills the Midwest’s surprisingly vast and varied inventory down to a manageable 109 drawings . . . this handsomely illustrated and thoroughly researched catalogue does these drawings justice.” —Sixteenth Century Journal“Seventeenth-Century European Drawings in Midwestern Collections: The Age of Bernini, Rembrandt, and Poussin highlights the surprising number of institutions throughout the Midwest that have acquired distinguished European drawings from the seventeenth-century worthy of full recognition by collectors and connoisseurs.”—The New York Review of Books.

Read more less

Book SynopsisCultural property and its stewardship have long been concerns of museums, archaeologists, art historians, and nations, but recently the legal and political consequences of collecting antiquities have also attracted broad media attention. This has been the result, in part, of several high-profile trials, as well as demands by various governments for the return of antiquities to their countries of origin. These circumstances call out for public discussion that moves beyond the rather clear-cut moral response to looting, to consider the implications of buying, selling, and exhibiting antiquities. To whom should they belong? What constitutes legal ownership of antiquities? What laws govern their importation into the United States, for instance? What circumstances, if any, demand the return of those antiquities to their countries of origin? Is there a consensus among archaeologists and museum directors about these issues? These and other pertinent issues are addressed in thTrade Review“Robin Rhodes' new volume presents a rich collection of essays with multiple perspectives on ethical questions surrounding the ownership of cultural property and the acquisition of antiquities. Directors of large and small museums, lawyers specialized in U.S. and international law, art historians, curators, and field archaeologists address these topics from their own points of view. The result is as rewarding as it is timely.” —Mary Sturgeon, University of North Carolina at Chapel Hill". . . one simple unseemly truth: collecting antiquities promotes the destruction of world heritage. I was fascinated by these chapters, and Rhodes has done archaeology a service in publishing this book. The elegant arguments of the archaeologists deserve a wide readership, particularly among Americancollectors. Until they understand what devastation they unwittingly promote, we can only weep for our stolen history." —Jack Davis, Director, American School of Classical Studies at Athens ". . . a welcome addition to an ever burgeoning bibliography on the ethics and legal issues in the antiquities trade. There are many essays here that are up-to-date and easily accessible to any interested reader, because they are largely written in the conversational style with which they were delivered. Many viewpoints are expressed and several essays show how the ground is shifting as museums re-write policies to take into account new legal realities, especially internationally, while archaeologists, anthropologists, art historians, and legal professionals show an increasingly more sophisticated understanding of the many dimensions of illicit excavation and the acquisition of illicit property." —James C. Wright, Bryn Mawr College“Presented by a distinguished group of archaeologists, art historians, museum directors, and professors of law, the essays discuss the ethical and practical issues that concern how antiquities come into museums, addressing in particular international laws against looting and purchasing looted goods, and the issues that archaeologists, museum directors, and historians face when studying goods acquired without provenance.” —Book News“This work addresses the collection and the trade of licit and illicit antiquities in museums, and also the role of academics in documenting the looting of archaeological sites and the trade in antiquities. . . . [It] serves to clarify distinct positions and reminds readers that understanding multiple viewpoints is vital in fostering more public involvement in museums’ practices.” —caareviews.org (CollegeArtAssociation)

Read more less

Book SynopsisMore than any other secular story of the Middle Ages, the tale of Tristan and Isolde fascinated its audience. Adaptations in poetry, prose, and drama were widespread in western European vernacular languages. Visual portrayals of the story appear not only in manuscripts and printed books but in individual pictures and pictorial narratives, and on an amazing array of objects including stained glass, wall paintings, tiles, tapestries, ivory boxes, combs, mirrors, shoes, and misericords. The pan-European and cross-media nature of the surviving medieval evidence is not adequately reflected in current Tristan scholarship, which largely follows disciplinary and linguistic lines. The contributors to Visuality and Materiality in the Story of Tristan and Isolde seek to address this problem by opening a cross-disciplinary dialogue and by proposing a new set of intellectual coordinatesthe concepts of materiality and visualitywithout losing sight of the historical specificity or thTrade Review"This is a major collection of essays that gives new direction to the study of one of the most important poets of the Middle Ages and one of the most fascinating works of literature from the period." —C. Stephen Jaeger, University of Illinois"Comprehensive and cutting edge, Visuality and Materiality in the Story of Tristan and Isolde defines the moment in the history of Tristan scholarship. The essays, gathered from both sides of the Atlantic, enrich and expand the key concepts of materiality and visuality to account for the proliferation of the Tristan story in an astonishing range of media. [Enhanced by an outstanding bibliography] the collection gives scholars in several disciplines the tools to explore the productive connections between the verbal and the visual in medieval culture." —Sarah Westphal-Wihl, Washington University in St. Louis"Visuality and Materiality in the Story of Tristan and Isolde successfully opens up the conversation between literary historians and art historians on its intended subject, and as such is an original contribution to the field. The editors are well-versed in past and current medieval, and specifically Tristan, scholarship and their substantial introduction lays out the methodology behind the investigation as well as the structure of the book." —Denise Della Rossa, University of Notre Dame“[This volume] represents a further step in the integration of material and visual culture as a useful interdisciplinary hermeneutic.” —Comitatus“This collection of twelve essays is both traditional and innovative in the ground it covers and the approaches taken by its editors and authors. . . . [It] is in many ways representative of the kind of contemporary medieval literary studies that are taking us beyond the merely textual into the broader spheres of cultural context. For that reason, among others, it is a welcome addition to scholarship.” —Journal of English and Germanic Philology"This fine and gorgeously illustrated collection of twelve essays grew out of a conference held at Duke University and the University of North Carolina-Chapel Hill in 2007. . . . The volume is resolutely and unapologetically German-centric and focused squarely on Gottfried von Strassburg: eleven of the thirteen contributors are from departments of German, and six of the essays are on Gottfried, with one other on Hans Sach" —Arthuriana“The story of Tristan and Isolde held a special fascination for people all over Western Europe from the twelfth to the sixteenth centuries, and this fascination is documented in numerous works of literature as well as pictures and pictorial narratives. Yet although this extensive corpus has been studied by literary scholars on the one hand and by art historians on the other, there has not been much dialogue between the two disciplines. . . . Hence the rationale for this volume, which brings together twelve contributions by experts from art history and literary studies with the aim of stimulating an interdisciplinary dialogue that, it is hoped, will lead to a keener awareness of the relations between the verbal and the visual in medieval culture.” —Speculum

Read more less

Book SynopsisThis second edition chronicles the career of William Schickel since the original 1998 publication, with new chapters and images of his paintings.Trade Review"This glorious book, Sacred Passion, tells the story of a lifetime of craftsmanship devoted to the service of God. It reminds readers not simply of the place in the spiritual life of art, but also of space. Mr. Schickel's life also helps to explain why the master builders of the cathedrals of the early and late middle ages were content to labor for centuries until they got it right. Art matters. It matters because it can help to lead us to God. Thomas Merton's heart, formerly hardened against organized religion, was softened when as a young man he wondered into some of the great cathedrals of Western Europe. My own heart soars when I set foot in St. Ignatius and the Abbey of Gethesemani. Your heart no doubt finds a home in places that only you can know." —from the Foreword by James Martin, S.J.“A chronicle of the artistic career of Schickel (1919–2009), a 1944 graduate of Notre Dame whose Living Water sculpture graces the ND grotto. His work as a painter, sculptor, architectural and furniture designer, and stained-glass artist was informed by his devotion to God. This edition offers new chapters on the artist’s recent contributions to the built environment in several communities and his recent paintings, as well as additional color images.” —Notre Dame Magazine“This attractive, oversized art book does an excellent job of showing the long career and contributions of the noted religious artist William Schickel. . . . Visually, it gives the reader a great wealth of images of religious art work of the last sixty years, depicted in paintings, stained glass, sculptures and architecture.” —Catholic Library World“William Schickel, the subject of this book, is one of the most prolific and versatile contemporary artists in the United States. This is a beautifully designed and illustrated book, worthy of the distinguished career of a humble, intuitive, and talented artist whose deep faith illuminates his work, whose art consistently expresses his roots in the best aspects of Christian humanism, and whose prolific output symbolizes his conviction expressed in the aphorism which opens the book: ‘God’s love causes the beauty of what He loves; our love is caused by the beauty of what we love.’ (Jacques Maritain).” —Worship“A book like this does not appear very often. It is simply a masterpiece: the layout, the type, the photographs, the work contained. A wonderful example of a publication effort whose expense was not spared, it succeeds brilliantly in presenting the quality of good honest art, the faithful work of a faithful life.” —Archives of Modern Christian Art Newsletter"Notre Dame and Gregory Wolfe have done themselves proud preparing this beautiful full-color book of the work of William Schickel in the "Beauty of Catholic Life Series." William Schickel has done himself proud through a long life of artmaking for the church and for fortunate "secular" patrons and clients. And anyone who has the slightest interest in such art, in seeing what can be conceived and effected by a single imagination through decades in a society called secular ought to obtain, study, and enjoy this work." —Christian Century"Frugality and splendor, splendor and humility: To me, that sums up all of Schickel's work as I turn the pages of this beautifully designed, gracefully written and personally inspiring book." —St. Anthony Messenger“Seldom does one see such an exquistely produced book as Sacred Passion. We should be grateful to the publisher for providing so many full-color illustrations in the paperback edition. This volumne deserves a place in the libraries of monasteries, religious houses, seminaries, and universities as well as on the shelves of all who are interested in contemporary art, both religious and secular.” –Cistercian Studies Quarterly 34.4 “...remarkable volume of marvelous photographs and illuminating text.” —Common Sense"Schickel is a mature and powerful artist. . . ." —Lesley Constable, Columbus Dispatch

Read more less

Book SynopsisIn Moses the Egyptian, Herbert Broderick analyzes the iconography of Moses in the famous illuminated eleventh-century manuscript known as the Illustrated Old English Hexateuch. A translation into Old English of the first six books of the Bible, the manuscript contains over 390 images, of which 127 depict Moses with a variety of distinctive visual attributes.Broderick presents a compelling thesis that these motifs, in particular the image of the horned Moses, have a Hellenistic Egyptian origin. He argues that the visual construct of Moses in the Old English Hexateuch may have been based on a Late Antique, no longer extant, prototype influenced by works of Hellenistic Egyptian Jewish exegetes, who ascribed to Moses the characteristics of an Egyptian-Hellenistic king, military commander, priest, prophet, and scribe. These Jewish writings were utilized in turn by early Christian apologists such as Clement of Alexandria and Eusebius of Caesarea. Broderick's analysis of thisTrade Review“This is a fascinating, innovative, thoughtful, and thought-provoking work, which makes a useful and timely contribution to the developing historical consideration of ongoing cultural relations between East and West. It is well-written and accessible to both its intended academic audience and to readers outside the academy.” —Michelle Brown, professor emerita of medieval manuscript studies, University of London“No doubt this publication will create a vivid discussion in different fields of the academic world. I hope that Egyptologists will also take note of this inspiring work.” —Dietrich Wildung, director emeritus, Egyptian Museum and Papyrus Collection, Berlin“Made famous by Michelangelo’s statue in Rome, the horned Moses seems altogether natural. As Herbert Broderick demonstrates in this complex and far-reaching analysis of the motif’s first occurrence, however, it is the product of successive interpretations, transmissions, translations, misunderstandings, and reflections. With dazzling erudition, intuition, and strength of convictions, Broderick puts forward powerful arguments that the prophet’s earliest appearances with horns in an eleventh-century illustrated Old English bible paraphrase derive ultimately from a Late Antique Egyptian exemplar that had interpreted the Greek Septuagint text through accumulated lore, exegesis, and local artistic conventions. At a moment when Coptic, Celtic, and Pakistani objects have been unearthed together in a ninth-century burial site in Sweden, Broderick makes a startling new contribution to our understanding of the global Middle Ages." —Herbert L. Kessler, professor emeritus, Johns Hopkins University"Herbert Broderick examines a widely recognized and important motif, the representation of Moses with horns on his head, in the first extant example that we know of in the early eleventh-century illustrated Old English Hexateuch (London, British Library Cotton MS Claudius B.iv). In an original, precise, thorough, and penetrating interpretation, he relates it to other 'Egyptianizing' symptoms illustrating various attributes of Moses in the manuscript and presents a convincing hypothesis about the origin of these motifs as a pictorial expression of an Egyptian Jewish Hellenistic apologetic, taken up later by early Christian writers, that Moses was more ancient than all the Egyptian gods and pharaohs, and that the attributes of these gods and pharaohs, such as horns of power and light, actually were plagiarized by both the Egyptians and the ancient Greeks in an attempt to co-opt the Hebraic original." —C. Edson Armi, professor emeritus, University of California, Santa Barbara"Moses the Egyptian in the Illustrated Old English Hexateuch is a traditional work from the field of art history with significant implications for the study of the history of religion. While the author himself does not emphasize this point, it is of interest to scholars of the history of religion to note that Broderick’s analysis of Claudius B.iv also serves as a case study in the ways in which Hellenistic traditions continued to spread, converge, and develop well into the medieval era and across the globe." —Reading Religion“Broderick delivers the most persuasive hypotheses to date to explain the origin of this strange document. . . . The Anglo-Saxon artists were probably copying a manuscript brought from the Mediterranean world, perhaps by Aelfric in the eleventh century, that has itself disappeared, the origin and meaning of whose images they could not fully explain. Broderick turns them into magic ‘windows’ teleporting us to an originary period of Christian exegesis, proselytizing, and incipient self-understanding.” —The Heythrop Journal “...Broderick’s work offers new avenues for thinking about the visual culture available in the eleventh-century Canterbury… His work challenges readers to consider further how books transported ideas and artistic influences across time and space.” —Journal of English and Germanic Philology

Read more less

Book SynopsisTrade Review“Translating Christ in the Middle Ages breaks new ground in the study of medieval women’s visionary and hagiographical writings.” —Christine F. Cooper-Rompato, author of The Gift of Tongues"An erudite and carefully constructed book, each chapter building on the preceding one in an ever-widening circle of the significance and scope of visionary translation." —Speculum"An invaluable contribution to the ever-growing literature on gender, authorship, and visionary text which has sprung up in the past two or three decades." —Medieval Mystical Theology"Zimbalist's book opens up a new avenue for the study of women's verbal rather than bodily devotion, and for an appreciation of female visionaries as skillful sermonizers and inventors of new forms of verbal devotion."—Studies in the Age of ChaucerTable of ContentsIntroduction: The Accomplished Word 1. The Origins of a Mode: Collaboration, Conversation, and Community in the Diocese of Liège 2. Vernacular Saints’ Lives and Female Community in the High Middle Ages 3. Vernacular Authority and Visionary Authorship in the Low Countries 4. Revisions of Authority: Rhetoric, Participation, and Devotional Reading 5. Vision, Speech, and Textual Community in the Late Middle Ages Conclusion Bibliography

Read more less

Book SynopsisTrade Review“This book is a timely, valuable contribution to scholarly conversations about medieval religious cultures, early British literature, and disciplinary boundaries. It covers an impressive range of texts and puts texts into dialogue with each other in productive, original, and unexpected ways.” —Nancy Bradley Warren, author of Chaucer and Religious Controversies in the Medieval and Early Modern Eras"This is a profoundly original book that challenges us to reread familiar works and look more closely at unfamiliar ones. On every page, Beechy’s work is provocative and exciting, substantial and serious, and it offers nothing less than a new understanding of faith and art in early medieval England." —R. M. Liuzza, editor of Old English Poetry: An AnthologyTable of ContentsPreface Introduction 1. “Supereffability” and the Sacraments of Christ’s Humanity 2. Seeing Double: Representing the Hypostatic Union 3. No Ideas but in Things: Aesthetics and the Flesh of the Word 4. Concealing is Revealing I: Opacity and Enigma in the Wisdom Tradition 5. Concealing is Revealing II: The Shadow Manuscript in the Margins of CCCC 41 Conclusion Works Cited List of Figures

Read more less

Book SynopsisThe sacred and the secular in medieval literature have too often been perceived as opposites, or else relegated to separate but unequal spheres. In Medieval Crossover: Reading the Secular against the Sacred, Barbara Newman offers a new approach to the many ways that sacred and secular interact in medieval literature, arguing that (in contrast to our own cultural situation) the sacred was the normative, unmarked default category against which the secular always had to define itself and establish its niche. Newman refers to this dialectical relationship as crossoverwhich is not a genre in itself, but a mode of interaction, an openness to the meeting or even merger of sacred and secular in a wide variety of forms. Newman sketches a few of the principles that shape their interaction: the hermeneutics of both/and, the principle of double judgment, the confluence of pagan material and Christian meaning in Arthurian romance, the rule of convergent idealism in hagiographic romance, aTrade Review"Barbara Newman, in her (as usual) fine study of medieval literature, takes on the debate of the past three decades around 'exegetics' or 'Robertsonianism,' offering a new approach to the sacred and secular in medieval literature. . . . Newman's concise yet readable narrative makes this accessible to non-specialists. Students of medieval literature, literary criticism, and hermeneutics will appreciate Newman's keen insights." —Magistra“This important book should be read by anyone with a serious interest in medieval English and French literature, the Bible and literature, the history of medieval theology (Latin and vernacular), and the vital and complex manifestations of sacred and secular motifs in Western thought.” —Renaissance Quarterly“The strengths of Medieval Crossover are manifold. . . . This is essential reading for students of history, religion, literature, and cultural studies, with sensitive English translations catering to readers who lack proficiency in Latin or Medieval French. Like those medieval texts that open themselves up to ‘double judgment,’ Medieval Crossover is guaranteed to provoke further debate and delight.” —French Studies“Although Newman acknowledges her debt to other critics who have drawn attention to the use of paradox—the both/and—in the Middle Ages, her work itself is a strong contribution to this field of study. Instead of examining only the presence of sacred and secular, her work illustrates the different ways that the sacred and secular are integrated and does so in a text that is easily accessible to the reader.” —Sixteenth Century Journal“The undeclared subject of this book is nothing less amazing or mysterious than the procreation of life through art. From the altitude of a medium-earth-orbit satellite, Newman’s ‘meandering path’ and its side-tracks describe an intricate pattern, crisscrossing and double-crossing, as elaborate as the swiveling of Love. . . . Thanks to Newman’s game-changing encore to the Donaldson/Robertson debate, we now can see a way to speak of crossovers between secular and sacred as tools of indigenation, and of indigenation as a protean driver in the evolution of social values.” —The Medieval Review“Understanding these texts in conversation as crossover works, as Newman does, enriches and complicates our reading of each. . . . This book will be essential reading for any student of religion, history, or literary studies and will doubtless inspire much scholarship to come.” —Comitatus: A Journal of Medieval and Renaissance Studies “In the conclusion, Newman generously identifies her work as laying a path to be pursued by others. In addition to the method it outlines, Medieval Crossover provides the ground for exploring why so many medieval texts and genres—in serious and playful registers—construct an inextricable relationship between the secular and the sacred, even when they seem most antithetical to one another.” —Studies in the Age of Chaucer“Beyond the field of late medieval literary studies, Medieval Crossover is a must-read for scholars in any discipline concerned with secularization and passage to modernity. Medieval Crossover is the most powerful book about the interaction of pre-modern sacred and secular literary cultures since D.W. Robertson’s A Preface to Chaucer.” —Modern Philology“Newman’s book works against the effects of Robertson’s totalizing program, and on that score alone its contribution is considerable. . . Newman thus reveals a strain in medieval literary history with long antecedents and wide application. It would seem to have been waiting a long time to be revealed. On this view, then, Newman’s book is revelatory.” —Comparative Literature Studies "Prolific medievalist Newman argues that though the sacred was the default perspective in medieval thinking, the sacred did not exclude the secular: there was ample creative room to blend the two perspectives. . . . A textual study at its best, Newman's work attempts to set the field back on track after years of debate over how to read a medieval text and whether medieval writers used the holy texts literally or could deploy them creatively at times." —Library Journal

Read more less

Book SynopsisKing'oo examines the critical importance of the Penitential Psalms in England between the end of the fourteenth and the beginning of the seventeenth century.Trade Review“King’oo provides a careful and multi-disciplinary history of this group of psalms during the years before and following the English Reformation. . . . Using tools from the scholarship of history, art, literature, and theology, King’oo has written a fascinating study. With its superb scholarship and carefully reasoned arguments, this book is recommended for academic libraries supporting graduate programs.” —Catholic Library World“The discovery of continuities amidst the upheaval of the Reformation has been a major area of scholarship in recent years and King’oo ably demonstrates that the Penitential psalms form yet another example of the way in which ‘the religious literature of the pre-Reformed past was not cast aside but rather gradually and complexly reshaped in Reformation England.’” —Journal of Ecclesiastical History“The interdisciplinary approach used by Costley King’oo is one of the book’s great strengths: we study manuscripts, early printed works and illustrations; Bible commentary, paraphrase and translation; lyric poetry, political parody and devotional song. . . . [This book] will have a broad appeal to scholars of the Bible (and the psalms in particular), scholars of art history and religious history, literary scholars and those interested in early modern sexuality.” —The History of Women Religious“King’oo lays out a concentrated argument for the centrality of the Penitential Psalms and what she calls a ‘penitential hermeneutic’ in both late medieval and early modern culture. . . . The monograph makes a solid case for the need for further study in this area.” —The Medieval Review“A fascinating and impressively composed monograph. . . . King’oo’s study is at its finest and most compelling in her analysis of individual adaptations of the Penitential Psalms, where close reading merges richly with attention to historical context and textual details.” —Comitatus“King’oo is especially perceptive in her attention to textual and literary detail, and she offers many valuable insights into the dynamic life of old traditions carried through time. Read as a whole or as selected essays, this book gives helpful case studies for those looking for a highly nuanced understanding of the continuities and discontinuities between the late medieval and early modern uses of biblical texts.” —Religious Studies Review“King’oo’s study distinguishes itself among other excellent scholarly works on the Psalter for its carefully considered focus on the unique textual tradition of the Seven Penitential Psalms. . . . Given King’oo’s training as a literary scholar, her attention to the Penitential Psalms’ form, genre, language, and even the material texts in which they were available yields exciting interpretations of their nuanced revisions and their implied audiences.” —Church History“Her writing is clear and engaging and stylistically sophisticated. This is a thoroughly enjoyable and well-researched book whose focus, although seemingly narrow, sheds much light on the some of the central controversies of the early modern period.” —Speculum“Miserere Mei convincingly and originally answers a number of the questions raised by the use and persistence of these Psalms, and offers new ones that we didn’t know enough to ask previously. . . . The greatest strengths of the book may be the ostensible narrowness and concreteness of its focus. By limiting her attention to the penitential Psalms, King’oo has written a monograph that is unusually coherent and organic, given the span of time and range of genres covered.” —Renaissance Quarterly“The book offers itself both as a valuable cultural history of the penitential psalms and as a model for rethinking outdated yet still dominant modes of historical periodization.” —Modern Language Review

Read more less

Book SynopsisThis book probes the intersection of the beautiful and the ugly, offering a systematic framework to understand, interpret, and evaluate how ugliness can contribute to beautiful art.Many great artworks include elements of ugliness: repugnant content, disproportionate forms, unresolved dissonance, and unintegrated parts. Mark William Roche's authoritative monograph Beautiful Ugliness: Christianity, Modernity, and the Arts challenges current practices of the dominant aesthetic schools by exploring the role of ugliness in art and literature. Roche offers a comprehensive and unique framework that integrates philosophical and theological reflection, intellectual-historical analysis, and interpretations of a large number of works from the arts. The study is driven by the recognition that, though ugliness is usually understood as the opposite of beauty, ugliness nonetheless contributes significantly to the beauty of many artworks.Roche's analysis unfoTrade Review“It is hard to deny that Beautiful Ugliness is an enormously rich, argumentatively dense, and intelligent book that has the power to trigger many discussions. It shows, perhaps precisely through its provocative potential, the enormous power of a rational aesthetics of the ugly.” —Christian Illies, co-author of Philosophy of Architecture"Probably since Karl Rosenkranz's famous Aesthetics of the Ugly of 1853 no comparable effort has been made to look at the various forms in which ugliness can be used for aesthetic purposes and thus become itself a part of the beautiful. Roche's richly illustrated Beautiful Ugliness is highly recommended to philosophers, theologians, and historians of art and literature." —Vittorio Hösle, author of A Short History of German Philosophy"There is something refreshing in Mark William Roche's seriousness and audacity in engaging a theme of great interest, too often neglected. The author addresses and overcomes this neglect, addressing the ugly and beauty in an ordered systematic way. I know nothing which matches its range of engagement." —William Desmond, author of Godsends: From Default Atheism to the Surprise of Revelation"Roche’s erudition is not easily matched, not only in the study of Hegel’s philosophy, but also in literature and the arts. Examples from literature, painting, music, theatre, and film abound in this book, bringing an entirely new dimension to the author’s philosophical argument." —Vladimir Marchenkov, coeditor of Hegel's Political AestheticsTable of ContentsList of Illustrations Acknowledgments Abbreviations and Translations Introduction Part One. Conceptual Framework 1. Unveiling Ugliness 2. Aesthetic Categories 3. Intellectual Resources 4. Imperial Rome 5. Late Medieval Christianity 6. The Theological Rationale for Christianity’s Immersion in Ugliness Part Two. Historical Interlude 7. Modernity 8. Modernity’s Ontological and Aesthetic Shift Part Three. Forms of Beautiful Ugliness Styles of Beautiful Ugliness 9. Repugnant Beauty 10. Fractured Beauty 11. Aischric Beauty 12. Beauty Dwelling in Ugliness 13. Dialectical Beauty 14. Speculative Beauty Conclusion Works Cited Index

Read more less

Book SynopsisA study of Netherlandish triptychs from the early fifteenth century through the early seventeenth century, covering works by Jan van Eyck, Rogier van der Weyden, Hugo van der Goes, Hieronymus Bosch, and Peter Paul Rubens. Explores how the triptych format structures and generates meaning.Trade Review“This remarkable, lucid book takes on a big and complex subject, still somewhat invisible to scholarship. It fully reconsiders a major late medieval art form: the triptych format of hinged altarpieces. The triptych—along with its components, oil paint technique and refined oak carving—rose to Golden Age prominence in fifteenth-century Flemish art. Offering an impressive survey of this great artistic achievement, Opening Doors truly lives up to its name and contributes fresh new interpretations. Scholars and their students will use this book as a standard work for many years to come.”—Larry Silver,University of Pennsylvania“Admirably broad in its sweep—from Jan van Eyck to Rubens—this book tackles a fundamentally important question: how the form of the triptych affected its meaning. Noting that archival evidence reveals that this art form was envisioned as a panel covered by doors, Lynn Jacobs develops the idea of the ‘miraculous threshold.’ She explores the rich and complex relationships between the triptych’s exterior and interior, and between the central panel, the most important from a theological point of view, and the wings. This book will undoubtedly have a major impact on the field.”—Diane Wolfthal,Rice University“With her characteristic meticulous scholarship and intellectual verve, Lynn Jacobs opens doors in our understanding of the triptych, one of the defining formats of early Netherlandish painting. Using a wealth of contemporary sources and her sensitive readings of individual works, she convincingly demonstrates how ‘paintings with doors,’ as triptychs were termed, structured and generated meaning for artists and audiences alike. Painters from Robert Campin and Jan van Eyck to Hieronymus Bosch and, later, Peter Paul Rubens exploited the triptych’s thresholds, those physical distinctions between center and wings or inside and outside panels, to create often elegant narrative and symbolic programs. Jacobs has written a richly rewarding, indeed essential, book for anyone seeking to comprehend early Netherlandish art.”—Jeffrey Chipps Smith,University of Texas at Austin“Jacobs’s fascinating book should reopen scholarly interest in these marvelous paintings with doors.”—Henry Luttikhuizen Historians of Netherlandish Art“Through careful and insightful interpretation of the extant visual material and contemporary terminology, Jacobs’s argument offers a fresh perspective on this particularly Netherlandish altarpiece format.”—Nenagh Hathaway Burlington MagazineTable of ContentsContentsList of IllustrationsAcknowledgmentsIntroduction: The Triptych as a “Painting with Doors”Part I: Origins and the First Half of the Fifteenth Century1 The Emergence of the Early Netherlandish Triptych I: Robert Campin (and His Associates)2 The Emergence of the Early Netherlandish Triptych II: Jan van EyckPart II: The Second Half of the Fifteenth Century3 The Triptych Reformulated: Rogier van der Weyden4 The Triptych Popularized: Painters of the Second Half of the Fifteenth Century5 The Triptych Unified: Memling, David, and Later Fifteenth-Century Painters in BrugesPart III: The Sixteenth Century and Beyond6 The World Triptych: Hieronymus Bosch7 The Triptych in the Age of the Renaissance and the Reformation8 Coda: The Triptych in the Age of RubensNotesBibliographyIndex

Read more less

Book SynopsisRe-examines the sculpture on the transept porches of Chartres Cathedral and revises their chronology, based on information from the previously unstudied tomb of the count of Joigny. Documents the production of the monument within the context of French High Gothic sculpture.Trade Review“Anne McGee Morganstern's new book reconstructs the history of the tomb of Count Guillaume de Joigny in an impressively meticulous fashion. It is a genuine and significant addition to the literature.”—Walter Cahn,Yale University“In her thoughtful and thorough High Gothic Sculpture at Chartres Cathedral, the Tomb of the Count of Joigny, and the Master of the Warrior Saints, Anne McGee Morganstern reassesses the much-studied sculpture of the Chartres south transept through innovative comparisons with the tomb sculpture of Count Guillaume de Joigny. These investigations clarify the nature of the sculptural workshop during the thirteenth century, an issue of vital importance to all who study medieval art. Additionally, she revitalizes the method of stylistic analysis in a way that is useful to twenty-first-century readers. This book is a significant contribution to the study of Gothic sculpture.”—Susan Leibacher Ward,Rhode Island School of Design, co-director of the Census of Gothic Sculpture in AmericaTable of ContentsContentsList of IllustrationsAcknowledgmentsIntroduction1 The Tomb of Count Guillaume I in the Priory of Notre-Dame in Joigny2 Beyond the Tomb: Implications of a Stylistic Analysis of the Count’s Tomb3 The Context of the Porches of Chartres Cathedral4 The South Transept Porch of Chartres Cathedral5 The North Transept Porch of Chartres Cathedral6 The Coronation Portal at Longpont-sur-OrgeConclusionAppendix 1 An Iconographic Conundrum: Saint Theodore and Saint GeorgeAppendix 2 The Iconography of the South Transept PorchAppendix 3 The Iconography of the North Transept PorchList of AbbreviationsNotesSelected BibliographyIndex

Read more less

Book SynopsisExplores history painting in the United States during the middle decades of the nineteenth century, as exemplified by Emanuel Leutze's Washington Crossing the Delaware (1851). Includes the work of artists such as Daniel Huntington, Lilly Martin Spencer, and Eastman Johnson.Trade Review“Grand Themes: Emanuel Leutze, Washington Crossing the Delaware, and American History Painting brings to this topic a wide-ranging and critically informed historical lens—as well as a thoughtfulness and thoroughness—that it has never before received. What is ultimately at stake in this study is the time-honored hierarchy of the genres, in a day and place in which that hierarchy put forth, as the author puts it so well, ‘a sham form of cultural authority.’”—Leo Mazow,University of Arkansas“This fascinating and richly detailed historical study explains how the legendary painting Washington Crossing the Delaware, a sensation at its first public showing in 1851, provided antebellum Americans with a message of hope and unity at the very moment their nation was crumbling—and how, once civil war became inevitable, art of such immense size and unmitigated idealism lost its magnetic power. Jochen Wierich examines alternative types of history painting that emerged during the period and analyzes the critical debates they fueled. In doing so, he dusts off a neglected genre of American art and makes us see how crucial it once was in defining the country’s present by picturing its past.”—David M. Lubin,Wake Forest University, author of Picturing a Nation: Art and Social Change in Nineteenth-Century AmericaTable of ContentsContentsList of IllustrationsAcknowledgmentsIntroduction: The Look of History1 The Revolt Against the Grande Machine: Emanuel Leutze at the Metropolitan Fair2 Leutze’s Storming of the Teocalli: Historical Struggle and the Middle Class3 A Republican Court for the American People4 Painting for the Union: Lilly Martin Spencer’s War Spirit at Home5 Eastman Johnson: Low Life and “High Art”Conclusion: History Painting and the CentennialNotesIndex

Read more less

Book SynopsisAn interpretive study of the pictorial program of the Ottonian Bernward Gospels. Examines how the manuscript conditioned contemporary and future viewers to remember early medieval Bishop Bernward of Hildesheim.Trade Review“The Bernward Gospels is a learned and well-written volume that contains innovative insights into the miniatures of one of the most important and famous medieval manuscripts. It is to the author’s credit that she makes fresh observations and draws important conclusions about a medieval work that has been studied continuously for well over one hundred years. Jennifer Kingsley demonstrates once again the sophisticated nature of the manuscript’s pictorial program and implicates the pictures in broader conversations about the proper function of medieval imagery, memory, and spiritual seeing.”—Adam S. Cohen,University of Toronto“A welcome look into the creative motivations and commissions of one of the most important patrons of the Middle Ages, this fine book is not merely a study of a luxury manuscript. It provides English-language readers insight into the artistic innovations of a new class of wealthy and powerful donors—the well-connected bishops of Ottonian Germany. A fascinating story of power, prestige, and aesthetics in these commissions, The Bernward Gospels also considers the special relationship with God that Bernward of Hildesheim hoped to achieve in the densely meaningful images of his Gospels. In particular, Jennifer Kingsley explicates a series of visionary miniatures in the gospel book, concluding that for Bernward, the Eucharist and its implements could be a ‘prompt for spiritual sight’ and that his gifts to the church were intended to save his soul.”—Cynthia Hahn,Hunter College and The Graduate Center, CUNY“In focusing minutely on a single patron and the visual program of one commission, [this study] brilliantly addresses a multitude of issues in Ottonian theology, history, and art.”—Karen Blough CAA.Reviews“[Jennifer] Kingsley’s book is solidly constructed, accurate in the analysis and knowledge of texts and scholarship, as well as historical context. The classic and innovative approach opens new perspectives for the study of the great monuments of manuscript painting in the Ottonian period.”—Éric Palazzo Cahiers de Civilisation MédiévaleTable of ContentsContentsList of IllustrationsAcknowledgmentsIntroduction1 Memory2 Service 3 Sight4 TouchConclusionAppendixNotesBibliographyIndex

Read more less