Paintings and painting Books

Book SynopsisThis volume is about the long-neglected, but decisive influence of Uygur patrons on Dunhuang art in the tenth and eleventh centuries. Through an insightful introduction to the hitherto little-known early history and art of the Uygurs, the author explains the social and political forces that shaped the taste of Uygur patrons. The cultural and political effects of Sino-Uygur political marriages are examined in the larger context of the role of high-ranking women in medieval art patronage. Careful study of the iconography, technique and style sheds new light on important paintings in the collection of the British Museum in London, and the Musée national des Arts asiatiques-Guimet, in Paris, and through comparative analysis the importance of regional art centres in medieval China and Central Asia is explored. Richly illustrated with line drawings, as well as colour and black-and-white plates.

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Book SynopsisThis study presents the Tondo Doni to the new Florentine republic as a model of the 'great sacrament' of marriage from the New Testament book of Ephesians. Following fifteenth-century theology, Michelangelo portrayed Mary as a humble wife dominated and possessed by a virile guardian Joseph, the couple united as if ‘two in one flesh’. To compensate for their symbolic propinquity, the painter cast her as a paragon of virginity, a muscular mulier fortis. In order to keep this virago in her place, Michelangelo coupled the Virgin in spiritual union with Christ, maenad-Psyche to bacchic Eros, attempting to mystify her social subordination into self-sacrificing love via Ficinian commentary and Saint Paul. Then, firing the Doni infant’s vehemence with a distinctly violent strain of Christian love, the painter turned to Dante’s rime petrose to continue the implied action and authorize a new painterly style, a sculptural stile aspro. Brill's Studies on Art, Art History, and Intellectual History, vol. 1Table of ContentsList of Illustrations Acknowledgements Introduction 1. Prime nozze: Generation 2. Seconde nozze: Regeneration 3. Così nel mio parlar vogli’ esser aspro Illustrations Bibliography Index

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Book SynopsisThe ceiling paintings in the Hall of Justice of the Alhambra have not received serious scholarly attention for the past thirty years, perhaps due to their difficult incorporation into a discrete program of Christian vs. Islamic art, categories that until recently remained unchallenged themselves. The Alhambra itself continues to elicit the interest of many scholars, and several recent interpretations of the function of the Palace of the Lions, which houses the paintings, have been put forth. This collection brings together art historians, literary critics and historians who suggest new ways of approaching the paintings through their immediate social, historical, architectural and literary contexts, proposing a porous and flexible model for the production of culture in Iberia. Contributors are Jerrylin Dodds, Ana Echevarria, Jennifer Borland, Rosa María Rodríguez Porto, Oscar Martin, Amanda Luyster, Cynthia Robinson and Simone Pinet.Table of ContentsSimone Pinet and Cynthia Robinson, Introduction Cynthia Robinson, Arthur in the Alhambra? Narrative and Nasrid Courtly Self-Fashioning in the Hall of Justice Ceiling Paintings Ana Echevarria, Painting Politics in the Alhambra Rosa María Rodríguez Porto, Courtliness and its Trujumanes: Manufacturing Chivalric Imagery across the Castilian–Grenadine Frontier Jerrilynn D. Dodds, Hunting in the Borderlands Jennifer Borland, The Forested Frontier: Commentary in the Margins of the Alhambra Ceiling Paintings Amanda Luyster, Cross-Cultural Style in the Alhambra: Textiles, Identity and Origins Simone Pinet, Walk on the Wild Side Oscar Martín, Allegories of Love: The Alhambra Ceilings and The Evolution of Sentimental Fiction

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

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

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

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Book SynopsisMichelangelo in the New Millennium presents six paired studies in dialogue with each other that offer new ways of looking at Michelangelo’s art as a series of social, creative, and emotional exchanges where artistic intention remains flexible; probe deeper into the artist’s formal borrowing and how it affects meaning regarding his early religious works; and consider the making and significance of his late papal painting projects commissioned by Paul III and Paul IV for chapels at the Vatican Palace. Contributors are: William E. Wallace, Joost Keizer, Eric R. Hupe, Emily Fenichel, Jonathan Kline, Erin Sutherland Minter, Margaret Kuntz, Tamara Smithers and Marcia B. HallTable of ContentsForeword: Why More Michelangelo? William E. Wallace Acknowledgements Illustrations Contributors Abstracts Introduction: Michelangelo in the New Millennium Tamara Smithers Part 1: Artistic Mobility Chapter 1: Site-Specificity Joost Keizer Chapter 2: Michelangelo’s Strozzi Tondo?: Securing Status with Art Eric R. Hupe Part 2: Syncretic Seers Chapter 3: The Pitti Tondo: A “Sibylline” Madonna Emily Fenichel Chapter 4: Christ-Bearers and Seers of the Period Ante Legem: On the Male Nudes in Michelangelo’s Doni Tondo and Sistine Ceiling Frescoes Jonathan Kline Part 3: Papal Patronage: The Pauls Chapter 5: Virtuous Prelates, Burdensome Relics and a Sliver of Gold in the Last Judgment Erin Sutherland Minter Chapter 6: Michelangelo the “Lefty”: The Cappella Paolina, the Expulsion Drawings, and Marcello Venusti Margaret Kuntz Coda: Michelangelo’s Suicidal Stone Tamara Smithers Epilogue: Twenty-first Century Versus Twentieth Century Methodologies Marcia B. Hall Index

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Book SynopsisIn Literature and Artistic Practice in the Sixteenth Century Angela Cerasuolo, art historian and restorer, tracks the technical processes of painting through the cross-analysis of literary texts and works of art. Having traced the critical fortunes of the texts of the authors—Leonardo, Vasari, Armenini, Borghini, Lomazzo—she compares the information on drawing and painting, analysing the specific terminology, and identifying the materials and methods. Central themes of the theoretical debate—‘disegno’, ‘invenzione’, the contrast between ‘prestezza’ and ‘diligenza’, the ‘paragone’—are examined in the light of their relationship with the techniques. On the basis of scientific studies on the technical execution of paintings, works from the Capodimonte Museum, Naples are analysed as case studies.Trade Review“For the study of art theory, practice, and conservation science, and in delineating how to read the value and significance of technical texts in their historical context and in their in illumination of technique and style, text, and conception of art, Literature and Artistic Practice in Sixteenth-Century Italy represents a new achievement in the study of art history.” Shancheng Ma, Ningbo University. In: Renaissance Quarterly, Vol. 71, No. 1 (Spring 2018), pp. 236-237.Table of ContentsINTRODUCTION No Man’s Land – Technical treatises 1. “LIBRI DI BOTTEGA”: A COVERT TRANSMISSION 1.1. The background 1.2. Among transcriptions and abridged versions: Leonardo’s writings, the multiform life of a never-to-be-born treatise 1.3. The underground circulation of Cennino Cennini’s Libro dell’arte 1.4. "My intention was to only write the lives and works of our artists, and not to teach the arts": the Introduzzione alle arti and techniques of painting in Vasari's Lives 1.5. Il Riposo by Raffaello Borghini: analysis of a text as a mirror of technical knowledge in the workshops at the end of the sixteenth century 1.6. De’ veri precetti della pittura by Giovan Battista Armenini, a consciously "grammatical” approach 1.7. The Treatises of Giovan Paolo Lomazzo and the legacy of Leonardo in Lombardy 2. ISSUES AND FORMS 2.1 Disegno and invention: Schizzo, macchia, abbozzo, and the construction of the work of art 2.2. Prestezza and diligenza as a key for interpreting the relationship between technique and style 2.2.1. Armenini and Vasari: symptoms of discord 2.2.2. Chiaroscuro and grotesque: prestezza in two characteristic techniques of the Maniera 2.3. The Paragone: also a technical challenge 2.4. Colour and the counterfeiting of Nature 2.4.1. The beauty of colours 2.4.2. The atramentum of Apelles 3. THE PROCESSES 3.1. The technique of drawing 3.2. The preparation of cartoons. Transfer processes 3.3. Colours: pigments in treatises 3.3.1. Lists of colours in Borghini and Lomazzo 3.3.2. Armenini’s «avertimenti» on pigments 3.3.3. Mixing the colours: from the «mestiche» to the palette 3.4. The myth of «true fresco» 3.5. Tempera painting 3.5.1. Vasari and egg tempera: revival of an outdated technique. 3.5.2. Glue-size tempera: tüchlein, «guazzo», «chiaroscuro» 3.6. Oil painting 3.6.1. Preparazione and imprimitura 3.6.2. The execution of a painting: «bozze» and «finiture» 3.6.3. Oil painting on wall 3.6.4. Sebastiano del Piombo's «nuovo modo» - from wall to slate 3.6.5. Painting on stone from Sebastiano to Vasari and the artists of the Medici Court 3.6.6. Paintings on copper - the beginnings 3.7. Varnish and finishing 3.7.1. The varnishes 3.7.2. The glazes 3.7.3. Finishes and retouching 4. THROUGH THE PAINTINGS: A FEW SIGNIFICANT CASE-STUDIES 4.1. Madonna del Divino Amore 4.2. Madonna della gatta 4.3. «Per questa confusione di segni» Additions to the genesis of a painting: the small paintings and the Calvary by Polidoro da Caravaggio 4.4. The Sacra Famiglia by Parmigianino 4.5. The paintings by Sebastiano del Piombo in the Capodimonte Museum, Naples Index

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Book SynopsisTramelli considers three main areas of Giovanni Paolo Lomazzo’s studies: color, perspective and anatomy, investigating the types of theoretical and practical knowledge on these subjects conveyed in the Trattato dell’Arte della Pittura and how the context of Milan at the end of the sixteenth century shaped the material gathered in Lomazzo’s books.Trade Review"Barbara Tramelli’s Giovanni Paolo Lomazzo’s Trattato dell’Arte della Pittura: Color, Perspective and Anatomy successfully – and perhaps exhaustively – shows how much Lomazzo’s thinking about art is indebted to the scientific and literary cultures of sixteenth-century Milan. - Joost Keizer (University of Groningen), History of Humanities (Spring 2018), 3:1: 223-224. "One of the most important values of Tramelli’s book is that it makes Lomazzo’s broad and prolific writings available to non-Italian scholars, particularly the Trattato, the most widely read of his books, which Schlosser has recognized as the “Bible of Mannerism”. [...] Tramelli succeeds in making Lomazzo’s writing lighter and more intelligible, while articulating the topics in shorter paragraphs and highlighting and discussing the contradictions in the text." Mauro Pavesi (Università Cattolica del Sacro Cuore), Renaissance Quarterly, Vol. LXXI , No. 1, pp. 237-239 "[the work] demonstrates intellectual honesty in providing an essential and consistent line of interpretation. It is a book that I have read with pleasure, as, in short, it is never discouraging the reader and making him feel inadequate: the difficulties of the reader are the same as those of the author, and she exposes her doubts with the utmost sincerity." - Giovanni Mazzaferro, Letteratura artistica: Cross-cultural Studies in Art History SourcesTable of ContentsAcknowledgements vii Editorial Principles ix List of Illustrations x Introduction: Aims, Sources and Methodology 1 Part 1 Lomazzo and Milan 1 The Artist and the Traveller 17 2 Spaces and Institutions 37 3 Art and Grotesque 63 Part 2 Color, Perspective and Anatomy The Treatise: A Short Introduction 77 4 Lomazzo’s Colors 85 5 Acutissima è La Prospettiva 128 6 The Study of the Body 174 General Conclusions 211 APPENDICES 1 Contract between Giovanni Paolo Lomazzo and Giulio Claro, Reggente in Milan, dated 1561 221 2 L’interogaçiglion ch’o s’han da fa dar gran Scanscieré pos ra gneregada a col ch’o vùr intrò in dra Vall de Bregn 223 3 Difinicione della tavola sopra detta 224 4 Straducc dra vall de Bregn 226 5 Inventory 24th January 1604, doc. B, notary Benedetto Coerezio, f. 20578 227 6 Inventory, 11th November 1611, Fondo Litta, carte 32 229 7 Libro III Del Colore (1584) 230 8 a. Paduan Manuscript (Merrifield, pp. 648–717), Ricette per fare ogni sorte di colori (Chap. I– De colori in generale, e di quali materie si componghino) 231 8 b. Lomazzo, IV chapter of III book of the Trattato, Quali siano le materie nelle quali si trovino i colori 231 Bibliography 233 Index of Names 250

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Book SynopsisBy scrutinizing every possible Persian and European written source on the subject, Negar Habibi discusses the paintings known as farangi sāz, and in particular those of ʿAli Qoli Jebādār, one of Iran’s most important Safavid artists of the 2nd half of the 17th century. En resserrant plusieurs sources écrites persanes et européennes, Negar Habibi discute des peintures connues sous le nom de farangi sāzi, spécialement celles de ʿAli Qoli Jebādār, l'un des artistes emblématiques de la 2ème moitié du XVIIe siècle.Table of ContentsTable des matières Remerciements Transcription du persan Liste des abréviations dans les notes Liste des illustrations et crédits photos Introduction  Farangi sāzi  L’objet de la recherche : le mécénat sous Shāh Soleimān  Méthodologie et sources  Plan ʿAli Qoli Jebādār : l’artiste aux titres royaux  Introduction  La question des origines de ʿAli Qoli Jebādār et son importance relative  Une main, une signature  Jebādār et la question de Jebākhāneh  La carrière de ʿAli Qoli Jebādār : une nouvelle datation  Bilan Farangi sāzi ? Une considération sur les peintures occidentalistes safavides  Introduction  Farangi sāzi et farangi sāz : l’historique d’une expression  L’Occidentalisme safavide  Bilan L’État de Shāh Soleimān : l’historique des centres du pouvoir safavide entre 1666 et 1694  Introduction  L’ādāb-é mamlekat dāri : de Shāh Safi II à Shāh Soleimān  Posht va panāh-é mamlekat : Le grand vizir  Andaruni, le palais intérieur  Donyā va okhrā : la querelle du sérail et du Sheikh al-Islam  Bilan Le mécénat artistique à la cour de Shāh Soleimān : Le syncrétisme artistique des peintures de ʿAli Qoli Jebādār  Introduction  Le portrait d’une cour royale : l’enregistrement du réel  Le sarkār-é khāsseh-yé sharifeh : la trésorerie royale  Le sérail royal et le portrait de la zan-é farangi  Des nus fameux ou Shirin occidentalisée  Surat gari et shabih sāzi : ʿAli Qoli Jebādār le portraitiste royal  Bilan Conclusion générale  L’Occidentalisme et farangi sāzi  Les œuvres de ʿAli Qoli Jebādār et le mécénat sous Shāh Soleimān Annexe 1 : Bibliographie de ʿAli Qoli Jebādār  Bibliographie sélective safavide  Bibliographie sélective contemporaine Annexe 2 : Bibliographie du Farangi sāzi  Bibliographie sélective iranienne  Bibliographie sélective occidentale Annexe 3 : Liste visuelle des signatures Lexique Bibliographie  1 Les sources primaires iraniennes  2 Les sources primaires européennes  3 Les sources secondaires Index

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Book SynopsisPiero di Cosimo: Painter of Faith and Fable makes available the proceedings of a conference of the same name, hosted by the Dutch University Institute for Art History (NIKI), Florence, in September 2015, at the conclusion of the second of two exhibitions dedicated to Piero at the National Gallery of Art, Washington, and the Galleria degli Uffizi, Florence. It is the twelfth publication in the NIKI series and the first such anthology to be published by Brill.Trade Review“Extremely valuable for the ongoing study of Piero di Cosimo.” Gretchen A. Hirschauer, National Gallery of Art, Washington, DC. In: Renaissance Quarterly, Vol. 75, No. 1 (Spring 2022), pp. 229–231.Table of ContentsContents Foreword: Director’s Remarks List of Figures Notes on Contributors Introduction: Telling Tales: The Kaleidoscopic Art of Piero di Cosimo (1462-1522)  Dennis Geronimus 1 From Ancilla Domini to Madonna del Parto: Observations on Piero di Cosimo’s Marian Imagery  Alessandra Galizzi Kroegel 2 L’altare Del Pugliese nella chiesa dello Spedale degli Innocenti: un esempio di dialogo fra pittura e scultura  Elena Capretti 3 Real or Imagined? Exotic Animals in Piero di Cosimo’s Mythologies  Marina Belozerskaya 4 The ‘Fantasia’ of the Cricket in Piero di Cosimo’s Vulcan and Aeolus  Sarah Blake McHam 5 Rara Avis: Piero di Cosimo and the Birds He Painted  Roberta J.M. Olson 6 Piero di Cosimo’s Nymph and the Hallmark of Artemis  Ianthi Assimakopoulou 7 Beautiful Monsters: The Language of Empathy and Grief in Piero di Cosimo’s Representation of Animals and Human-Animal Hybrids  Dennis Geronimus 8 The Question of Centaurs: Lucretius, Ovid, and Empedokles in Piero di Cosimo  Guy Hedreen 9 Piero di Cosimo and Netherlandish Painting  Paula Nuttall 10 Piero and Ghirlandaio: Drawing the Figure  Jean K. Cadogan 11 Deconstructing the Underdrawing in Piero di Cosimo’s Construction of a Palace  Elizabeth Walmsley 12 La ricomposizione di un Piero di Cosimo perduto: il restauro della Pala con Lo Sposalizio mistico di S.Caterina e della Lunetta con i due Angeli che sorreggono la corona  Anna Teresa Monti e Lisa Venerosi Pesciolini 13 Piero di Cosimo: Two Angels Return to Florence from Edinburgh  Lesley Stevenson Index

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Book SynopsisWinner of the 2019 SECAC Award for Excellence in Scholarly Research and Publication In The Riddle of Jael, Peter Scott Brown offers the first history of the Biblical heroine Jael in medieval and Renaissance art. Jael, who betrayed and killed the tyrant Sisera in the Book of Judges by hammering a tent peg through his brain as he slept under her care, was a blessed murderess and an especially fertile moral paradox in the art of the early modern period. Jael’s representations offer insights into key religious, intellectual, and social developments in late medieval and early modern society. They reflect the influence on art of exegesis, the Reformation and Counter-Reformation, humanism and moral philosophy, misogyny and the battle of the sexes, the emergence of syphilis, and the Renaissance ideal of the artist.Table of ContentsContents Acknowledgements List of Illustrations Introduction PART 1 
The Riddle of Jael 1 Jael under Erasure 2 Jael in Medieval and Early Modern Art and Thought PART 2 
Transformations of Jael (1400–1550) 3 Jan van Eyck and the Early Modern Re-imagination of Jael 4 Albrecht Altdorfer’s Jael, the Power of Women, and Syphilis in Sixteenth-Century Print 5 Lambert Lombard’s Jael, Poxied Penitents, and Northern Humanism PART 3 
Jael among the Haarlem Humanists (1550–1600) 6 Maarten van Heemskerck and Dirck Coornhert’s Power of Women: A Pasquinade on the Perfectibility of the Imperfect Soul 7 Maarten van Heemskerck and Hendrick Goltzius on Jael’s Nail and the Artist’s Hand 8 Philips Galle and Hadrianus Junius’ Jael: A Biblical Circe and Her Eloquent Riddle Epilogue Bibliography Index

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Book SynopsisIn Devotional Portraiture and Spiritual Experience Ingrid Falque analyses the meditative functions of early Netherlandish paintings including devotional portraits, that is portraits of people kneeling in prayer. Such paintings have been mainly studied in the context of commemorative and social practices, but as Ingrid Falque shows, they also served as devotional instruments. By drawing parallels between the visual strategies of these paintings and texts of the major spiritual writers of the medieval Low Countries, she demonstrates that paintings with devotional portraits functioned as a visualisation of the spiritual process of the sitters. The book is accompanied by the first exhaustive catalogue of paintings with devotional portraits produced in the Low Countries between c. 1400 and 1550. This catalogue is available at no costs in e-format (HERE) and can also be purchased as a printed hardcover book (HERE).Trade Review“With Falque’s lucid description of the complex visual language of the paintings, this project will be appreciated by art historians already familiar with the pictorial conventions of the era but it will also serve as an effective lens for scholars in neighboring disciplines – especially those concerned with devotional literature – who seek to explore the participation of the visual arts in theological and devotional discourse.” Mitzi Kirkland-Ives, Missouri State University. In: HNA Reviews, April 2020. “A monumental achievement.” Catherine Levesque, College of William and Mary. In: Renaissance Quarterly, Vol. 75, No. 1 (Spring 2022), pp. 213–216.Table of ContentsAcknowledgements List of Figures and Graph Abbreviations Note to the Reader Introduction 1 Ora pro me: The Forms and Locations of Devotional Portraits in Early Netherlandish Painting  1 From the Outside to the Inside: The Location of Portraits within the Physical Spaces of the Work 2 Via ad Deum: Devotional Portraiture and the Spiritual Journey  1 Spiritual Progress and the Meditative Process in the Medieval Religious Tradition  2 The Devotee on the Path  3 The Goal of the Spiritual Journey and the Status of the Sacred Space 3 Ascensiones in corde disposuit: Devotional Portraiture and Spiritual Ascent  1 Mise en Mots and Mise en Image of the Spiritual Ascent in the Medieval Spiritual Tradition  2 The Theme of the Spiritual Ascent in Devotional Literature of the Low Countries in the Late Middle Ages  3 Mise en Image of the Spiritual Ascent in Early Netherlandish Painting  4 Petrus Christus’ Exeter Madonna, an Emblematic Case of Spiritual Ascent  5 The Diptych of Lodovico Portinari and the Visualisation of the Meditative Process 4 Eene vergaderinghe van twee personen die comen van diverschen staden: Devotional Portraiture, Union with God and Spiritual Perfection  1 The Outcome of the Contemplative Process: Spiritual Perfection, Union with God and the Ghemeine Leven  2 Devotional Portraiture and the Visualisation of Spiritual Perfection  3 The Van der Burch Triptych of Jan Provoost, an Exemplary Image of Spiritual Perfection 5 In spiritualem quandam armoniam: Devotional Portraiture and the Role of Images in the Meditative Process  1 The Place of Images in Late Medieval Meditative Theory and Practices  2 Geert Grote’s Tractatus de Quattuor Generibus Meditabilium, the Ghemeine Leven and the Status of Images Conclusions Bibliography index

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Book SynopsisRembrandt: Studies in his Varied Approaches to Italian Art explores his engagement with imagery by Italian masters. His references fall into three categories: pragmatic adaptations, critical commentary, and conceptual rivalry. These are not mutually exclusive but provide a strategy for discussion. This study also discusses Dutch artists’ attitudes toward traveling south, surveys contemporary literature praising and/or criticizing Rembrandt, and examines his art collection and how he used it. It includes an examination of the vocabulary used by Italians to describe Rembrandt’s art, with a focus on the patron Don Antonio Ruffo, and closes by considering the reception of his works by Italian artists.Trade Review“Rembrandt himself never went to Italy, but his consciousness of Italian artists resonates throughout his work. That is the subject of this enlightening study by an accomplished scholar of Netherlandish art. Above all, the book reveals how Rembrandt drew ideas for his art from Italian masters, whose works were known to him primarily through prints, and transformed them into a distinct language of his own in a way that pays homage to his sources but with a twist of visual commentary […] One can read the book as a series of essays or use it for reference with the benefit of its up-to-date bibliography. In sum: highly recommended.” C. W. Talbot, emeritus, Trinity University. In: Choice Reviews, Vol. 58, No. 10 (June 2021). “This publication is sure to be a necessary resource for any scholar looking to understand one of the most fertile and creative minds of the seventeenth century and the numerous influences that contributed to his endlessly compelling oeuvre.” Jacquelyn Coutré, Art Institute of Chicago. In: Renaissance and Reformation, Vol. 44, No. 2 (2021), pp. 248–250. “This is a generous book, clearly aimed at sharing the wealth of information and knowledge Golahny has amassed over the years and at offering a solid, balanced foundation on which future generations may develop new analyses and interpretations. With its comprehensive bibliography, thorough citations, and even explicit guidance on how Golahny’s discussions relate to the existing literature, it is a highly valuable reference for any student of Rembrandt’s work. Its ample illustrations support the author’s visual arguments and make the book accessible to those less familiar with the material.” Joanna Sheers Seidenstein, Harvard Art Museums. In: HNA Reviews, November 2021.Table of Contents Preface  Acknowledgements  List of Illustrations 1 Prologue: Setting the Stage  1 Who Did, or Did Not, Travel to Italy  2 Dutch Artists Who Painted Italy at Second Hand  3 Jacob van Swanenburg and Pieter Lastman in Italy  4 Advice about Travel  5 On the Road in Italy: Nicholas Stone Jr.  6 The Material Evidence: Collecting Italian Art in Holland  7 Van Mander’s Account of Remarkable Italian Paintings in Dutch Collections  8 A Sampling of Amsterdam Collections: 1630–1660  9 Rembrandt at the Art Market  10 A Contrast in Collecting: Joachim von Sandrart in Amsterdam and Bavaria 2 Attitudes: Critical, Admiring, and Curious toward Rembrandt  1 Rembrandt’s Acquaintances Condemn His Disregard for Italian Values: Huygens, Sandrart and De Lairesse  2 Pels, De Decker, and De Geest: Polarizing Attitudes  3 Rembrandt’s Singular Manner: Houbraken  4 Rembrandt’s Naturalism in Stefano della Bella’s Model Books  5 Rembrandt’s Goal in Art 3 Rembrandt’s Collection and How He Used It: the Canonical and the Unusual  1 Drawing from the Original: Mantegna, Leonardo, Raphael, Titian  2 Reminiscences and Variations  3 Life Study Fused with Art  4 Sculpture as Substitute for Life Study 4 Pragmatic Solutions  1 Borrowed Plumes Easily Disguised  2 The Supper at Emmaus of c. 1629  3 Rembrandt and the Madonna of the Rosary: Structuring the Stage  4 Judas Returning the 30 Pieces of Silver: Caravaggio and Leonardo da Vinci  5 Two People in One Frame 5 Appropriating for Commentary: Rembrandt’s Critique of Titian, Raphael, and Leonardo  1 Christ Driving the Money Changers from the Temple: the 1626 Painting and the 1635 Etching  2 The Hundred Guilder Print: Exploiting Raphael, Michelangelo, Leonardo 6 Appropriation and Deviation: Responding for Alternatives  1 Diana and Actaeon with Callisto and Nymphs: Referencing the Italians  2 The Flute Player and Flower Girl: an Alternative to Titian  3 The Female Nude 7 Rembrandt Perceived by the Italians: Castiglione, the Ruffo Collection, and La Maniera Gagliarda  1 Giovanni Benedetto Castiglione: Inspired Improvisations  2 Rembrandt’s Ruffo Series  3 Abraham Brueghel’s Intermediary Role in the Ruffo Commissions  4 Guercino: Business-like, Efficient, and Respectful  5 Preti: Grudging Accommodation  6 Salvator Rosa: Independent, Arrogant, and Uncooperative  7 Brandi: Eager to Please  8 La Maniera Gagliarda  9 Baciccio: the Last Word Bibliography

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Book SynopsisIn Gardens of Love and the Limits of Morality in Early Netherlandish Art, Andrea Pearson charts the moralization of human bodies in late medieval and early modern visual culture, through paintings by Jan van Eyck and Hieronymus Bosch, devotional prints and illustrated books, and the celebrated enclosed gardens of Mechelen among other works. Drawing on new archival evidence and innovative visual analysis to reframe familiar religious discourses, she demonstrates that depicted topographies advanced and sometimes resisted bodily critiques expressed in scripture, conduct literature, and even legislation. Governing many of these redemptive greenscapes were the figures of Christ and the Virgin Mary, archetypes of purity whose spiritual authority was impossible to ignore, yet whose mysteries posed innumerable moral challenges. The study reveals that bodily status was the fundamental problem of human salvation, in which artists, patrons, and viewers alike had an interpretive stake.Trade Review“The rich variety of images (canonical and obscure), as well as the impressive bibliography she [Andrea Pearson] has assembled, provide excellent resources for students and scholars alike.” - John R. Decker, Pratt Institute, in: Historians of Netherlandish Art, August 2019Table of ContentsAcknowledgements List of Illustrations Introduction: The Erotics of Virtue 1 Moralized Love 2 Disability and Redemption 3 Monastic Morality 4 Holy Matrimony 5 Infancy Moralized 6 Kissing Kids Epilogue: The Limits of Mother-Son Eroticism Bibliography Index

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Book SynopsisIn Esoteric Images: Decoding the Late Herat School of Painting Tawfiq Daʿadli decodes the pictorial language which flourished in the city of Herat, modern Afghanistan, under the rule of the last Timurid ruler, Sultan Husayn Bayqara (r.1469-1506). This study focuses on one illustrated manuscript of a poem entitled Khamsa by the Persian poet Nizami Ganjavi, kept in the British Library under code Or.6810. Tawfiq Daʿadli decodes the paintings, reveals the syntax behind them and thus deciphers the message of the whole manuscript. The book combines scholarly efforts to interpret theological-political lessons embedded in one of the foremost Persian schools of art against the background of the court dynamic of an influential medieval power in its final years.Trade Review"L’auteur nous offre une belle synthèse des travaux antérieurs à ce sujet tout en proposant une interprétation nouvelle de certaines images." - Aïda El Hiari, Sorbonne-Université, in: Bulletin critique des Annales islamologiques 35 (2021) "Daʿadli’s book gives a good impression of the process of “decoding” paintings of the late Timurid period during more than forty years of scholarship and provides some new interpretations." - Ilse Sturkenboom, University of St Andrews, UK, in: Der Islam 97: 1 (2020)Table of ContentsAcknowledgments List of Figures Introduction 1 Historical and Cultural Contexts  1 The Timurid Empire  2 The City of Herat  3 The Kitāb-khāna in Herat  4 Niẓāmī Ganjāvī 2 Focusing the Gaze in Late Timurid Painting  1 Hārūn al-Rashīd in the ḥammām  2 The King Who Turned into a Parrot  3 The Garden Master and the Maidens  4 Conclusion 3 The Iskandar Cycle  1 Iskandar and the Philosophers  2 Iskandar Beats the Drum  3 Iskandar Meets the Dervish  4 Conclusion 4 Making Justice  1 Khusrau before His Father Hurmuz-Shāh  2 Sultan Sanjar and the Old Lady 5 Death and Annihilation  1 Farhād’s Death  2 Laylī’s Husband’s Death  3 The Death of Majnūn  4 Building the Khawarnaq Palace  5 Conclusion 6 Concluding the Poetics of Painting  1 Enhancing the Meaning  2 Observations on Space  3 Conclusion Epilogue Bibliography Index

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Book SynopsisAn examination of interactions between sight and hearing in Italian church decoration from 1260-1320. Giotto and other artists used naturalism to activate worshipers' spiritual listening, a source of anxiety for authorities in this "age of vision." This book has received the Weiss-Brown Publication Subvention Award from the Newberry Library, supporting the publication of outstanding works on European civilization before 1700 in the areas of music, theater, French or Italian literature, and cultural studies.Table of ContentsAcknowledgments List of Illustrations Introduction: An Unheard Art  1 Knowing Hearing  2 Hearing Eclipsed  3 Shapers of Ears  4 Monumental Sounds 1 Listening Up  1 Aural Sensitivities  2 Lost Hearing  3 Great Listeners 2 The Ear, Estranged  1 Seeing Listening  2 Ear Blindness  3 Stasis and Significance 3 A Feast for the Ears  1 Giotto’s The Wedding Feast at Cana  2 Scale of Listening  3 Rebirth through the Ear  4 Aural Ambitions 4 Sound Restoration  1 Nicola Pisano’s Pulpit in Pisa  2 Raising Voices  3 Silenced Skeptic  4 Antique Resonance  5 Muted Clergy  6 Sculptural Ephpheta! 5 Higher Fidelity  1 The Isaac Frescoes in Assisi  2 Return of the Repressed Sense  3 Aural Ancestry  4 Hidden by Sight  5 Auditory Interests Conclusion: Humbling Sight Bibliography Index

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Book SynopsisFilippino Lippi (1457–1504), although one of the most original and gifted artists of the Florentine renaissance, has attracted less scholarly attention than his father Fra Filippo Lippi or his master Botticelli, and very little has been published on him in English. This book, authored by leading Renaissance art historians, covers diverse aspects of Filippino Lippi’s art: his role in Botticelli’s workshop; his Lucchese patrons; his responses to Netherlandish painting; portraits; space and temporality; the restoration of the Strozzi Chapel in Santa Maria Novella; his immediate artistic legacy; and, finally, his nineteenth-century critical reception. The fourteen chapters in this volume were originally presented at the international conference Filippino Lippi: Beauty, Invention and Intelligence, held at the Dutch University Institute (NIKI) in Florence in 2017. See inside the book.Table of ContentsContents Director’s Remarks Acknowledgements List of Illustrations Notes on Contributors Introduction  Paula Nuttall  1 The Critic as Artist: Swinburne on Filippino Lippi and Botticelli (1868)  Jonathan K. Nelson  2 Filippino in Botticelli’s Workshop  Michelle O’Malley  3 Visible Rays in Filippino’s London Adoration of the Magi  Paul Hills  4 Filippino Lippi’s Lucchese Patrons  Geoffrey Nuttall  5 The Virgin at the Well in Filippino’s San Gimignano Annunciation  Joost Joustra  6 ‘... di naturale tanto bene che non pare che gli manchi se non la parola.’: Filippino Lippi pittore di ritratti  Patrizia Zambrano  7 From Reiteration to Dialogue: Filippino’s Responses to Netherlandish Painting  Paula Nuttall  8 Annunciations and Assumptions: Notes on a Particular Constellation in the Carafa Chapel  Johannes Grave  9 The Temporary and the Temporal: Suspense in the Strozzi Chapel  Alison Wright  10 Gli affreschi di Filippino Lippi nella Cappella Strozzi a Santa Maria Novella a Firenze: il restauro e la tecnica  Alessandra Popple and Cristiana Conti  11 Never Being Boring: Filippino Lippi, Michelangelo and the Concept of Chapel Decoration  Charles Robertson  12 Reconsidering Lucchese Painting after Filippino  Christopher Daly  13 ‘L’un des plus grands maîtres de l’école Florentine’: Filippino Lippi and His Workshop in French Collections  Matteo Gianeselli  14 Sfortuna di Raffaellino del Garbo  Alessandro Cecchi Appendix: A Note on the Identification of the Saints in the Background of the London Adoration of the Magi  Jill Dunkerton and Rachel Billinge List of Photographic Credits Index

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Book SynopsisJao Tsung-i was China’s last great traditional man of letters, polymath, and pioneer of comparative humanistic inquiry during Hong Kong’s global heyday. Dunhuang is China’s traditional northwest frontier and overland conduit of exchange with the Old World. In this volume, Jao proposes an entirely new school of Chinese landscape painting, reconsiders Dunhuang’s oldest manuscripts as its newest research field, and explores topics ranging from comparative religion to medieval multimedia.Table of ContentsSeries Introduction: Collected Works of Jao Tsung-i Translator’s Preface Acknowledgements List of Illustrations Abbreviations Conventions Part 1: Jao and Dunhuang Studies “Next Time Round, I Wish to Lead a Sutra Scribe’s Life”: Jao Tsung-i and Dunhuang Studies 他生願作寫經生:饒宗頤教授與敦煌學研究 Dunhuang Studies and Me 我和敦煌學 Part 2: Dunhuang as Inspiration and Source Turfan—the Bodhisattva Whose Head Came Off 吐魯番—丟了頭顱的艹艹（菩薩） Preface to The Xiang’er Laozi, Annotated, Collated and Substantiated Laozi Xiang’er zhu jiaozheng “Zixu” 老子想爾注校證·自序 On the Northwest School of Chinese Landscape Painting Xibeizong shanshuihua shuo 中國西北宗山水畫說 Part 3: Medieval Multimedia On the Relationship between Bianwen 變文 and Illustration, from the Perspective of the Shanbian 睒變 (Śyāma Transformation) 從「睒變」論變文與圖繪之關係 Postface to the Two Dunhuang Manuscript Fragments of the Baize jingguai tu 白澤精怪圖 (White Marsh’s Diagrams of Spectral Prodigies; P.2682, S.6261) 跋敦煌本《白澤精怪圖》兩殘卷 (P.2682, S.6261) Part 4: Dunhuang Poetry Did Men of Song Belt Out “Tang Ci”? An Explanation of the Poem “I Only Fear the Spring Breeze Will Chop Me Apart” 「唐詞是宋人喊出來」的嗎？ 說「只怕春風斬斷我」 Notes on the Yunyao ji 雲謠集 (Cloud Ballad Collection) Manuscripts P.2838 and S.1441 Another Look at the Dunhuang Manuscript of “Deng lou fu” 登樓賦 (Rhapsody on Climbing the Tower) 敦煌寫本登樓賦重研 Part 5: Reorienting Dunhuang Studies Dunhuang Research Should Be Broader in Its Scope “Dunhuang yinggai kuoda yanjiu fanwei” 敦煌應擴大研究範圍 Works Cited Index

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Book Synopsis

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