The arts: general topics Books

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisThis volume brings together some of the latest research on the cultural, intellectual, and commercial interactions during the Renaissance between Western Europe and the Middle East, with particular reference to the Ottoman Empire. Recent scholarship has brought to the fore the economic, political, cultural, and personal interactions between Western European Christian states and the Eastern Mediterranean Islamic states, and has therefore highlighted the incongruity of conceiving of an iron curtain bisecting the mentalities of the various socio-political and religious communities located in the same Euro-Mediterranean space. Instead, the emphasis here is on interpreting the Mediterranean as a world traversed by trade routes and associated cultural and intellectual networks through which ideas, people and goods regularly travelled. The fourteen articles in this volume contribute to an exciting cross-cultural and inter-disciplinary scholarly dialogue that explores elements of continuity aTrade Review'The Renaissance and the Ottoman World is a first-class collection of essays.' Sixteenth Century Journal Volume '... written by scholars for the equally scholarly... To general knowledge, these essays on ideas, books, maps, music and events add patches of great depth and insight.' Brian Sewell's essential art books of 2013, London Evening Standard 'This book of essays is a blast of fresh air blowing through hermetically sealed rooms as it aims to portray the Ottomans not merely as hovering on the fringes of Europe, but as integral to Mediterranean culture, even becoming elements in the European Renaissance. Thirteen contributions highlight unusual areas, including technology, cartography, architectural inspiration and music.' Art Newspaper '... visually stunning as well as refreshing in its diverse views.' Renaissance Quarterly ’The range of the book is impressive, covering material culture, music, intellectual exchanges, art, cartography, historiography, textiles, and other issues ...a thought-provoking, wide-ranging book that convincingly argues that the Ottoman Empire participated as an accepted player in European affairs during the early modern period. Future studies will no doubt continue to add to many of the authors’ observations.’ European History QuarterlyTable of ContentsContents: Foreword; Section I Commercial, Artistic and Cultural Contexts: Blurring the boundaries: intellectual and cultural interactions between the Eastern and Western: Christian and Muslim worlds, Claire Norton; Sharing a taste? Material culture and intellectual curiosity around the Mediterranean from the 11th to the 16th century, Anna Contadini; The Lepanto paradigm revisited: knowing the Ottomans in the 16th century, Palmira Brummett. Section II Texts, Art and Music as Media for the Transmission of Intercultural Influences: The role of the book in the transfer of culture between Venice and the Eastern Mediterranean, Deborah Howard; The 'reception of the Venetian ambassadors in Damascus’: dating, meaning and attribution, Caroline Campbell; Giacomo Gastaldi’s maps of Anatolia: the evolution of a shared Venetian-Ottoman cultural space?, Sonja Brentjes; Turning a deaf ear, Owen Wright. Section III Renaissance Thought: Old and new demarcation lines between Christian Europe and the Islamic Ottoman Empire: from Pope Pius II (1458-1464) to Pope Benedict XVI (2005-13), Zweder von Martels; Turco-Graecia: German humanists and the end of Greek antiquity - cultural exchange and misunderstanding, Asaph Ben Tov; Positive views of Islam and of Ottoman rule in the 16th century: the case of Jean Bodin, Noel Malcolm. Section IV The Renaissance and the Ottoman Empire: Binding relationships: Mamluk, Ottoman and Renaissance bookbindings, Alison Ohta; Ottoman textiles in European markets, Suraiya Faroqhi; Mehmed II as a patron of Greek philosophy: Latin and Byzantine perspectives, Anna Akasoy; Bibliography; Index.

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Book SynopsisThe plight of the fallen woman is one of the salient themes of nineteenth-century art and literature; indeed, the ubiquity of the trope galvanized the Victorian conscience and acted as a spur to social reform. In some notable examples, Julia Grella O'Connell argues, the iconography of the Victorian fallen woman was associated with music, reviving an ancient tradition conflating the practice of music with sin and the abandonment of music with holiness. The prominence of music symbolism in the socially-committed, quasi-religious paintings of the Pre-Raphaelites and their circle, and in the Catholic-Wagnerian novels of George Moore, gives evidence of the survival of a pictorial language linking music with sin and conversion, and shows, even more remarkably, that this language translated fairly easily into the cultural lexicon of Victorian Britain. Drawing upon music iconography, art history, patristic theology, and sensory theory, Grella O'Connell investigates female fallenness and itsTrade Review'The Diana McVeagh Prize Committee commends Dr. O’Connell’s interdisciplinary scholarship, which traverses visual art, literature, theology, and music with great skill, and is delivered in exceptionally refined and lucid prose. Through her focus on the trope of the ‘fallen woman,’ Dr. O’Connell demonstrates--among other things--how images involving Saint Cecilia or Mary Magdalen informed Victorian perceptions of music's moral agency.' North American British Musical Studies Association, 2019 McVeagh Prize Committee 'In Sound, Sin, and Conversion in Victorian England, Julia Grella O’Connell provides a wide-ranging and learned study of music and theology in the Victorian era. O’Connell’s complex argument addresses the varied cultural manifestations of the notion that music and conversion are connected phenomena…the great strength of O’Connell’s book is its ability to follow the thread of music, hearing, and conversion through so many different cultural genres, including fiction, painting, and music.' Victorian Studies/Volume 62, No. 2Table of ContentsIntroduction: Music, Sin, and Grace 1. Music, Magdalenes, and Metanoia in The Awakening Conscience 2. Music, Mirrors, and Marian Doppelgängers 3. Instruments of Change: Hearing and Belief 4. Musical Converts Conclusion: Seeing, Hearing, and Conversion

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Book SynopsisDesign for Policy is the first publication to chart the emergence of collaborative design approaches to innovation in public policy. Drawing on contributions from a range of the world's leading academics, design practitioners and public managers, it provides a rich, detailed analysis of design as a tool for addressing public problems and capturing opportunities for achieving better and more efficient societal outcomes. In his introduction, Christian Bason suggests that design may offer a fundamental reinvention of the art and craft of policy making for the twenty-first century. From challenging current problem spaces to driving the creative quest for new solutions and shaping the physical and virtual artefacts of policy implementation, design holds a significant yet largely unexplored potential. The book is structured in three main sections, covering the global context of the rise of design for policy, in-depth case studies of the application of design to policy making, and a guide tTrade Review'This book masterfully combines cutting-edge research, findings from practice, and real-world examples of how design approaches are being used to improve societal outcomes across the globe. It introduces new avenues for pursuing design-based policies and is an essential resource for anyone exploring social innovation and design processes as a tool for meaningful public sector reform. Christian Bason has successfully delivered a volume that captures the essence of design and social innovation in policy development and offers useful lessons for those faced with the challenge of serving in the twenty-first century.' Jocelyne Bourgon, President, Public Governance International 'Design for Policy is a valuable and fresh insight into policymaking. It underscores the urgent need to bring design to the very heart of modern public policy. Through highly pertinent and illuminating examples from a variety of fields, this book shows that it is possible to transform the policy making process and make it much more innovative. I hope that policymakers across Europe will read it, so that they can become policy designers - and we can shape together the future we aspire to.’ Maire Geoghegan-Quinn, European Commissioner, Research, Innovation & Science ’Can design improve the ways we address such 'super-wicked' challenges as climate change, energy precarity, or public health? It's a big ask, but this highly intelligent book makes a convincing case. Its succinct case studies show the ways that design has become a powerful tool for public administrations around the world. Design for Policy does not over-promise. Its clear and well-balanced texts illustrate the potential but also the limits of design when societal issues are massive, integrated and highly complex - all at the same time. Design, it emerges, is helping to drive transformation in the ways we govern. This important book marks a shift in models of public policymaking: from problem-solving, to envisioning; from service dTable of ContentsDesign for Policy

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Book SynopsisIn Renaissance and early modern Europe, various constellations of phenomena-ranging from sex scandals to legal debates to flurries of satirical prints-collectively demonstrate, at different times and places, an increased concern with cuckoldry, impotence and adultery. This concern emerges in unusual events (such as scatological rituals of house-scorning), appears in neglected sources (such as drawings by Swiss mercenary soldier-artists), and engages innovative areas of inquiry (such as the intersection between medical theory and Renaissance comedy). Interdisciplinary analytical tools are here deployed to scrutinize court scandals and decipher archival documents. Household recipes, popular literary works and a variety of visual media are examined in the light of contemporary sexual culture and contextualized with reference to current social and political issues. The essays in this volume reveal the central importance of sexuality and sexual metaphor for our understanding of European hisTrade Review"This volume convincingly argues that historical studies have long reflected the double standard by which women are primarily blamed for adultery, while little scholarly attention has been paid to the male side of the coin. For the first time a team of historians, art historians and scholars of drama and literature investigate this ubiquitous aspect of the erotic cultures of the past by close reading of a wide and imaginative range of sources and contexts, including iconography. By so doing, contributors shed new light on a variety of diverse topics such as Renaissance comedy, medical empiricism, military culture and dynastic history. The book, which fills quite a curious gap, is highly recommended to scholars of Renaissance and early modern European society, of gender and the body, of sexual mores, and of imagery and stereotypes in the longue durée." - Alessandro Arcangeli, Universita di Verona, Italy"This interdisciplinary collection of relatively brief essays proposes to redress what the editor asserts has been an imbalance of scholarly focus on female adultery at the expense of cuckoldry. The collection is weighted toward Renaissance Italian case studies (seven essays), but also features chapters on England, Switzerland, and France, and authors engage with secondary and primary sources from wider early modern Europe. ... Chapters also refer to each other directly where relevant, which suggests good editorial direction and increases the sense of coherence across the volume."- H-Net ReviewsTable of ContentsContents: Introduction: Sexual Transgression as Social Metaphor, Sara F. Matthews-Grieco. Part I Defamed Buildings and Shamed Bodies: Adultery, cuckoldry and house-scorning in Florence: the case of Bianca Cappello, Jacqueline Marie Musacchio; Vincenzo Gonzaga and the body politic: impotence and virility at court, Molly Bourne; Historical and literary contexts for the Skimmington: impotence and Samuel Butler’s Hudibras, M. A. Katritzky. Part II Impotence, Magic and Medicine: Impotence, witchcraft, and politics: a Renaissance case, Matteo Duni; The satyr in the kitchen pantry, Laura Giannetti; Impotence and corruption: sexual function and dysfunction in the early modern Italian Books of Secrets, Meredith K. Ray. Part III Horns and Visual Innuendo: ‘Divine cuckolds’: Joseph and Vulcan in Renaissance art and literature, Francesca Alberti; Niklaus Manuel and Urs Graf: cuckolds, impotence and sex workers in Swiss Renaissance art (c.1510-1517), Christiane Andersson; The cuckoldries of Baccio del Bianco, Louise Rice; Picart’s browbeaten husbands in 17th-century France: cuckoldry in context, Sara F. Matthews-Grieco. Index.

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Book SynopsisThoroughly interdisciplinary in approach, this volume examines how concepts such as the exercising of power, the distribution of justice, and transgression against the law were treated in both textual and pictorial terms in works produced and circulated in medieval French manuscripts and early printed books. Analysing texts ranging from romances, political allegories, chivalric biographies, and catalogues of famous men and women, through saints' lives, mystery plays and Books of Hours, to works of Roman, canon and customary law, these studies offer new insights into the diverse ways in which the language and imagery of politics and justice permeated French culture, particularly in the later Middle Ages. Organized around three closely related themes - the prince as a just ruler, the figure of the judge, and the role of the queen in relation to matters of justice - the issues addressed in these studies, such as what constitutes a just war, what treatment should be meted out to prisoneTrade Review"The ambitious, overarching themes of power and justice could well have resulted in a disparate collection of miscellaneous essays; the editors are to be commended for a coherent, original collection that makes an original and substantial contribution to an under-considered field of study and will be of great interest to scholars from many disciplines."Hilary Maddocks, The University of Melbourne, Journal of the Australian and New Zealand Association for Medieval and Early Modern StudiesTable of ContentsContents: Introduction, Rosalind Brown-Grant; Translating power for the Princes of the Blood: Laurent de Premierfait’s Des cas des nobles hommes et femmes, Anne D. Hedeman; How to wield power with justice: the 15th-century Roman de Florimont as a Burgundian ‘Mirror for Princes’, Rosalind Brown-Grant; The just captain in the Jouvencel by Jean de Bueil, Michelle Szkilnik; Reconfiguring queen truth in Paris, BnF, Ms. fr. 22542 (Songe du vieil pelerin), Kristin Bourassa; Allegorical design and political image-making in late medieval France, Cynthia J. Brown; The wolf, the shepherd, and the whale: critiquing the king through metaphor in the reign of Louis XI, Lydwine Scordia; Passing sentence: variations on the figure of the judge in French political, legal, and historical texts from the 13th to the 15th century, Barbara Denis-Morel; The judge and the martyr: images of power and justice in religious manuscripts from the 12th to the 15th century, Maïté Billoré and Esther Dehoux; Beastly power, holy justice in late medieval France: from Robert Gobin’s Loups ravissans to Books of Hours, Mary Beth Winn; The queen on trial: spectacle of innocence, performance of beauty, Yasmina Foehr-Janssens; Claude of France: justice, power, and the queen as advocate for her people, Kathleen Wilson-Chevalier; List of manuscripts and early printed editions cited; Bibliography; Index.

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Book SynopsisThroughout his plays, Shakespeare placed an extraordinary emphasis on the power of the face to reveal or conceal moral character and emotion, repeatedly inviting the audience to attend carefully to facial features and expressions. The essays collected here disclose that an attention to the power of the face in Shakespeare's England helps explain moments when Shakespeare's language of the self becomes intertwined with his language of the face. As the range of these essays demonstrates, an attention to Shakespeare's treatment of faces has implications for our understanding of the historical and cultural context in which he wrote, as well as the significance of the face for the ongoing interpretation and production of the plays. Engaging with a variety of critical strands that have emerged from the so-called turn to the body, the contributors to this volume argue that Shakespeare's invitation to look to the face for clues to inner character is not an invitation to seek a static text bTrade Review'At once matter and metaphor, inside and outside, nature and art, self and other, the face is a crossroads; in their own facial theory and practice, the early moderns left us a window to their souls and a map of their world. With remarkable depth and methodological range, these essays chart that terrain, revealing the early modern face as a focal point of ideological negotiation, ethical encounter, and theatrical exchange. As unique, rich, and varied as its object of study, Shakespeare and the Power of the Face opens new avenues of thought and research that have been staring, so to speak, right at us.' Richard Preiss, author of Clowning and Authorship in Early Modern Theatre"The collection, complemented by an extensive bibliography, is structured to appeal to both early modern scholars and students in many fields including theatre, literature, and cultural studies." - Bríd Phillips, The University of Western AustraliaTable of ContentsShakespeare and the power of the face. Part 1 Powerful Faces: 'Thy face is mine': faces and fascination in Shakespeare's plays. Fashioning the face: embodiment and desire in early modern poetry. Facing marital cruelty in Shakespeare's The Taming of the Shrew and early modern London. Part 2 Signifying Faces: The two faces of Othello. Facing King Lear. Complex complexions: the facial signification of the black other in Lust's Dominion. Part 3 Staged Faces 'I knew by his face there was something in him': buried stage directions and authorial control. The play of looks: audience and the force of the early modern face. 'The counterfeit presentment of two brothers': the power of portraits in Hamlet. 'This painting wherein you see me smeared': Francis Bacon, Coriolanus, and the brutality of facialization.

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Book SynopsisThe Carthusian monks at San Martino began a series of decorative campaigns in the 1580s that continued until 1757, transforming the church of their monastery, the Certosa di San Martino, into a jewel of marble revetment, painting, and sculpture. The aesthetics of the church generate a jarring moral conflict: few religious orders honored the ideals of poverty and simplicity so ardently yet decorated so sumptuously. In this study, Nick Napoli explores the terms of this conflict and of how it sought resolution amidst the social and economic realities and the political and religious culture of early modern Naples. Napoli mines the documentary record of the decorative campaigns at San Martino, revealing the rich testimony it provides relating to both the monks' and the artists' expectations of how practice and payment should transpire. From these documents, the author delivers insight into the ethical and economic foundations of artistic practice in early modern Naples. The first EnglisTrade Review'This book explores the decoration of the Carthusian monastic complex of San Martino and considers it in relation to Carthusian identity and institutional ideals. It benefits from a good deal of new archival material. It will be of particular interest to specialist scholars on baroque art and architecture, patronage, and of early modern Naples. Its publication coincides with a renewed scholarly interest in Naples and also with a currently fashionable concern with "the business of art".' Helen Hills, University of York, UK, and Co-founder of Neapolitan Network 'The Ethics of Ornament is an intelligent, comprehensive, and highly useful study of the use and meaning of ornament in ecclesiastical art and architecture during this remarkable period of artistic and architectural productivity in Naples.' Vernon H. Minor, University of Illinois, Urbana-Champaign, USATable of ContentsContents: Introduction; Ornament as social virtue: the theory of magnificence from the Duke of Calabria to Severo Turboli; Sanctioned on earth as in the annals of eternity: celebrating Carthusian humility; Justice: nurturing personal and professional trust between patrons and artists; Industry: the enterprise of Cosimo Fanzago in early modern Naples; Towards an enlightened piety; Conclusion; Appendices; Bibliography; Index.

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Book SynopsisRome and Religion in the Medieval World provides a panoramic and interdisciplinary exploration of Rome and religious culture. The studies build upon or engage Thomas F.X. Noble's interest in Rome, especially his landmark contributions to the origins of the Papal States and early medieval image controversies. Scholars from a variety of disciplines offer new viewpoints on key issues and questions relating to medieval religious, cultural and intellectual history. Each study explores different dimensions of Rome and religion, including medieval art, theology, material culture, politics, education, law, and religious practice. Drawing upon a wide range of sources, including manuscripts, relics, historical and normative texts, theological tracts, and poetry, the authors illuminate the complexities of medieval Christianity, especially as practiced in the city of Rome itself, and elsewhere in Europe when influenced by the idea of Rome. Some trace early medieval legacies to the early modern perTable of ContentsThomas F.X. Noble: An Appreciation, Bibliography of the Works of Thomas F.X. Noble, 1974–2013, Discipuli Nobilis 1 “Whatever Mystery May be Given to My Heart”: A Latent Image in Arator’s History of the Apostles 2 Getting to Know Virgil in the Carolingian Age: The Vita Publii Virgilii 3 Why Not to Marry a Foreign Woman: Stephen III’s Letter to Charlemagne 4 Opposition to Pilgrimage in the Reign of Charlemagne? 5 The Sources of Textiles and Vestments in Early Medieval Rome 6 Christening, the Kingdom of the Carolingians, and European Humanity 7 The Astronomer’s Life of Louis the Pious 8 Paschasius Radbertus and Pseudo-Isidore: The Evidence of the Epitaphium Arsenii Rome and Religion in the Medieval World 9 Care of Relics in Early Medieval Rome 10 Rome and the Popes in the Construction of Institutional History and Identity in the Early Middle Ages: The Case of Leiden Universiteitsbibliotheek Scaliger MS 11 What’s in a Psalm? British Library, MS Arundel 60 and the Stuff of Prayer 12 Prolegomenon to a Study of the Vienna Coronation Gospels: Common Knowledge, Scholarship, Tradition, Legend, Myth 13 Toward Evolution: The Structure of Scientific Revolutions and the Receptions of the Libri Carolini in the Seventeenth Century

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Book SynopsisMany historic houses that open to the public in England and Wales - particularly those owned by the National Trust - preserve their contents rather than restore them to a particular period. The former owners of these houses often retained objects from various periods and this layering of history produces interiors that look aged and patinated. Although the reason for this preservation and lack of fashionable renewable can be attributed to declining economic fortunes in the twentieth century, there are many examples of families practising this method of homemaking over a much longer period. Taking National Trust properties as its central focus, this book examines three interlocking themes to examine the role of historic textiles. Firstly it looks at houses with preserved contents together with the reasons for individual families choosing this lifestyle; secondly the role of the National Trust as both guardian and interpreter of these houses and their collections; and finally, and most Table of ContentsFaded and threadbare interiors; Preserving historic houses: interpreting the fabric of the past; Families who preserved their textiles in the past; Conserving textiles: from needlework and housekeeping to professional intervention; Textiles as palimpsest: history held in the surface attributes; Historic textiles with a past and a future; Bibliography; Index.

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Book SynopsisTraditional postcolonial scholarship on art and imperialism emphasises tensions between colonising cores and subjugated peripheries. The ties between London and British white settler colonies have been comparatively neglected. Artworks not only reveal the controlling intentions of imperialist artists in their creation but also the uses to which they were put by others in their afterlives. In many cases they were used to fuel contests over cultural identity which expose a mixture of rifts and consensuses within the British ranks which were frequently assumed to be homogeneous. British Art for Australia, 1860â1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries represents the first systematic and comparative study of collecting British art in Australia between 1860 and 1953 using the archives of the Australian national galleries and other key Australian and UK institutions. Multiple audiences in the disciplines of art history, cultural histTrade Review"British Art for Australia makes a valuable contribution to the histories of Australian art collecting and Anglo-Australian cultural identity. In addition to enriching an understanding of Australian galleries, it will also provide a useful point of comparison for studies investigating the collections development of institutions in other former British settler societies, such as Canada, New Zealand, and South Africa. Potter’s study is well supported by extensive archival research."--Nineteenth-Century Art Worldwide"The book provides a nuanced reading that contributes to our understanding of the complexities of cultural exchange that underpinned the development of the British collections of Australia’s state galleries."--The Burlington Magazine"Potter is thorough in his documentation of how British artworks contained monarchist and imperialist meanings, with depictions of dramatic historical and military events, which were attractive to self-appointed trustees and self-chosen benefactors of the galleries who came from conservative empire-loyalist civic and business elites. ... Potter makes an original contribution to our art history when he explores how the preferences of the galleries as to what artworks were to be acquired were influenced by debates in Australia."--Australian Historical Studies"Matthew Potter’s British Art for Australia contests the still prevalent view that Australia was a "dumping ground" for unfashionable and second-rate British art from the Victorian period until the middle of the twentieth century, when Australia was finally confident enough in its own cultural identity to consign these embarrassing purchases to storage. Instead, Potter argues convincingly that Australian cultural institutions actively sought out the best the British art world had to offer even though they were often constrained by issues of distance and cost, but certainly neither by retardataire taste nor lock-tugging acquiescence to metropolitan dictates."--Art History"The volume summarizes an enormous amount of detailed archival research that draws upon the national gallery archives and includes annual and trustee reports, newspapers, and journals, as well as other more general accounts. This provides an invaluable reference for those in the field ... Potter is to be commended for producing an extensively researched, thought-provoking, and convincing account of the previously overlooked area of acquisitions of British art for Australia."--Victorian StudiesTable of ContentsChapter One: British Art for Australia, 1860-1953: An IntroductionChapter Two: ‘Work that would meet the taste of the Colonists’: British art for Antipodean BritonsChapter Three: ‘The civilization of the people’: Australian national galleries and civic humanismChapter Four: ‘A more extended area for English art’: The British world and the imperial art market Chapter Five: ‘The best equipped agent, with as free a hand’: advisors and selectors of British art for AustraliaChapter Six: ‘A Sop to Cerberus’: Collecting the British Old Masters in AustraliaChapter Seven: ‘One of the many Colonial Delusions’: Australian national galleries and British Landscape PaintingChapter Eight: ‘No highly desirable Pre-Raphaelite picture should be spared from home’: the antipodean pursuit of a British acmeChapter Nine: ‘The gap that is steadily widening’: the acquisition of ‘insular’ British Modernism by Australian national galleries, 1900-1953Chapter Ten: Conclusions

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Book SynopsisIn recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so - for example J.L. Davidâs exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874 - despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include thTrade Review'Exhibiting Outside the Academy, Salon and Biennial, 1775-1999 is unique in its contributions, ambitious in scope and approach, and succeeds in bringing together an impressive range of essays on a timely subject by specialists in the field. This volume fills an important lacuna and provides a welcome and much needed addition to the history of exhibitions and collections.' Dorothy Johnson, University of Iowa, USA'The publication is written in a style that is at once academic presenting original arguments based on thorough, cited research and accessibly lucid. The essays are, almost without exception, engaging and successful in their stated aims.... This volume is recommended for collections with a strong emphasis on exhibition history, the culture of display, and museology.' ARLISTable of ContentsContents: Introduction: Alternative venues, Andrew Graciano; Nathaniel Hone’s 1775 exhibition: the first single-artist retrospective, Konstantinos Stefanis; Branding Shakespeare: Boydell's Shakespeare gallery and the politics of display, Heather McPherson; Fantasy and rivalry: Jean-Baptiste Regnault’s solo exhibition, Paris 1800, Katie Hanson; Rereading ‘Court’ in the touring exhibition of Rembrandt Peale’s Court of Death (1820), Tanya Pohrt; ‘Plasmati dalle sue mani’: Canova’s touch and the Gipsoteca of Possagno, Christina Ferando; Art history as spectacle: blockbuster exhibitions in 1850s England, Amy M. Von Lintel; Merging form and formlessness: the 1892 monotype exhibition by Edgar Degas, Christine Y. Hahn; The radical work of Oskar Kokoschka and the alternative venues of Die Kunstschauen of 1908-1909, Vienna, Austria, Rosa J.H. Berland; Bringing the boudoir into the gallery: Florine Stettheimer’s ‘failed’ solo exhibition, Karen Stock; Exhibiting the museum-function: Marcel Broodthaers and the Musée d’Art Moderne, département des Aigles, Julian Jason Haladyn; Georges Adéagbo: between artwork and exhibition, Kathryn M. Floyd; Epilogue: control issues: creation, display and meaning, Andrew Graciano; Select bibliography; Index.

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Book SynopsisMax Liebermann: Modern Art and Modern Germany is the first English-language examination of this German impressionist painter whose long life and career spanned nine decades. Through a close reading of key paintings and by a discussion of his many cultural networks across Germany and throughout Europe, this study by Marion Deshmukh illuminates Liebermann's importance as a pioneer of German modernism. Critics and admirers alike saw his art as representing aesthetic European modernism at its best. His subjects included dispassionate depictions of the rural Dutch countryside, his colorful garden at the Wannsee, and his many portraits of Germany's cultural, political, and military elites. Liebermann was the largest collector of French Impressionism in Germany - and his cosmopolitan outlook and his art created strong antipathies towards both by political and cultural conservatives throughout his life.Trade Review"Marion Deshmukh has deftly interwoven a comprehensive study of Liebermann’s life, art, and critical reception within a context of the cultural and political history of Wilhelmine and Weimar Germany. Deshmukh has used Liebermann’s "bourgeois modernism" to reassess the unique and conflicted nature of modernism in Germany. Her book is now the definitive English-language source of information on the painter and will no doubt remain so for years to come." - Marsha Morton, Pratt Institute, USA "At long last, a monograph in English on Max Liebermann, one of Germany’s most important cultural figures of the modern era. Meticulously researched, this study is especially welcome for the way in which it weaves together and illuminates Liebermann’s life, art and times in ways that enormously enrich our understanding of how culture intersected with politics in a period of fraught and conflicting ideologies." - Maria Makela, California College of the Arts, USA"The first biography of Liebermann (1847-1935) in English, this densely written, exhaustuvely researched book is far more than a life of critically important modern German Artist. In writing about Liebermann, Deshmukh (emer., history, George Mason Univ.) looks at critical issue of German history during the first half of the 20th century... Summing Up: High recommended." - J.T. Paoletti, Wesleyan University, CHOICE Reviews "This study succeeds in providing a useful survey of many of the existing approaches to Liebermann's work from within the German literature, including the relevance of his interest in Holland, and his position as an advocate for international Modernism in Germany. At the same time, Deshmukh provides fresh perspectives on some of these interpretations, for example in her exploration of Liebermann's art-world networks and the politicisation of his art. The result is a book of considerable value, for both English-speaking scholars of Liebermann and those less familiar with the artist's work." - Lucy Watling, The Burlington MagazineTable of ContentsTable of Contents to come.

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Book SynopsisBritish Models of Art Collecting and the American Response - Reflections Across the Pond presents 14 essays by distinguished art - and cultural - historians. Collectively, they examine points of similarity and difference in the approaches to art collecting practiced in Britain and the United States. Unlike most of their Continental European counterparts, the English and Americans have historically been exceptionally open to collecting the art made by and for other cultures. At the same time, they developed a tradition of opening private collections to a public eager for educational and cultural advancement. Approximately half the essays examine the trends and market forces that dominated the British art collecting scene of the nineteenth century, such as the Orléans sale and the shift away from aristocratic collections to those of the new urban merchant class. The essays that focus on American collectors use biographical sketches of collectors and dealers, as well as case studies of spTable of ContentsContents: Introduction, Inge Reist. Part I Reflections Across the Pond: Pictures across the pond: perspectives and retrospectives, Sir David Cannadine; The revolving door: four centuries of British collecting, James Stourton. Part II The British Model: Conversing with history: the Orléans Collection arrives in Britain, Jordana Pomeroy; James Irvine: picture buying in Italy for William Buchanan and Arthur Champernowne, Hugh Brigstocke; Aristocrats and others: collectors of influence in 18th-century England, Arthur MacGregor; A decade of change and compromise: John Smith (1781-1855) and the selling of old master paintings in the 1830s, Julia Armstrong-Totten; ‘Le goût Rothschild’: the origins and influences of a collecting style, Michael Hall; The 4th Marquess of Hertford and Sir Richard Wallace as collectors: chalk and cheese? Or father and son?, Jeremy Warren; Collecting and connoisseurship in England, 1840-1900: the case of J.C. Robinson, Jonathan Conlin. Part III Americans Embrace and Embellish the British Model: British aspirations on the Chesapeake Bay: Robert Gilmor, Jr (1774-1848) of Baltimore and collecting in the Anglo-American community of the new republic, Lance Humphries; The London picture trade and Knoedler & Co: supplying Dutch old masters to America, 1900-1914, M.J. Ripps; The one that got away: Holbein’s Christina of Denmark and British portraits in the Frick Collection, Ross Finocchio; The long good-bye: heritage and threat in Anglo-America, Neil Harris; Henry E. Huntington: an American model for collecting art and instituting cultural philanthropy, Shelley M. Bennett. Bibliography; Index.

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Book SynopsisThis book is the first full-length study dedicated to French women Orientalist artists. Mary Kelly has gathered primary documentation relating to seventy-two women artists whose works of art can be placed in the canon of French Orientalism between 1861 and 1956. Bringing these artists together for the first time and presenting close contextual analyses of works of art, attention is given to artistsâ cross-cultural interactions with painted/sculpted representations of the Maghreb particularly in Algeria, Tunisia and Morocco. Using an interdisciplinary âopen platform of discussionâ approach, Kelly builds on established theory which places emphases on the gendered gaze. This entails a discussion on womenâs painted perspectives of and contacts with Muslim women as well as various Maghrebi cultures and landâall the while remaining mindful of the subject position of the French artist and the problematic issues which can arise when discussing European-made âethnographicâ scTrade Review"Mary Kelly’s book, spanning the heyday of nineteenth-century Orientalism into twentieth-century Modernism, is a timely and innovative contribution to orientalist art studies. The importance of Kelly’s highly original work in broadening the canon of French women Orientalists cannot be overstated. She has expanded and redefined the field through this ambitious account of women artists. From now on, it should not be possible to marginalize women’s contribution in any study of French Orientalism." Mary Roberts, Professor of Art History and Nineteenth-Century Studies, University of Sydney and author of Istanbul Exchanges: Ottomans, Orientalists and Nineteenth-Century Visual Culture (2015) and Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature (2007) "For too long, progressive debates on French Orientalism have been driven by the eroticized harem and slave market scenes painted by Western male artists in the nineteenth century. Mary Kelly’s new book, a brilliant and welcome intervention into these debates, highlights the work of dozens of lesser-known French women artists who functioned professionally as Orientalists in the modern era, countering the sexualized stereotype of Muslim women with images that focused instead on their cultural and economic contributions to contemporary life. Through compelling cross-cultural analyses, Kelly poses nuanced questions about the gendered fantasies and realities of Orientalism, and her book reveals the multiple ways in which gender and the female gaze can complicate post-colonialism’s unitary notion of a 'Western' way of seeing the 'Orient.'"Norma Broude, Professor Emerita of Art History, American University and author of Gauguin’s Challenge: New Perspectives After Postmodernism (2018) and Impressionism, A Feminist Reading: The Gendering of Art, Science, and Nature in the Nineteenth Century (1991, 1997)"Mary Kelly’s book adds rich new materials to the debate about Orientalism in art. Through detailed primary research she enhances our knowledge of the practices of women artists in depicting the Mahgreb – a region spanning Algeria, Tunisia and Morocco – and the reception of their works in Paris. French Women Orientalist Artists makes a powerful connection between the depiction of female subjects in the 'East' and the life of those in the 'West.' The artists seen anew here, Kelly persuasively argues, 'painted modernising views of Muslim women which were in keeping with their own female situations as modern women in Europe.' The book contributes a wealth of new biographical data and presents close analyses of hitherto overlooked works. This new material undergirds Mary Kelly’s insistence that gender must be understood as a key variable inflecting subject position of the Orientalist painter. Impressively rich case studies of little-known artists such as Marie Élisabeth Aimée Lucas-Robiquet and Ketty Carré demand a revision of the canon of Orientalist work both before and after the advent of Modernism. More importantly, however, to look closely at this work, as Kelly does, is to revise our conception of modern painting as a whole."Tim Barringer, Paul Mellon Professor and Chair of the Department of the History of Art, Yale University, co-editor of Colonialism and the Object, Art and the British Empire and Art and Emancipation in Jamaica (2007); author of Men at Work: Art and Labour in Victorian Britain and Reading the Pre-Raphaelites (2006)Table of Contents1. Marie Élisabeth Aimée Lucas-Robiquet (1858–1959): Interior Depictions of Maghrebi Weavers 2. Interior Representations of Maghrebi Women 3. Describing the Maghrebi Exterior: Women Orientalists’ Depictions of Life and Landscape 4. Modernism in the Works of French Women Orientalists

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Book Synopsis''The most important art historian of his generation' is how some scholars have described the late Michael Baxandall (1933-2007), Professor of the Classical Tradition at the Warburg Institute, University of London, and of the History of Art at the University of California, Berkeley. Baxandall's work had a transformative effect on the study of European Renaissance and eighteenth-century art, and contributed to a complex transition in the aims and methods of art history in general during the 1970s, '80s and '90s. While influential, he was also an especially subtle and independent thinker - occasionally a controversial one - and many of the implications of his work have yet to be fully understood and assimilated. This collection of 10 essays endeavors to assess the nature of Baxandall's achievement, and in particular to address the issue of the challenges it offers to the practice of art history today. This volume provides the most comprehensive assessment of Baxandall's work to date, whTrade Review'The book is a palpable record of a powerful mind.'--CAA Reviews'Adopting a range of approaches, the contributors to this volume make a compelling case for the ongoing importance of Baxandall's art historical writing. Revealing the succession of intellectual identities that constituted his extraordinary career, we re-discover the Leavis disciple and "Burkhardtian" Renaissance historian of the 1950s; the philological student of humanist writing on art that emerged in the following decade; the social historian of the 1970s; and the "inferential critic" of the 80s and 90s together with the late return to the Renaissance in Words for Pictures. Anyone who cares about the role of history and criticism in writing about art will want to read this book.' --Stephen Campbell, Johns Hopkins University, USATable of ContentsContents: Introduction: Of tact and moral urgency; The visual conditions of pictorial meaning, Alex Potts; ‘To do a Leavis on visual art:’ the place of F.R. Leavis in Michael Baxandall’s intellectual formation, Jules Lubbock; Baxandall and Gramsci: pictorial intelligence and organic intellectuals, Alberto Frigo; Art history, re-enactment, and the idiographic stance, Whitney Davis; Inferential criticism and Kunstwissenschaft, Robert Williams; The presence of light, Paul Hills; Printing and experience in 18th-century Italy, Evelyn Lincoln; Pattern and individual: Limewood Sculptors and A Grasp Of Kaspar, Peter Mack; Michael Baxandall’s ‘stationing’, Elizabeth Cook; Index.

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Book SynopsisTaking the Noli me tangere and Doubting Thomas episodes as a focal point, this study examines how visual representations of two of the most compelling and related Christian stories engaged with changing devotional and cultural ideals in Renaissance and Baroque Italy. This book reconsiders depictions of the ambiguous encounter of Mary Magdalene and Christ in the garden (John 20:11-19, known as the Noli me tangere) and that of Christâs post-Resurrection appearance to Thomas (John 20:24-29, the Doubting Thomas) as manifestations of complex theological and art theoretical milieus. By focusing on key artistic monuments of the Italian Renaissance and Baroque periods, the authors demonstrate a relationship between the rise of skeptical philosophy and empirical science, and the efficacy of the senses in the construction of belief. Further, the authors elucidate the differing representational strategies employed by artists to depict touch, and the ways in which these strategies were shaped Trade Review"Given its wide use of literary source material, Faith, Gender and the Senses in Italian Renaissance and Baroque Art will appeal to early modern scholars across a range of disciplines, not only within the history of art. From a strictly practical perspective, the individual chapters will also make for focused reading assignments for the Renaissance and/or Baroque student. The amount of textual and visual evidence consulted is truly impressive, and the study will become a useful source for anyone working on either of these subjects or in gender studies." - CAA ReviewsTable of ContentsContents: Preface; Introduction; Verifying the Resurrection: St. Mary Magdalene and St. Thomas at the intersection of word and image, c. 400-1300; Mary Magdalene as a model of piety in mendicant art; The Doubting Thomas and Franciscan renewal in the early Renaissance; ‘Toccate il vero’: evidence, belief, and images of the Doubting Thomas in the public eye; The decorum of touch: private devotional images of St. Mary Magdalene and the Noli me tangere in central and northern Italy; Experiencing faith after the Reformation; Conclusion; Bibliography; Index.

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Book SynopsisThis book is the first study to consider the extraordinary manuscript now known as the Carrara Herbal (British Library, Egerton 2020) within the complex network of medical, artistic and intellectual traditions from which it emerged. The manuscript contains an illustrated, vernacular copy of the thirteenth-century pharmacopeia by Ibn SarÄbÄ, an Arabic-speaking Christian physician working in al-Andalus known in the West as Serapion the Younger. By 1290, Serapionâs treatise was available in Latin translation and circulated widely in medical schools across the Italian peninsula.Commissioned in the late fourteenth century by the prince of Padua, Francesco II âil Novelloâ da Carrara (r. 1390â1405), the Carrara Herbal attests to the growing presence of Arabic medicine both inside and outside of the University. Its contents speak to the Carrara familyâs historic role as patrons and protectors of the Studium, yet its form â a luxury book in Paduan dialect adorned Trade Review‘Kyle’s work represents a significant contribution to the history of the circulation of knowledge and ideas, being of great interest for historians of science (medicine in particular), art historians, and scholars of humanism... Kyle’s research goes beyond the object in discovering a whole world of connections, themes, and patterns within an intricate network of medical, artistic, and intellectual knowledge that could only be found and analyzed by an acute and detective-minded scholar’ – ISIS (Volume 110: 4, December 2019).‘The study draws on textual and artistic sources, humanist and antique writings by men of letters (mostly Petrarch) and by physicians, providing a fine compendium of original sources for the topics discussed… Kyle’s study provides a novel insight into understanding the Carrara Herbal ’s genesis from the ideologies of court culture and medicine as well as its status within them. In particular, it generates perspectives for a better understanding of similar health book commissions, to name only the Tacuina sanitatis, created for the rival court of the Visconti dynasty at Milan. It will therefore find readers among those interested in art history and history of the book as well as in the history of sciences and medicine’ – Renaissance Quarterly (Volume LXXI, No. 3)‘With respect to the topic relating medicine to Humanism, the relevant sections – the bulk of the book – are erudite, carefully referenced and are an important addition to studies of Humanism in late Medieval Italy’ – Garden History (45:2).‘Kyle’s extensive exploration starts from the Carrara Herbal as an object, and her investigation of its various contexts makes her cross and recross the boundaries between art history, the study of humanism, and the history of medicine … The erudition that underpins this study is massive, and ranges widely in terms of subjects as well as a long way back in history’ – Nuncius (33; 2018).‘Sarah Kyle’s Medicine and Humanism in Late Medieval Italy: The Carrara Herbal is the delightful and useful first book of a young scholar… Kyle is an art historian at the University of Central Oklahoma with a penchant for interdisciplinarity. She is at her best writing about art history, something that she does with remarkable clarity in beautiful prose. She is equally remarkable at tackling medical history subjects… Overall, Kyle has managed to produce a good first book, which will be useful to American undergraduates, and will delight more experienced researchers with its interdisciplinary flair’ - British Journal for the History of Science (51:1; 2018).‘… Kyle gelingt es durch eine bemerkenswerte Literaturrecherche eindrucksvoll, die diversen Quellen, Traditionsstränge, das kulturelle und höfische Umfeld, das wissenschaftliche Milieu und die künstlerischen Kontexte der einzigartigen Handschrift zu entschlüsseln. Das wahre Verständnis des Herbariums ist, folgt man ihr, nur möglich, wenn man den Inhalt mit weiteren zeitgenössischen Paduaner Manuskripten korreliert und als programmatischen Anspruch einer umfassenden höfischen Kultur interpretiert. Padua wurde in dieser Hinsicht, was die Selbstinszenierung und kulturelle Konstruktion der Herrscherfamilie betraf, sogar für die Florentiner Medici, geschweige denn viele kleinere Signorien in Oberitalien zum Vorbild’ - Zeitschrift für Historische Forschung 45, 2018. (In English translation: ‘… Kyle impressively succeeds, through remarkable research into the literature, in deciphering this unique manuscript’s diverse sources, strands of tradition, cultural and courtly environment, scientific milieu, and artistic contexts. The true understanding of the herbal, to follow her argument, is possible only if one correlates the content with additional contemporary Paduan manuscripts and interprets it as a programmatic claim of an extensive courtly culture. In this respect, as regards the self-presentation and cultural construction of the ruling [Carrara] family, Padua became the model not only for the many smaller signorie in northern Italy, but even for the Florentine Medici’).'Kyle’s work represents a significant contribution to the history of the circulation of knowledge and ideas, being of great interest for historians of science (medicine in particular), art historians, and scholars of humanism—as its title indeed suggests. It is therefore not just a herbal, and Kyle’s research goes beyond the object in discovering a whole world of connections, themes, and patterns within an intricate networkof medical, artistic, and intellectual knowledge that could only be found and analyzed by an acute and detective-minded scholar.' - Dr. Raffaella Bruzzone.‘This book represents the first major study of London, British Library, MS Egerton 2020. Better known as the Herbarium Carrara (the Carrara Herbal), it is an ambitious translation from Latin into Italian—Paduan dialect, to be specific—of the Libro dei Semplici (The Book of Simple Medicaments) by Ibn Sarābī, the mid-thirteenth-century Christian physician better known in the West as Serapion the Younger... Sarah Kyle’s analysis of the material within the framework of the long tradition of Latin translations of Serapion opens the way for her to examine the manuscript’s origins in depth.’ - Speculum 95/2 (April 2020).Table of ContentsIntroduction: Medicine and Metaphor at the Carrara Court / 1. The Carrara Herbal and the Traditions of Illustrated Books of Materia Medica / 2. The Healthy Pleasures of Reading the Carrara Herbal / 3. The ‘Physician Prince’ and his Book / 4. Portraits of the Carrara / 5. Physiognomy in Late Medieval Padua / 6. Embodiments of Virtue in Francesco Novello’s Library / Conclusion / Appendix: List of Manuscripts from Francesco Zago’s Inventory, 1404

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Book SynopsisLiving in Digital Worlds investigates the relationship between human society and technology, as our private and particularly our public lives are increasingly undertaken in spaces that are inherently digital: digital public spaces. The book unpicks why digital technology is such an inextricable part of modern society, first by examining the historical relationship between technological development and the early progression of human sociality. This is then followed by an examination of the ways in which modern life is currently being impacted by the expansion of digital information and devices into multiple aspects of our lives, including focuses on privacy, bias and ownership in digital spaces. Finally, it explores potential future developments and their implications, and proposes that it is crucial to consider the design of technology and systems in order to support a positive and beneficial direction of change. Each chapter includes case studies, primarily dTable of ContentsAcknowledgements, List of Figures, Introduction, Section 1: How did we get here, Chapter 1 – Defining the Digital Public Space, Chapter 2 – Digital Public Space for the evolved mind, Section 2: What are the attributes and effects of DPS, Chapter 3 – The Physicality of Digital Public Space, Chapter 4 – Inhabiting Digital Information Space, Section 3: What are the consequences of DPS, Chapter 5 – Transactions, payment and ownership, Chapter 6 – Challenges of the Digital Public Space: Privacy, Chapter 7 – Challenges of the Digital Public Space: Bias, Section 4: How do we design digital futures, Chapter 8 – Futures of Digital Public Space, Chapter 9 – Design processes and management in digital public space, Index

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Book SynopsisThe social problem of infant abandonment captured the public's imagination in Italy during the fifteenth century, a critical period of innovation and development in charitable discourses. As charity toward foundlings became a political priority, the patrons and supporters of foundling hospitals turned to visual culture to help them make their charitable work understandable to a wide audience. Focusing on four institutions in central Italy that possess significant surviving visual and archival material, Visual Cultures of Foundling Care in Renaissance Italy examines the discursive processes through which foundling care was identified, conceptualized, and promoted. The first book to consider the visual culture of foundling hospitals in Renaissance Italy, this study looks beyond the textual evidence to demonstrate that the institutional identities of foundling hospitals were articulated by means of a wide variety of visual forms, including book illumination, altarpieces, fresco cycles, iTrade Review'A rich and original study full of revealing insights. Presciutti shows how much more we can learn about the foundling homes of Florence, Rome, and Bologna when we compare them systematically. Working through many archives for documents and images, she is masterful in her interdisciplinary treatment of visual culture as a means of advertising and "branding" foundling homes at a time when public acceptance of these new forms of institutional charity was far from certain.' Nicholas Terpstra, University of Toronto, CanadaTable of ContentsTable of Contents to come.

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Book SynopsisIn his landmark volume Space, Time and Architecture, Sigfried Giedion paired images of two iconic spirals: Tatlin's Monument to the Third International and Borromini's dome for Sant'Ivo alla Sapienza. The values shared between the baroque age and the modern were thus encapsulated on a single page spread. As Giedion put it, writing of Sant'Ivo, Borromini accomplished ''the movement of the whole pattern [...] from the ground to the lantern, without entirely ending even there.'' And yet he merely ''groped'' towards that which could ''be completely effected'' in modern architecture-achieving ''the transition between inner and outer space.'' The intellectual debt of modern architecture to modernist historians who were ostensibly preoccupied with the art and architecture of earlier epochs is now widely acknowledged. This volume extends this work by contributing to the dual projects of the intellectual history of modern architecture and the history of architectural historiography. It consideTable of ContentsChapter 1 Defining a Problem: Modern Architecture and the Baroque Chapter 2 Engaging the Past: Albert Ilg’s Die Zukunft des Barockstil Chapter 3 Großstadt as Barockstadt: Art History, Advertising and the Surface of the Neo-Baroque Chapter 4 The “Restless Allure” of (Architectural) Form: Space and Perception between Germany, Russia and the Soviet Union Chapter 5 Geoffrey Scott, the Baroque, and the Picturesque Chapter 6 Against Formalism: Aspects of the Historiography of the Baroque in Weimar Germany, 1918–33 Chapter 7 Riegl and Wölfflin in Dialogue on the Baroque Chapter 8 Beyond the Vienna School: Sedlmayr and Borromini Chapter 9 Pevsner’s Kunstgeographie: From Liepzig’s Baroque to the Englishness of Modern English Architecture Chapter 10 The Future of the Baroque, c. 1945 Chapter 11 Giedion as Guide: Space, Time and Architecture and the Modernist Reception of Baroque Rome Chapter 12 Reading Aalto through the Baroque: Constituent Facts, Dynamic Pluralities, and Formal Latencies Chapter 13 Taking the Sting out of the Baroque: Wittkower, 1958 Chapter 14 Pierre Charpentrat and Baroque Functionalism 15 From Spatial Feeling to Functionalist Design: Contrasting Representations of the Baroque in Steen Eiler Rasmussen’s Experiencing Architecture Chapter 16 From Michelangelo to Borromini: Bruno Zevi and Operative Criticism Chapter 17 Between History and Design: The Baroque Legacy in the Work of Paolo Portoghesi Chapter 18 Steinberg’s Complexity Chapter 19 The “Recurrence” of the Baroque in Architecture: Giedion and Norberg-Schulz’s Approaches to Constancy and Change Chapter 20 The Future of the Baroque, c. 1980

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Book SynopsisAntiquarianism and the Visual Histories of Louis XIV: Artifacts for a Future Past provides a new interpretation of objects and images commissioned by Louis XIV (1638-1715) to document his reign for posterity. The Sun King''s image-makers based their prediction of how future historians would interpret the material remains of their culture on contemporary antiquarian methods, creating new works of art as artifacts for a future time. The need for such items to function as historical evidence led to many pictorial developments, and medals played a central role in this. Coin-like in form but not currency, the medal was the consummate antiquarian object, made in imitation of ancient coins used to study the past. Yet medals are often elided from the narrative of the arts of ancient règime France, their neglect wholly disproportionate to the cultural status that they once held. This revisionary study uncovers a numismatic sensibility throughout the iconography of Louis XIV, and in theTrade Review'Antiquarianism and the Visual Histories of Louis XIV is carefully researched and well-written. Robert Wellington explores the significance of medals created during the reign of Louis XIV, which are often dismissed as mere vehicles of royal propaganda. Instead, he asserts medals played an active, pervasive, and complex role not only in the crafting of the regal image of the king, but also in the projection of his legacy into the future. Wellington's thorough examination of the elite practice and practitioners of antiquarianism, the institutional body of the Petite Acad e that was responsible for the design and inscriptions of medals, the collecting and display of the medals in the Cabinet des M illes at Versailles, and the various engraved reproductions of numismatic collections, makes this study an important contribution to the scholarship of the artistic, cultural, institutional and intellectual history of the France of Louis XIV.' Julie Anne Plax, University of Arizona, USA 'Placing medals, antiquaries and posterity at the centre of his story, Robert Wellington approaches the public image of Louis XIV from a new angle.' Peter Burke, Emmanuel College Cambridge 'Robert Wellington's fascinating and comprehensive account of the great programme of visual commemoration undertaken by Louis XIV and his government throws new light on this complex and revealing portrait of an extraordinary reign.' Mark Jones, Master of St Cross College, Oxford, UK 'Archival sources and rare publications from the time are mined in this important scholarly account, which mounts a strong argument for the cultural importance of the medals and the centrality of a 'numismatic sensibility' throughout Louis' iconography.' The Medal, no 67, Autumn 2015"What is particularly significant in Antiquarianism and the Visual Histories of Louis XIV is that the majority of the book is about numismatics as science and source, littleTable of ContentsContents: Introduction: medals and the material turn in the king’s history; Antiquarianism at court; The Petite Académie and the histoire métallique of Louis XIV; The Cabinet des Médailles at Versailles; Images inscribed and described by the Petite Académie; The antiquarian origins of Louis XIV’s medals books; Portraiture, physiognomy, and the numismatic sensibility; Numismatic resonances: Le Brun’s cycle for the Hall of Mirrors at Versailles; Epilogue; Bibliography; Index.

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Book SynopsisIn recent years, art historians have begun to delve into the patronage, production and reception of sculptures-sculptors'' workshop practices; practical, aesthetic, and esoteric considerations of material and materiality; and the meanings associated with materials and the makers of sculptures. This volume brings together some of the top scholars in the field, to investigate how sculptors in early modern Italy confronted such challenges as procurement of materials, their costs, shipping and transportation issues, and technical problems of materials, along with the meanings of the usage, hierarchies of materials, and processes of material acquisition and production. Contributors also explore the implications of these facets in terms of the intended and perceived meaning(s) for the viewer, patron, and/or artist. A highlight of the collection is the epilogue, an interview with a contemporary artist of large-scale stone sculpture, which reveals the similar challenges sculptors still encountTrade Review'The book takes up two topics that are almost never considered together - how sculpture is made, and then, how it gets to its destination. The geographical sweep is refreshingly broad, up and down the Italian peninsula and westward into France and Spain. The well-written essays by notable scholars cover a range of media and types of commissions, from Donatello’s sculpture for the High Altar in the Santo in Padua to Bernini’s work in the San Pietro fabbrica. The wealth of material presented here sheds light on important sculptural works about which we may have thought nothing new could be said.' Debra Pincus, independent scholar, Washington, D.C., US 'Making and Moving Sculpture in Early Modern Italy recognizes the physicality and mass that distinguish sculpture, from its glittering surfaces to its interior core. It addresses overlooked areas of art-making by refocusing on some of the most basic and compelling issues of the sculptor, namely the practical considerations of creating, moving, and otherwise engineering the three-dimensional object. With essays by leading scholars and a practicing sculptor, the book is a fitting complement to the more interpretive and abstract studies that currently dominate scholarship in the visual arts ... an original and timely contribution to the field of early modern sculpture.' Victor Coonin, Rhodes College, USA'Making and Moving Sculpture in Early Modern Italy is certainly an important addition to the growing field of studies on the mobility and materiality of sculpture, and it offers new insights on many aspects of the history of sculpture that will certainly have a lasting impact on the field and provide materials for further studies and reflections on the variety of themes addressed. The wealth of new evidence and ideas emerging from this book makes it a mandatory addition to the library of any scholar interested in sculpture.' CAA ReviewsTable of ContentsTable of Contents to come.

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Book SynopsisIn this ground-breaking book, a theory of 'distortion' - of the way in which the processes of human life are subject to interference, diversion and transformation - is developed by way of the art of one of Britain's greatest twentieth-century painters and that art's public reception. Devoted to his native village of Cookham-on-Thames, Stanley Spencer painted not only landscapes and portraits with loving detail but also the 'memory-feelings' which he felt were a 'sacred' part of his consciousness. Yet Spencer was also a controversial public figure, with some taking the view that his visionary paintings were ugly distortions of human life, even marks of an immoral nature. Examining how Spencer lived his vision, how he painted it and wrote it, and also how his attempts to communicate that vision were received by his contemporaries and have continued to be interpreted since his death, the author posits distortion as key: an intrinsic aspect both of human creation and of human interactionTrade Review'This remarkable work may well be the crowning achievement in Nigel Rapport’s already distinguished anthropological and literary oeuvre. Not only does Rapport succeed brilliantly in doing justice to Stanley Spencer’s eccentric life and his religious and distorted ways of seeing; he offers a stunning critique of an anthropology of art that has all too often privileged sociological reductions over in-depth explorations of the quiddity of things, the contingency of events, and the irreducibility of the individual.' Michael Jackson, Harvard Divinity School, USATable of ContentsPreface. Part I An Introduction to Stanley Spencer, Distortion, and Methodology: The anthropological project; Introducing Stanley Spencer as painter and as public figure; Introducing distortion as a concept; Methodological considerations, and doubts. Part II Stanley Spencer’s Vision: Painting love and redemption: Stanley’s metaphysics; Inspiration and the creative process: ‘definition through passion’; First conversation: ‘what kind of art is Stanley Spencer’s’?; 1932 to 1938: ‘the beatitudes of love’; Distortion and Stanley’s reaction to it; Second conversation: ‘what do Stanley Spencer’s distortions mean?’. Part III A Human Document: Distortion in individual consciousness and in social relations, and love; Third conversation: ‘the Stanley Spencer Gallery as labour of love?’. Bibliography; Indexes.

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Book SynopsisConsuming Surrealism in American Culture: Dissident Modernism argues that Surrealism worked as a powerful agitator to disrupt dominant ideas of modern art in the United States. Unlike standard accounts that focus on Surrealism in the U.S. during the 1940s as a point of departure for the ascendance of the New York School, this study contends that Surrealism has been integral to the development of American visual culture over the course of the twentieth century. Through analysis of Surrealism in both the museum and the marketplace, Sandra Zalman tackles Surrealismâs multi-faceted circulation as both elite and popular. Zalman shows how the American encounter with Surrealism was shaped by Alfred Barr, William Rubin and Rosalind Krauss as these influential curators mobilized Surrealism to compose, to concretize, or to unseat narratives of modern art in the 1930s, 1960s and 1980s - alongside Surrealismâs intersection with advertising, Magic Realism, Pop, and the rise of contemporary photograTrade ReviewWinner of 2016 SECAC Award for Excellence in Scholarly Research and Publication'Zalman brilliantly explicates Salvador Dalí­’s enactment of a kind of primal scene of American modernism, which alone makes the book essential reading. As she recounts, this was realized in his super-spectacle at the 1939 World’s Fair, and, more generally, in the amorous mutual embrace between Dalí­ and the U.S. advertising and film industries. It is this latter relationship that damned and marginalized him in 20th-century art history. One lesson of Zalman’s book is that despite the deep shame that this period of Dalí’s art prompted in the New York art world, it made it impossible for American critics to continue to deny modern art's eager participation in the booming wealth of American commerce.' Claudia Mesch, Arizona State University, USA 'Embracing Surrealism’s "pluralist and hybrid nature", Sandra Zalman offers a well-argued and wittily revisionist history of Surrealism and its legacy in the United States, astutely parsing the intersection of art and commerce which characterized America’s embrace of European modernism’s most expansive movement. Zalman’s study ranges from Alfred Barr’s 1936 Fantastic Art, Dada, Surrealism at New York’s Museum of Modern Art to the immersive environment created by John Baldessari for Magritte and Contemporary Art at the Los Angeles County Museum of Art in 2006. Both authoritative and immediately engaging, Zalman brings a scholar’s eye to the hidden persuaders of advertising copy and exhibition design, as well as to landmark works of art and critical texts that defined the ascendency of American art in the post-war era.' Alison de Lima Greene, The Museum of Fine Arts, Houston, USA 'Sandra Zalman has produced the most deeply and imaginatively researched account of the profound ways in which European Surrealism altered not just American art but the wider culture as well. Fluently written and full of riveting details, hers is now the definitive study of this vital, long-running phenomenon.' Thomas Crow, Institute of Fine Arts, New York University, USA 'Sandra Zalman's lucid analysis of the reception of Surrealism in America should be required reading for anyone interested in the movement. By showing how Surrealism's engagement with mass culture was deployed and re-deployed as a critical tool for understanding contemporary art, she offers a fresh look at the collapsing distinctions between modernism and commerce in the closing decades of the twentieth century.' Theresa Papanikolas, Curator of European and American Art, Honolulu Museum of Art, and author of Anarchism and the Advent of Paris Dada: Art and Criticism, 1914-1924Table of ContentsTable of Contents to come.

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Book SynopsisIn early modern Europe, discernment emerged as a key notion at the intersection of various domains in both learned and artisanal cultures. Often used synonymously with judgment, ingenuity, and taste, discernment defined the ability to perceive and understand the secrets of nature and art, and became explicitly connected with a kind of knowledge available only to experts in the respective fields. With contributions by historians of art and historians of science, and with geographic coverage focusing on the Low Countries and their multiple connections to different parts of the world, this volume reframes recent scholarship on what the editors term 'cultures of knowledge and discernment' in the early modern period. The collection is innovative in its focus on investigating types of knowledge linked to what was then called the 'science' (scientia) of art, to artistic expertise and connoisseurship, and to 'secrets of art and nature.'Table of ContentsTable of ContentsIllustrationsNotes on ContributorsAcknowledgmentsIntroduction: Hidden ArtificesSven Dupré and Christine Göttler Part I: Sites of Discernment1 Transforming Nature into Art: Fall of the Rebel Angels (1562) by Pieter Bruegel the ElderTine Luk Meganck2 Vulcan’s Forge: The Sphere of Art in Early Modern AntwerpChristine Göttler Part II: Artifices and Imitation3 Superb Craftsmanship in Antwerp: Baroque Goldsmiths’ Work in Competition with the Visual ArtsLorenz Seelig 4 The Veronica according to Zurbarán: Painting as Figura, and Image as VestigioFelipe Pereda 5 ‘The Various Natures of Middling Colours We May Learne of Painters’. Sir Kenelm Digby Looks at Rubens and Van DyckKarin Leonhard Part III: Secrets and Knowledge6 Oil Painting as a Workshop Secret: On Calumnies, Legends, and Critical InvestigationsOskar Bätschmann 7 Peiresc in the Parisian ‘Jewel House’ Peter N. Miller 8 Germanic Antiquity in Rembrandt’s CircleThijs Weststeijn Part IV: Mechanical Science and Technique9 Rembrandt and Painting as a Mechanical Science in Dutch Seventeenth-Century ArtJan Blanc10 From Mechanism to Technique: Diderot, Chardin, and the Practice of Painting Paul Taylor

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Book SynopsisVenetian artistic giants of the sixteenth century, such as Giorgione, Vittore Carpaccio, Titian, Jacopo Sansovino, Jacopo Tintoretto, Paolo Veronese, and their contemporaries, continued to shape artistic development, tastes in collecting, and modes of display long after their own practices ended. The robust reverberation of the Venetian Renaissance spread far beyond the borders of the lagoon to inform and influence artists, authors, and collectors who spent very little or even no time in Venice proper. The Enduring Legacy of Venetian Renaissance Art investigates the historical resonance of Venetian sixteenth-century art and explores its afterlife and its reinvention by artists working in its shadow. Despite being a frequently acknowledged truism, the pervasive legacy of Venetian sixteenth-century art has not received comprehensive treatment in recent publication history. The broad scope of the topics covered in these essays, from Titian's profound influence on the development of landscTable of ContentsTable of ContentsList of IllustrationsNotes on the ContributorsAcknowledgementsIntroduction: In the Shadow of La SerenissimaAndaleeb Badiee Banta and Lindsey P. SchneiderChapter 1: The Neurosis of Visual Legacy: Seicento Venetian Painters Confront Their PastTaryn Marie ZarrilloChapter 2: "Il Prete Genovese:" Bernardo Strozzi and the Venetian CinquecentoAndaleeb Badiee BantaChapter 3: Titian and Tintoretto in the Sacristy of Santa Maria della Salute: a Seicento "Accademia" for Displaced Treasures of the Venetian CinquecentoAllison ShermanChapter 4: "A beautiful woman should break her mirror early:" The Rokeby Venus, the Venetians, and GraciánAneta Georgievska-ShineChapter 5: "A Good Friend of our Venetian Maniera:" Pietro da Cortona and Neo-Venetianism in Roman Painting after 1650Lindsey P. SchneiderChapter 6: Paolo Veronese Revisited: Art Collecting and Connoisseurship in Eighteenth-Century Venice Linda BoreanChapter 7: Antonio Corradini, the Collegio dei scultori, and the Neo-Cinquecentismo in Venice around 1720Matej KlemenčičChapter 8: Displaying Objects and Performing Publics: Antonio Maria Zanetti’s Delle Antiche StatueJanna IsraelChapter 9: The Long Shadows of Titian’s Trees Leopoldine ProsperettiChapter 10: Conjuring Venetian Costume: The Influence of Cinquecento Paintings in Mariano Fortuny’s Dress DesignsWendy Ligon SmithAfterword: Quick to Say Good-Bye, Hard to Forget: The Long Lives of Cinquecento Venetian PicturesJodi CranstonWorks CitedIndex

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Book SynopsisDocumentary photography is undergoing an unprecedented transformation as it adapts to the impact of digital technology, social media and new distribution methods. In this book, photographer and educator Michelle Bogre contextualizes these changes by offering a historical, theoretical and practical perspective on documentary photography from its inception to the present day. Documentary Photography Reconsidered is structured around key concepts, such as the photograph as witness, as evidence, as memory, as narrative and as a vehicle for activism and social change. Chapters include in-depth interviews with some of the world''s leading contemporary practitioners, demonstrating the wide variety of different working styles, techniques and topics available to new photographers entering the field. Every key concept is illustrated with work from a range of innovative, influential and often under-represented photographers, giving a flavor of the depth and range of projects from the history of tTrade Review"Offering wide-ranging examples of documentary photography, more than 160 images depict subjects from the ravages of the Civil War to family life in Southeast Ohio’s Appalachia. Highly recommended. - CHOICE A much needed comprehensive consideration of where documentary photography is today, led by the voices of diverse practitioners working in the field. - Siân Addicott, University of Wales Trinity Saint David, UK"Table of ContentsForeword: Steven MayesIntroductionChapter 1. Reconsidering Documentary PhotographyChapter 2. Documentary Photography and MemoryChapter 3: The Documentary Photograph as EvidenceChapter 4. The Photographer as WitnessChapter 5: NarrativeAppendix: ResourcesBibliographyEndnotesList of IllustrationsIndex

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