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Artifice and Illusion
Samuel van Hoogstraten is familiar to scholars of Dutch art as a talented pupil and early critic of Rembrandt, and as the author of a major Dutch painting treatise. In this book, Celeste Brusati looks at the art, writing, and career of this multifaceted artist. A rich appreciation of one of the most often cited but least understood figures in seventeenth-century Dutch art, this book will interest scholars and students of art history, social history, and visual culture.
The Idol in the Age of Art
After 1500, as Catholic Europe fragmented into warring sects, evidence of a pagan past came newly into view, and travelers to distant places encountered deeply unfamiliar visual cultures, it became ever more pressing to distinguish between the sacred image and its opposite, the 'idol'. Historians and philosophers have long attended to Reformation charges of idolatry - the premise for image-breaking - but only very recently have scholars begun to consider the ways that the idol occasioned the making no less than the destruction. The present book focuses on how idols and ideas about them matter for the history of early modern objects produced around the globe, especially those created in the c...
Samuel van Hoogstraten's Introduction to the Academy of Painting; or, The Visible World
A unique seventeenth-century account of painting as it was practiced, taught, and discussed during a period of extraordinary artistic and intellectual ferment in the Netherlands. The only comprehensive work on painting written by a Dutch artist in the later seventeenth century, Samuel van Hoogstraten’s Inleyding tot de hooge schoole der schilderkonst, anders de zichtbaere werelt (Introduction to the Academy of Painting; or, The Visible World, 1678) has long served as a source of valuable insights on a range of topics, from firsthand reports of training in Rembrandt’s studio to contemporary engagements with perspective, optics, experimental philosophy, the economics of art, and more. Van ...
The Body of the Artisan
Since the time of Aristotle, the making of knowledge and the making of objects have generally been considered separate enterprises. Yet during the late sixteenth and early seventeenth centuries, the two became linked through a "new" philosophy known as science. In The Body of the Artisan, Pamela H. Smith demonstrates how much early modern science owed to an unlikely source-artists and artisans. From goldsmiths to locksmiths and from carpenters to painters, artists and artisans were much sought after by the new scientists for their intimate, hands-on knowledge of natural materials and the ability to manipulate them. Drawing on a fascinating array of new evidence from northern Europe including artisans' objects and their writings, Smith shows how artisans saw all knowledge as rooted in matter and nature. With nearly two hundred images, The Body of the Artisan provides astonishingly vivid examples of this Renaissance synergy among art, craft, and science, and recovers a forgotten episode of the Scientific Revolution-an episode that forever altered the way we see the natural world.
The Vexations of Art
Now available in paperback A major art historian reflects on a great tradition of European painting. "The Vexations of Art is an engrossing, passionate attempt to re-engage with painting as a mode of thought at a time when 'it is not clear in what form the resource of painting?for surely painting has been a singular resource of the greater European culture?will continue."?Jackie Wullschlager, Financial Times "[A] fascinating book that will surely generate discussion for some time to come."?Mindy Nancarrow, Renaissance Quarterly
The Postwar Development of Japanese Studies in the United States
This volume of twelve essays with useful bibliographies, in the fields of history, art, religion, literature, anthropology, political science, and law, documents the history of United States scholarship on Japan since 1945.
Hieronymus Bosch ́s The Garden Of Earthly Delights
It is wonderful: you will be able to understand The Garden of Earthly Delights! Hieronymus Bosch’s famous painting is explained here as an enjoyable theological essay. The painter did not create a ‘Find the Hidden Objects’ puzzle at all, because even the smallest detail has its function and its precisely appropriate placement. The emphasis will be on a dream and what can be learnt from it; on the senses and on perception, and on imagination and on the commandment to control the senses. The soul and its mystical marriage to God are integral to the discussion as well as human sexuality both within marriage and for its own sake. Furthermore, we will explore self-knowledge, humility and pride, free will and grace, and God’s love. Its converse can be found in Hell in an ugly polemic employing a catalogue of anti-Jewish motifs. To unravel the meaning of the Garden of Earthly Delights is not to detract from the painting’s enchantment. Its aesthetic and intellectual beauty will, in fact, fascinate even more than before because of the ambition of its discovered allegorical meaning.
Printing a Mediterranean World
In 1482, the Florentine humanist and statesman Francesco Berlinghieri produced the Geographia, a book of over one hundred folio leaves describing the world in Italian verse, inspired by the ancient Greek geography of Ptolemy. The poem, divided into seven books (one for each day of the week the author “travels” the known world), is interleaved with lavishly engraved maps to accompany readers on this journey. Sean Roberts demonstrates that the Geographia represents the moment of transition between printing and manuscript culture, while forming a critical base for the rise of modern cartography. Simultaneously, the use of the Geographia as a diplomatic gift from Florence to the Ottoman Empire tells another story. This exchange expands our understanding of Mediterranean politics, European perceptions of the Ottomans, and Ottoman interest in mapping and print. The envoy to the Sultan represented the aspirations of the Florentine state, which chose not to bestow some other highly valued good, such as the city’s renowned textiles, but instead the best example of what Florentine visual, material, and intellectual culture had to offer.
Renaissance Theory
Renaissance Theory presents an animated conversation among art historians about the optimal ways of conceptualizing Renaissance art, and the links between Renaissance art and contemporary art and theory. This is the first discussion of its kind, involving not only questions within Renaissance scholarship, but issues of concern to art historians and critics in all fields. Organized as a virtual roundtable discussion, the contributors discuss rifts and disagreements about how to understand the Renaissance and debate the principal texts and authors of the last thirty years who have sought to reconceptualize the period. They then turn to the issue of the relation between modern art and the Renaissance: Why do modern art historians and critics so seldom refer to the Renaissance? Is the Renaissance our indispensable heritage, or are we cut off from it by the revolution of modernism? The volume includes an introduction by Rebecca Zorach and two final, synoptic essays, as well as contributions from some of the most prominent thinkers on Renaissance art including Stephen Campbell, Michael Cole, Frederika Jakobs, Claire Farago, and Matt Kavaler.
Infirmity in Antiquity and the Middle Ages
This volume discusses infirmitas (’infirmity’ or ’weakness’) in ancient and medieval societies. It concentrates on the cultural, social and domestic aspects of physical and mental illness, impairment and health, and also examines frailty as a more abstract, cultural construct. It seeks to widen our understanding of how physical and mental well-being and weakness were understood and constructed in the longue durée from antiquity to the Middle Ages. The chapters are written by experts from a variety of disciplines, including archaeology, art history and philology, and pay particular attention to the differences of experience due to gender, age and social status. The book opens with chapters on the more theoretical aspects of pre-modern infirmity and disability, moving on to discuss different types of mental and cultural infirmities, including those with positive connotations, such as medieval stigmata. The last section of the book discusses infirmity in everyday life from the perspective of healing, medicine and care.
