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Sensuous Worship
It provides the first comprehensive treatment of the Jesuits' poorly understood but remarkable revitalization of German religious art and culture - an accomplishment that would guide the direction of both religious life and subsequent German Baroque art."--BOOK JACKET.
The Sensuous in the Counter-Reformation Church
This book examines the promotion of the sensuous as part of religious experience in the Roman Catholic Church of the early modern period. During the Counter-Reformation, every aspect of religious and devotional practice was reviewed, including the role of art and architecture, and the invocation of the five senses to incite devotion became a hotly contested topic. The Protestants condemned the material cult of veneration of relics and images, rejecting the importance of emotion and the senses and instead promoting the power of reason in receiving the Word of God. After much debate, the Church concluded that the senses are necessary to appreciate the sublime, and that they derive from the Holy Spirit. As part of its attempt to win back the faithful, the Church embraced the sensuous and promoted the use of images, relics, liturgy, processions, music, and theater as important parts of religious experience.
Enduring Loss in Early Modern Germany
Cross-disciplinary perspectives on responses to material and spiritual loss in early modern Germany trace how individuals and communities registered, coped with, and made sense of deprivation through a spectrum of activities, often turning loss into gain and acquiring agency.
Motus mixti et compositi: The Portrayal of Mixed and Compound Emotions in the Visual and Literary Arts of Europe, 1500–1700
This book examines deployments of mixed emotion in the literary and pictorial arts of early modern Europe. It consists of two parts, the first focusing on portrayals of mixed emotion in theatre, poetry, and prose, the second on forms and functions of mixed emotion in spiritual exercises centering on pictorial images, and on the heuristic and/or restorative functions of portraying mixed emotion. Contributors are Stijn Bussels, Tom Conley, Wietse de Boer, Carolin A. Giere, Barbara A. Kaminska, Graham R. Lea, Walter S. Melion, Mitchell Merback, Ruth Sargent Noyes, Bram Van Oostveldt, Raphaèle Preisinger, Bart Ramakers, Lukas Reddemann, Ludovica Sasso, Aline Smeesters, Paul J. Smith, Anita Traninger, and Elliott D. Wise.
Art and its Responses to Changes in Society
Art and its Responses to Changes in Society brings together studies of young researchers dealing with the topics of decline, transformation, and rebirth from various points of view, characteristic of several different fields of the humanities and social sciences, in order to yield new insights into the analyzed subjects. The topics discussed here are diverse: on the one hand, several chapters deal with the metamorphosis of particular pictorial or architectural motifs and concepts, while on the other, studies are included that are dedicated to the analysis of the opera of individual artists, to various periods in architecture and landscape architecture, and to national and state commissions in art, as well as representations of WW2 atrocities in Yugoslavia and attempts to artistically reaffirm Christian symbolism after the end of socialism. As such, the book entails diverse scientific perceptions of art and society, from antiquity to modernity, from architecture to moving picture, from the USA to Yugoslavia, and from research on an object to observations on a concept.
Dürer and Beyond
"This exhibition is the first to offer an extensive overview of the Museum's holdings of early Central European drawings, many of which were acquired in the last two decades. An emphasis on works by later sixteenth- and seventeenth-century artists is balanced by a selection of German drawings from the fifteenth and earlier sixteenth century, of which some of the most exceptional ones--including works by Albrecht Deurer--entered the Museum with The Robert Lehman Collection in 1975."--Publisher's website.
International Dictionary of Library Histories
Following the format of Fitzroy Dearborn's highly successful International Dictionary of Historic Places and International Dictionary of University Histories, the International Dictionary of Library Histories provides basic information for each institution - location and holdings - followed by an extensive (1,000-5,000 word) essay on its history as well as a Further Reading list. In addition, the dictionary includes introductory articles on the history of various types of libraries and a library history in various regions of the world. The dictionary profiles more than 200 institutions from around the world, including the world's most important research libraries and other libraries with glo...
Rethinking Europe
The Thirty Years’ War (1618-1648) lies at the intersection of early modern and modern times. Frequently portrayed as the concluding chapter of the Reformation, it also points to the future by precipitating fundamental changes in the military, legal, political, religious, economic, and cultural arenas that came to mark a new, the modern era. Prompted by the 400th anniversary of the outbreak of the war, the contributors reconsider the event itself and contextualize it within the broader history of the Reformation, military conflicts, peace initiatives, and negotiations of war.
The Court Art of Friedrich Sustris
Shedding new light on the relatively unknown art of the Wittelsbach dukes's sixteenth-century court, The Court Art of Friedrich Sustris represents the first monograph to focus on this Italian-trained Netherlandish artist. The volume incorporates original archival material, including letters and payment records into the analysis of Sustris's many projects that ranged from large fresco cycles to intimate luxury and devotional objects. Duke Wilhelm V of Bavaria transformed Munich into a vital cultural crossroads between northern Europe and Italy. As Wilhelm's court artist and artistic director, Friedrich Sustris created a unified vision that broadcast Bavarian magnificence to princely courts across Europe. Although much of Sustris's work is lost, the remaining body of his drawings provides a unique window onto the reception of drawings by early modern elites within the context of their collecting practices.
