Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Medieval Art, Modern Politics
Medieval Art, Modern Politics is an innovative volume of twelve essays by international scholars, prefaced by a comprehensive introduction. It examines the political uses and misuses of medieval images, objects, and the built environment from the 16th to the 20th century. In case studies ranging from Russia to the US and from catacombs, mosques, cathedrals, and feudal castles to museums and textbooks, it demonstrates how the artistic and built legacy has been appropriated in post-medieval times to legitimize varied political agendas, whether royalist, imperial, fascist, or colonial. Entities as diverse as the Roman papacy, the Catholic Church, local arts organizations, private owners of medieval fortresses, or organizers of exhibitions and publishers are examined for the multiple ways they co-opt medieval works of art. Medieval Art, Modern Politics enlarges the history of revivalism and of medievalism by giving it a uniquely political twist, demonstrating the unavoidable (but often ignored) intersection of art history, knowledge, and power.
Decades of Reconstruction
International scholars review decades of postwar reconstruction in international comparison from the eighteenth to the twentieth century, demonstrating how foreign domestic policy cannot be separated.
Medieval Art, Modern Politics
Medieval Art, Modern Politics is an innovative volume of twelve essays by international scholars, prefaced by a comprehensive introduction. It examines the political uses and misuses of medieval images, objects, and the built environment from the 16th to the 20th century. In case studies ranging from Russia to the US and from catacombs, mosques, cathedrals, and feudal castles to museums and textbooks, it demonstrates how the artistic and built legacy has been appropriated in post-medieval times to legitimize varied political agendas, whether royalist, imperial, fascist, or colonial. Entities as diverse as the Roman papacy, the Catholic Church, local arts organizations, private owners of medieval fortresses, or organizers of exhibitions and publishers are examined for the multiple ways they co-opt medieval works of art. Medieval Art, Modern Politics enlarges the history of revivalism and of medievalism by giving it a uniquely political twist, demonstrating the unavoidable (but often ignored) intersection of art history, knowledge, and power.
Pearls for the Crown
In the age of European expansion, pearls became potent symbols of imperial supremacy. Pearls for the Crown demonstrates how European art legitimated racialized hierarchies and inequitable notions about humanity and nature that still hold sway today. When Christopher Columbus encountered pristine pearl beds in southern Caribbean waters in 1498, he procured the first source of New World wealth for the Spanish Crown, but he also established an alternative path to an industry that had remained outside European control for centuries. Centering her study on a selection of key artworks tied to the pearl industry, Mónica Domínguez Torres examines the interplay of materiality, labor, race, and powe...
Engineers and the Making of the Francoist Regime
How engineers and agricultural scientists became key actors inFranco's regime and Spain's forced modernization.
Painting Flanders Abroad
Painting Flanders Abroad: Flemish Art and Artists in Seventeenth-Century Madrid traces how Flemish immigrant painters and imported Flemish paintings fundamentally transformed the development of Spanish taste, collecting, and art production in the Spanish “Golden Age.”
Archer M. Huntington
At the turn of the twentieth century, New York City philanthropist, arts patron, and scholar Archer M. Huntington became the foremost collector and face of Spanish art in the United States with the founding of the Hispanic Society of America. This organization, which served as a bridge between artists in Spain and wealthy patrons in the States, was the culmination of a lifetime of scholarship and passion for Spanish culture for Huntington, one he would grapple with throughout his public and intellectual life. In Archer M. Huntington: Founder of the Hispanic Society of America, Patricia Fernández Lorenzo offers, for the first time in English, a complete biography of Huntington, tracing his enthusiasm for Spain and the arts from his childhood, to his marriage to sculptor Anna Hyatt and his crisis of conscience in the wake of the violence of the Spanish Civil War. Drawing heavily from Archer’s correspondence and from Anna Hyatt Huntington’s papers, housed at Syracuse University, Fernández Lorenzo offers a full, deeply human portrait of one of the great patrons of Spanish art, giving a comprehensive look at Huntington’s role in defining Hispanicism in the United States.
Envisioning Others: Race, Color, and the Visual in Iberia and Latin America
Envisioning Others offers a multidisciplinary view of the relationship between race and visual culture in the Spanish- and Portuguese-speaking world, from the kingdoms of Spain and Portugal to colonial Peru and Colombia, post-Independence Mexico, and the pre-Emancipation United States. Contributed by specialists in Latin American and Iberian art history, literature, history, and cultural studies, its ten chapters take a transnational view of what ‘race’ meant, and how visual culture supported and shaped this meaning, within the Ibero-American sphere from the late Middle Ages to the modern era. Case studies and regionally-focused essays are balanced by historiographical and theoretical offerings for a fresh perspective that challenges the reader to discern broad intersections of race, color, and the visual throughout the Iberian world. Contributors are Beatriz Balanta, Charlene Villaseñor Black, Larissa Brewer-García, Ananda Cohen Suarez, Elisa Foster, Grace Harpster, Ilona Katzew, Matilde Mateo, Mey-Yen Moriuchi, and Erin Kathleen Rowe.
Gender and the Woman Artist in Early Modern Iberia
This monograph explores the social constructs surrounding artistic production in early modern Iberia through the lenses of gender and class by examining the rarely considered contribution of creative women in Spain and Portugal between 1550 and 1700. Using the life-stage framework popular in texts of the period and drawing on a broad spectrum of materials including conduct guidebooks, treatises and conventual rules, this book examines the constraints imposed by gender-related social structures through microhistories of nuns, married, and unmarried women. The text spans class boundaries in its analysis of the work of painters, engravers, and sculptors, many of whom have until now eluded scholarly attention in English-language publications. An extensive bibliography promotes new avenues of inquiry into women’s contributions to the visual arts of the period. This book will be of interest to scholars working in art history, gender studies, women’s history, early modern Iberian studies, and Renaissance studies.
