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God and the Goddesses
Contrary to popular belief, the medieval religious imagination did not restrict itself to masculine images of God but envisaged the divine in multiple forms. In fact, the God of medieval Christendom was the Father of only one Son but many daughters—including Lady Philosophy, Lady Love, Dame Nature, and Eternal Wisdom. God and the Goddesses is a study in medieval imaginative theology, examining the numerous daughters of God who appear in allegorical poems, theological fictions, and the visions of holy women. We have tended to understand these deities as mere personifications and poetic figures, but that, Barbara Newman contends, is a mistake. These goddesses are neither pagan survivals nor ...
The Reformation World
The most ambitious one-volume survey of the Reformation yet, this book is beautifully illustrated throughout. The strength of this work is its breadth and originality, covering the Church, art, Calvinism and Luther.
Sassetta
Sassetta, the subtle genius from Siena, revolutionized Italian painting with an altarpiece for the small Tuscan town of Borgo San Sepolcro in 1437-1444. To produce this volume, experts in art and general history have joined forces across the boundaries of eight different nations to explore Sassetta's work.
Art and the Augustinian Order in Early Renaissance Italy
The rise of the mendicant orders in the later Middle Ages coincided with rapid and dramatic shifts in the visual arts. The mendicants were prolific patrons, relying on artworks to instruct and impress their diverse lay congregations. Churches and chapels were built, and new images and iconographies developed to propagate mendicant cults. But how should the two phenomena be related? How much were these orders actively responsible for artistic change, and how much did they simply benefit from it? To explore these questions, Art and the Augustinian Order in Early Renaissance Italy looks at art in the formative period of the Augustinian Hermits, an order with a particularly difficult relation to art. As a first detailed study of visual culture in the Augustinian order, this book will be a basic resource, making available previously inaccessible material, discussing both well-known and more neglected artworks, and engaging with fundamental methodological questions for pre-modern art and church history, from the creation of religious iconographies to the role of gender in art.
The Lay Saint
In The Lay Saint, Mary Harvey Doyno investigates the phenomenon of saintly cults that formed around pious merchants, artisans, midwives, domestic servants, and others in the medieval communes of northern and central Italy. Drawing on a wide array of sources—vitae documenting their saintly lives and legends, miracle books, religious art, and communal records—Doyno uses the rise of and tensions surrounding these civic cults to explore medieval notions of lay religiosity, charismatic power, civic identity, and the church's authority in this period. Although claims about laymen's and laywomen's miraculous abilities challenged the church's expanding political and spiritual dominion, both papa...
Der sokratische Künstler
Im Fokus der Studie steht eine neue Deutung von Rembrandts Nachtwache aus dem Jahre 1642. Zentral ist dabei die Auseinandersetzung des Malers mit der klassizistischen Kunsttheorie von Franciscus Junius. Dessen Werk "De pictura veterum" war 1637 in lateinischer und 1641 in niederländischer Sprache erschienen. So lautet die These, dass Rembrandts Gruppenporträt auf eine Kritik italienisch-klassizistischer Imitatio-Konzepte zielt und zugleich Werke der Antike und der italienischen Hochrenaissance ironisiert. Der Leidener Maler orientiert sich an Raffaels Schule von Athen, um damit implizit die Frage angemessener und unangemessener Nachahmung zu stellen. Die Studie insgesamt will zeigen, wie d...
Ritual, Images, and Daily Life
Medieval images and their content, intentions, and functions regularly followed specific strategies, rituals, and symbols of communication. This is true for religious as well as for secular images. One can recognize these strategies and rituals through analyzing the patterns that occur in the varieties of image construction, image space, image messages, and their perception. This book contains contributions by international specialists whose research interests concentrate on these patterns, the rituals associated with them, and the influences of these phenomena on the daily life of the image audience. (Series: History: Research and Science / Geschichte: Forschung und Wissenschaft - Vol. 39)
Between Figure and Ground
The terms "figure" and "ground" became fundamental to art-historical analysis and writing over the course of the twentieth century. But is this dichotomy suited to describe premodern art and artifacts? In Between Figure and Ground: Seeing in Premodernity, essays by Claudia Blümle, Gottfried Boehm, Péter Bokody, Beate Fricke, Bruno Haas, David Young Kim, Aden Kumler, Christopher Lakey, Karin Leonhard, Jürgen Müller, Veronica Peselmann, Christoph Poetsch, Raphael Rosenberg, Tom Steinert, Nicola Suthor, Noa Turel, and Saskia C. Quené call into question long-standing habits of seeing and understanding figure-ground relations, expand art-historical vocabularies, and productively challenge anachronistic attachments to modernist paradigms. Offering new approaches and methodological reflections from art history and theory, Bildwissenschaft, and art historiography, this volume provides stimulating answers to the question: What can be seen and described between premodern figures and grounds? Look inside Figure and ground in the context of art-historical analysis Transcends binary structures seeing and understanding figure-ground relations
Push Me, Pull You
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometimes conflicted with the Church’s prescribed devotional models, and in some cases it complemented them. Artists and patrons responded to the desire for both spontaneous and sanctioned interactions by creating original ways to amplify devotional exper...
History of Photography
The fourth volume in a history of photography, this is a bibliography of books on the subject.
