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Renaissance Self-portraiture
An exploration of the genesis and early development of the genre of self-portraiture in Italy in the 15th and 16th centuries. The author examines a series of self-portraits in Renaissance Italy, arguing that they represented the aspirations of their creators to change their social standing.
The Gonzaga of Mantua and Pisanello's Arthurian Frescoes
The unfinished frescoes by Antonio Pisanello in the Ducal Palace in Mantua have intrigued and puzzled art historians since their rediscovery in the 1960s. In the most extensive discussion in English of these important paintings, Joanna Woods-Marsden identifies the frescoes as a coherent cycle depicting an episode from the "prose Lancelot," a thirteenthy2Dcentury French romance. Dating the cycle c. 1447-48, she argues that it was commissioned by Lodovico Gonzaga, ruler of Mantua, and suggests that the work, located in an important reception-hall in the mid-fifteenth-century palace, documents its patron's political and social self-image and ambitions. Not only does the book consider Pisanello's pictorial style in the context of the values, pretensions, and illusions of the Gonzaga court, but it also constitutes a study of his artistic career, of the links between the cycle's pictorial design and the Lancelot's narrative structure, and of Pisanello's physical execution of the frescoes and sinopie.
Fashioning Identities in Renaissance Art
Originally published in 2000. Fashioning Identities analyses some of the different ways in which identities were fashioned in and with art during the Renaissance, taken as meaning the period c.1300-1600. The notion of such a search for new identities, expressed in a variety of new themes, styles and genres, has been all-pervasive in the historical and critical literature dealing with the period, starting with Burckhardt, and it has been given a new impetus by contemporary scholarship using a variety of methodological approaches. The identities involved are those of patrons, for whom artistic patronage was a means of consolidating power, projecting ideologies, acquiring social prestige or building a suitable public persona; and artists, who developed a distinctive manner to fashion their artistic identity, or drew attention to aspects of their artistic personality either in self portraiture, or the style and placing of their signature, or by exploiting a variety of literary forms.
A Companion to Renaissance and Baroque Art
A Companion to Renaissance and Baroque Art provides a diverse, fresh collection of accessible, comprehensive essays addressing key issues for European art produced between 1300 and 1700, a period that might be termed the beginning of modern history. Presents a collection of original, in-depth essays from art experts that address various aspects of European visual arts produced from circa 1300 to 1700 Divided into five broad conceptual headings: Social-Historical Factors in Artistic Production; Creative Process and Social Stature of the Artist; The Object: Art as Material Culture; The Message: Subjects and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation a...
Dreams and Visions
Dreams and Visions have constituted an important topic and point of departure in the past; but also continue to play a present role in literature, political thought, economic theory, and in the arts. An essential historical topos, Dreams and Visions--the second in a series that projects past issues into the present--brings significant contributions from an interdisciplinary spectrum of standpoints in order to discover fresh insights. Perhaps this is the essence, in any case, of "Vision"--to discover new, fresh ways of conceptualizing a problem, topic, or historical enquiry, which is the goal of this volume. Contributors are Tamara Albertini, David Bevington, Eolene M. Boyd-MacMillan, John N. Crossley, J. Harold Ellens, Wendy Furman-Adams, Robert W. Hanning, Virginia K. Henderson, Birgitta Lindros Wohl, Ann R. Meyer, Ana M. Montero, Michael Murrin, Wendy Petersen Boring, Conrad Rudolph, Nancy Van Deusen, Joanna Woods-Marsden, and Meg Worley.
Dressing Renaissance Florence
As portraits, private diaries, and estate inventories make clear, elite families of the Italian Renaissance were obsessed with fashion, investing as much as forty percent of their fortunes on clothing. In fact, the most elaborate outfits of the period could cost more than a good-sized farm out in the Mugello. Yet despite its prominence in both daily life and the economy, clothing has been largely overlooked in the rich historiography of Renaissance Italy. In Dressing Renaissance Florence, however, Carole Collier Frick provides the first in-depth study of the Renaissance fashion industry, focusing on Florence, a city founded on cloth, a city of wool manufacturers, finishers, and merchants, of...
Fictions of the Pose
This lavishly illustrated reading of the structure and meaning of portraiture asks what happens when portraits are interpreted as imitations or likenesses not only of individuals but also of their acts of posing. Includes 84 illustrations, 40 in color.
Illuminating Leonardo
Illuminating Leonardo opens the new series Leonardo Studies with a tribute to Professor Carlo Pedretti, the most important Leonardo scholar of our time, with a wide-ranging overview of current Leonardo scholarship from the most renowned Leonardo scholars and young researchers. Though no single book could provide a comprehensive overview of the current state of Leonardo studies, after reading this collection of short essays cover-to-cover, the reader will come away knowing a great deal about the current state of the field in many areas of research. To begin the series, editors Constance Moffatt and Sara Taglialagamba present an impressive group of essays that offer fresh ideas as a departure point for future studies. Contributors include Andrea Bernardoni, Pascal Broist, Alfredo Buccaro, Francesco Paolo di Teodoro, Claire Farago, Francesca Fiorani, Fabio Frosini, Sabine Frommel, Leslie Geddes, Damiano Iacobone, Martin Kemp, Matthew Landrus, Domenico Laurenza, Pietro C. Marani, Max Marmor, Constance Moffatt, Romano Nanni, Annalisa Perissa-Torrini, Paola Salvi, Richard Schofield, Sara Taglialagamba, Carlo Vecce, Alessandro Vezzosi, Marino Viganò, and Joanna Woods-Marsden.
Slave Portraiture in the Atlantic World
Slave Portraiture in the Atlantic World is the first book to focus on the individualized portrayal of enslaved people from the time of Europe's full engagement with plantation slavery in the late sixteenth century to its final official abolition in Brazil in 1888. While this period saw the emergence of portraiture as a major field of representation in Western art, 'slave' and 'portraiture' as categories appear to be mutually exclusive. On the one hand, the logic of chattel slavery sought to render the slave's body as an instrument for production, as the site of a non-subject. Portraiture, on the contrary, privileged the face as the primary visual matrix for the representation of a distinct individuality. Essays address this apparent paradox of 'slave portraits' from a variety of interdisciplinary perspectives, probing the historical conditions that made the creation of such rare and enigmatic objects possible and exploring their implications for a more complex understanding of power relations under slavery.
The Renaissance Portrait
Published in conjunction with an exhibition held at the Bode-Museum, Berlin, Aug. 25-Nov. 20, 2011, and at the Metropolitan Museum of Art, New York, Dec. 21, 2011-Mar. 18, 2012.
