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Vermeer and the Delft School
Walter Liedtke, curator of European paintings at the Metropolitan Museum of Art in New York, has assembled a splendid catalog of Vermeer and his artistic milieu. Seven lengthy, well-illustrated chapters (Liedtke wrote five, Dutch art historians Michiel Plomp and Marten Jan Bok wrote the others) describe life in the city of Delft; the painters Carel Fabritius, Leonart Bramer, and others who preceded Vermeer; the careers of Vermeer and De Hooch; the making of drawings and prints in 17th-century Delft; and the collecting of art in the same period. The catalog follows: each painting, print, and drawing accompanied by a lengthy catalog essay. Oversize: 12.25x9.75". c. Book News Inc.
Caterpillage
It is rapacitas. Caterpillage also explores the impact of this message on the meaning of the genre's French name. We use the conventional term nature morte ("dead nature") without giving any thought to how misleading it is. Because so many portraits of still in bloom, are dying, it would be more accurate to name the genre nature mourant. The subjects of still life are plants that are still living, plants that are dying but not yet dead. --Book Jacket.
New Light on the Old Colony
Colonial government, Pilgrims, the New England town, Native land, the background of religious toleration, and the changing memory recalling the Pilgrims – all are examined and stereotypical assumptions overturned in 15 essays by the foremost authority on the Pilgrims and Plymouth Colony. Thorough research revises the story of colonists and of the people they displaced. Bangs’ book is required reading for the history of New England, Plymouth Colony, Massachusetts Natives, the Mennonite contribution to religious toleration in Europe and New England, and the history of commemoration, from paintings and pageants to living history and internet memes. If Pilgrims were radical, so is this book.
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.
Tulipmania
In the 1630s the Netherlands was gripped by tulipmania: a speculative fever unprecedented in scale and, as popular history would have it, folly. We all know the outline of the story—how otherwise sensible merchants, nobles, and artisans spent all they had (and much that they didn’t) on tulip bulbs. We have heard how these bulbs changed hands hundreds of times in a single day, and how some bulbs, sold and resold for thousands of guilders, never even existed. Tulipmania is seen as an example of the gullibility of crowds and the dangers of financial speculation. But it wasn’t like that. As Anne Goldgar reveals in Tulipmania, not one of these stories is true. Making use of extensive archiv...
Go Figure
Go Figure addresses theories of the figure and practices of figuration ranging from classical rhetoric and biblical exegesis to semiotics, psychoanalysis, and socio-politics. Situating theory in history, the essays in this volume focus on verbal and visual texts from the sixteenth to the eighteenth centuries, and they explore science, sacramental poetics, romance and lyric narrative, and the natural world in still lifes, prayer, parasites, and politics. They engage the work of poets, painters, storytellers, and playwrights. While the theories that inform them are many and various, they share a point of reference in the work of Jean-Fran ois Lyotard, who theorizes the co-presence in language of the figure and discourse: Lyotard's figure relates to discourse as image emerges in description, as sense accompanies signification, and as energies shape texts from within. The original essays invited for the volume show how figural energies and forms inhabit both texts and the practices that produce them--how figures are fundamentally in play in the making of subjects, societies, traditions, and institutions.
The Lure of the Sea
Corbin argues that with few exceptions people living before the eighteenth century knew nothing of the attractions of the coast, the visual delight of the sea, the desire to brave the force of the waves or to feel the coolness of sand against the skin. The image of the ocean in the popular consciousness was coloured by Biblical and mythical recollections of sea monsters, voracious whales, and catastrophic floods. It was perceived as sinister and unchanging, a dark, unfathomable force inspiring horror rather than attraction. These associations of catastrophe and fear in the minds of Europeans intensified the repulsion they felt towards deserted and dismal shores.
