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Utrecht, Caravaggio and Europe
"What a shock it must have been for the Utrecht painters Hendrick ter Brugghen, Gerard van Honthorst and Dirck van Baburen when, in Rome, they first saw Caravaggio's breath-takingly unconventional paintings with their own eyes. Under the influence of this great, inspirational master and by exchanging ideas wih the many young artists who poured into the pulsating Italian metropolis around the year 1600, these three men of Utrecht developed their very own, distinctive style by propelling Caravaggio's radical realism to its culmination."--from back cover
Pleasure and Piety
"The exhibition is organized by the Centraal Museum Utrecht; the National Gallery of Art, Washington; the Museum of Fine Arts, Houston; and the Sarah Campbell Blaffer Foundation."--Title page verso.
Pieter Saenredam, The Utrecht Work
Pieter Saenredam (1597–1665) was one of the magical painters of 17th-century Holland, a time known as the Golden Age of Dutch Art. He spent his career immortalizing the churches of Holland in drawings and paintings. Working through a series of perspective drawings to the finished painting, he made innumerable fine adjustments to architectural details to create what may be justly called spaces of wondrous perfection of proportion and luminosity. Pieter Saenredam, The Utrecht Work is published to coincide with an exhibition of Saenredam’s drawings and paintings, originally held at the Centraal Museum, Utrecht, and on view from April 16 through July 7, 2002 at the Getty Museum. This elegant volume brings together more than sixty drawings and paintings depicting the beautiful and historically venerable churches of the Dutch city of Utrecht.
The Fish Lands
The late medieval German trade with the North Atlantic islands, in the margins of the Hanseatic trade network, has received only limited scholarly attention. Merchants from predominantly Hamburg and Bremen established direct trade relations with these islands in the late 15th century, and managed to control the international trade with Iceland, the Faroes and Shetland for much of the 16th century. However, the Hanseatic commercial infrastructure was absent in the North Atlantic, which forced these merchants to develop new trade strategies. Besides a critical re-evaluation of the economic and political conditions, this volume offers a comprehensive study of the organisation of the trade and the methods used to establish and maintain networks between islanders and German merchants. Moreover, it analyses the role and socio-economic position of the communities of merchants with the North Atlantic in their home towns. The book shows that the North Atlantic trade was anything but insignificant. It was a dynamic and integral part of the trade network of the northern German cities, and its study is highly relevant for the economic history of Northern Europe.
Anonymous Art at Auction
In Anonymous Art at Auction, Anne-Sophie V. Radermecker takes the opposing view of the superstar economy by examining contemporary sales of Early Flemish paintings with unknown authorship and the effects of various substitutes for real names on price formation.
Renaissance Siena
The art of Renaissance Siena is usually viewed in the light of developments and accomplishments achieved elsewhere, but Sienese artists were part of a dynamic dialogue that was shaped by their city’s internal political turmoil, diplomatic relationships with its neighbors, internal social hierarchies, and struggle for self-definition. These essays lead scholars in a new and exciting direction in the study of the art of Renaissance Siena, exploring the cultural dynamics of the city and its art in a specifically Sienese context. This volume shapes a new understanding of Sienese culture in the early modern period and defines the questions scholars will continue to ask for years to come. What emerges is a picture of Renaissance Siena as a city focused on meeting the challenges of the time while formulating changes to shape its future. Central to these changes are the city’s efforts to fashion a civic identity through the visual arts.
Caravaggio
Michelangelo Merisi da Caravaggio’s life was turbulent and short. He was only in his late thirties when he died and yet he managed to achieve tremendous artistic success. A native of Caravaggio, near Milan, he was born in 1571 and moved to Rome after training with Simone Peterzano, a pupil of Titian. In the papal city, his talent was recognized by the influential collector and art connoisseur Cardinal Francesco Maria del Monte, who promoted his art. Within a few years Caravaggio became one of the most sought-after painters in Italy and abroad. His style was so striking and unique that artists from all over adopted it as their own. Caravaggio: A Reference Guide to His Life and Works focuses on his life, his works, and legacy. It features a chronology, an introduction offers a brief account of his life, a cross-referenced dictionary section contains entries on his individual paintings, public commissions his patrons, his followers, and the techniques he used in rendering his works.
Personification
Personification, or prosopopeia, the rhetorical figure by which something not human is given a human identity or ‘face’, is readily discernible in early modern texts and images, but the figure’s cognitive form and function, its rhetorical and pictorial effects, have rarely elicited sustained scholarly attention. The aim of this volume is to formulate an alternative account of personification, to demonstrate the ingenuity with which this multifaceted device was utilized by late medieval and early modern authors and artists in Italy, France, England, Scotland, and the Low Countries. Personification is susceptible to an approach that balances semiotic analysis, focusing on meaning effects, and phenomenological analysis, focusing on presence effects produced through bodily performance. This dual approach foregrounds the full scope of prosopopoeic discourse—not just the what, but also the how, not only the signified, but also the signifier.
City Views in the Habsburg and Medici Courts
In City Views in the Habsburg and Medici Courts, Ryan E. Gregg relates how Charles V, Holy Roman Emperor, and Duke Cosimo I of Tuscany employed city view artists such as Anton van den Wyngaerde and Giovanni Stradano to aid in constructing authority. These artists produced a specific style of city view that shared affinity with Renaissance historiographic practice in its use of optical evidence and rhetorical techniques. History has tended to see city views as accurate recordings of built environments. Bringing together ancient and Renaissance texts, archival material, and fieldwork in the depicted locations, Gregg demonstrates that a close-knit school of city view artists instead manipulated settings to help persuade audiences of the truthfulness of their patrons’ official narratives.
Frans Floris (1519/20–1570): Imagining a Northern Renaissance
Frans Floris de Vriendt radically transformed Netherlandish art. His monumental mythologies introduced a new appreciation for the heroic nude to the Low Countries and his religious art challenged standards of decorum. Born into a family of sculptors and architects, Floris refashioned his art through travel, first studying with the humanist painter Lambert Lombard in Liège and then continuing on to Italy. These experiences defined the hybridizing novelty of his art, forged by juxtaposing antique and modern, Italian and northern sources. This book maps Floris’s hybrid style onto shifting conceptions of cultural, religious, and political identity on the eve of the Dutch Revolt. It explores his collaborations and rivalries, engagement with artistic theory, hierarchical workshop, and revolutionary use of print.
