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Engraving the Savage
In 1585, the British painter and explorer John White created images of Carolina Algonquian Indians. These images were collected and engraved in 1590 by the Flemish publisher and printmaker Theodor de Bry and were reproduced widely, establishing the visual prototype of North American Indians for European and Euro-American readers. In this innovative analysis, Michael Gaudio explains how popular engravings of Native American Indians defined the nature of Western civilization by producing an image of its “savage other.” Going beyond the notion of the “savage” as an intellectual and ideological construct, Gaudio examines how the tools, materials, and techniques of copperplate engraving s...
Saints, Miracles, and Social Problems in Italian Renaissance Art
In this book, Diana Bullen Presciutti explores how images of miracles performed by mendicant saints-reviving dead children, redeeming the unjustly convicted, mending broken marriages, quelling factional violence, exorcising the demonically possessed-actively shaped Renaissance Italians' perceptions of pressing social problems related to gender, sexuality, and honor. She argues that depictions of these miracles by artists-both famous (Donatello, Titian) and anonymous-played a critical role in defining and conceptualizing threats to family honor and social stability. Drawing from art history, history, religious studies, gender studies, and sociology, Presciutti's interdisciplinary study reveals how miracle scenes-whether painted, sculpted, or printed-operated as active agents of 'lived religion' and social negotiation in the spaces of the Renaissance Italian city.
Renaissance Theory
Renaissance Theory presents an animated conversation among art historians about the optimal ways of conceptualizing Renaissance art, and the links between Renaissance art and contemporary art and theory. This is the first discussion of its kind, involving not only questions within Renaissance scholarship, but issues of concern to art historians and critics in all fields. Organized as a virtual roundtable discussion, the contributors discuss rifts and disagreements about how to understand the Renaissance and debate the principal texts and authors of the last thirty years who have sought to reconceptualize the period. They then turn to the issue of the relation between modern art and the Renaissance: Why do modern art historians and critics so seldom refer to the Renaissance? Is the Renaissance our indispensable heritage, or are we cut off from it by the revolution of modernism? The volume includes an introduction by Rebecca Zorach and two final, synoptic essays, as well as contributions from some of the most prominent thinkers on Renaissance art including Stephen Campbell, Michael Cole, Frederika Jakobs, Claire Farago, and Matt Kavaler.
Michelangelo
A groundbreaking account of the role of writing in Michelangelo's art Michelangelo is best known for great artistic achievements such as the Sistine ceiling, the David, the Pietà, and the dome of St. Peter's. Yet throughout his seventy-five year career, he was engaged in another artistic act that until now has been largely overlooked: he not only filled hundreds of sheets of paper with exquisite drawings, sketches, and doodles, but also, on fully a third of these sheets, composed his own words. Here we can read the artist's marginal notes to his most enduring masterpieces; workaday memos to assistants and pupils; poetry and letters; and achingly personal expressions of ambition and despair ...
The First Pagan Historian
The First Pagan Historian offers the first comprehensive account of Dares the Phyrgian, the infamous author of The History of the Destruction of Troy, tracing his afterlife from the late antique encyclopedist Isidore of Seville to Thomas Jefferson. Along the way, it reconstructs Dares' central place in longstanding debates over the nature of history, fiction, criticism, philology, and myth, from ancient Rome to the Enlightenment.
An Earthy Entanglement with Spirituality
An Earthy Entanglement with Spirituality offers compelling perspectives on the human spirit as represented in literature and art. Authors approach the inquiry using distinct critical approaches to varied primary sources—poetry of various genres and periods, Shakespearean drama, contemporary theater, Renaissance sculpture, and the novel, short story, sketch, and dialogue.
On Art in the Ancient Near East
This second volume of Collected Essays, complement to volume one, focuses upon the art and culture of the third millennium B.C.E. in ancient Mesopotamia. Stress is upon the ability of free-standing sculpture and public monuments to both reflect cultural attitudes and to affect a viewing audience. Using Sumerian and Akkadian texts as well as works, the power of visual experience is pursued toward an understanding not only of the monuments but also of their times and our own.
Galileo's Instruments of Credit
Annotation. In six years, Galileo Galilei went from being a mathematics professor to a star in the court of Florence to a target of the Inquisition. And during that time, Galileo made a series of astronomical discoveries that reshaped the ideas of the physical nature of the heavens and transformed him from a university mathematician into a court philosopher. Galileo's Instruments of Creditproposes radical new interpretations of key episodes of Galileo's career, including his telescopic discoveries of 1610, the dispute over sunspots, and the conflict with the Holy Office over the relationship between Copernicanism and Scripture. Galileo's tactics shifted as rapidly as his circumstances, argue...
Watermarks
"An exploration of depictions and use of water within Renaissance Italy, and especially in the work of polymath Leonardo da Vinci. Both a practical necessity and a powerful symbol, water presents one of the most challenging problems in visual art due to its formlessness, clarity, and mutability. In Renaissance Italy, it was a nearly inexhaustible subject of inquiry for artists, engineers, and architects alike: it represented an element to be productively harnessed and a force of untamed nature. Watermarks places the depiction and use of water within an intellectual history of early modern Italy, examining the parallel technological and aesthetic challenges of mastering water and the scientif...
Printing a Mediterranean World
In 1482, the Florentine humanist and statesman Francesco Berlinghieri produced the Geographia, a book of over one hundred folio leaves describing the world in Italian verse, inspired by the ancient Greek geography of Ptolemy. The poem, divided into seven books (one for each day of the week the author “travels” the known world), is interleaved with lavishly engraved maps to accompany readers on this journey. Sean Roberts demonstrates that the Geographia represents the moment of transition between printing and manuscript culture, while forming a critical base for the rise of modern cartography. Simultaneously, the use of the Geographia as a diplomatic gift from Florence to the Ottoman Empire tells another story. This exchange expands our understanding of Mediterranean politics, European perceptions of the Ottomans, and Ottoman interest in mapping and print. The envoy to the Sultan represented the aspirations of the Florentine state, which chose not to bestow some other highly valued good, such as the city’s renowned textiles, but instead the best example of what Florentine visual, material, and intellectual culture had to offer.
