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Sofonisba's Lesson
"Within a span of seven or eight years in the 1550s, the Italian painter Sofonisba Anguissola produced more self-portraits than any known painter before her had in a lifetime. She was the first known artist in history to take her parents and siblings as primary subject matter, and may have painted the first group portrait featuring only women. Cole examines Sofonisba's paintings as expressions of her relationships and networks, looking at why Sofonisba was able to become a great woman artist: at her father, who decided to allow her to be educated as a painter; at her teacher, Bernardino Campi; and at her relationships with her students, sisters, and patrons, who included the Queen of Spain. Cole demonstrates that Sofonisba made teaching and education a central theme of her painting. The book also provides the first complete catalogue of all of Sofonisba's known works"--
Catalogue
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Medieval Art, Modern Politics
Medieval Art, Modern Politics is an innovative volume of twelve essays by international scholars, prefaced by a comprehensive introduction. It examines the political uses and misuses of medieval images, objects, and the built environment from the 16th to the 20th century. In case studies ranging from Russia to the US and from catacombs, mosques, cathedrals, and feudal castles to museums and textbooks, it demonstrates how the artistic and built legacy has been appropriated in post-medieval times to legitimize varied political agendas, whether royalist, imperial, fascist, or colonial. Entities as diverse as the Roman papacy, the Catholic Church, local arts organizations, private owners of medieval fortresses, or organizers of exhibitions and publishers are examined for the multiple ways they co-opt medieval works of art. Medieval Art, Modern Politics enlarges the history of revivalism and of medievalism by giving it a uniquely political twist, demonstrating the unavoidable (but often ignored) intersection of art history, knowledge, and power.
Inventing the Art Collection
The pace and scale of the exchange of cultural goods of all sorts&—paintings, furniture, even ladies' fans&—increased sharply in nineteenth-century Spain, and new institutions and practices for exhibiting as well as valorizing &"art&" were soon formed. Oscar V&ázquez maps this cultural landscape, tracing the connections between the growth of art markets and changing patterns of collecting. Unlike many earlier students of collecting, he focuses not upon questions of taste but rather upon the discursive and institutional frameworks that came to regulate art's economic and symbolic worth at all levels of Spanish society. Drawing upon sources that range from newspaper reviews to notarial documents, V&ázquez shows how collecting acquired the power to mediate debates over individual, regional, and national identity. His book also looks at the emergence of a new state apparatus for arts administration and situates these social and political changes in the broader European context. Inventing the Art Collection will be of interest to historians and sociologists of Spain and Europe, as well as art historians and cultural theorists.
Slave Portraiture in the Atlantic World
The first book to focus on the individualized portrayal of enslaved people from the late sixteenth century to abolition in 1888.
Notes and Queries
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