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Hieronymus Bosch's Garden of Earthly Delights takes a special place in European art history, partly because of the special late-medieval imagery. The meaning of the painting, however, differs according to every expert. After extensive research, Reindert
This study aims at reconstructing the historical viewership of Hieronymus Bosch's Garden of Earthly Delights, using the painting itself as a major source of information
This collection of essays focuses on the way blurred boundaries are represented in pre-modern texts and visual art and how they were received and perceived by their audiences: readers, listeners, and viewers. According to the current understanding that opposing cognitive categories that are so common in modern thinking do not apply to pre-modern mentalities, we argue that individuals in medieval and pre-modern societies did not necessarily consider sacred and secular, male and female, real and fictional, and opposing emotions as absolute dichotomies. The contributors to the present collection examine a wide range of cultural artifacts – literary texts, wall paintings, sculptures, jewelry, ...
The sets of landscape etchings produced in the second decade of the seventeenth century by Claes Jansz. Visscher, Esaias van den Velde, Willem Buytewech, and Jan van de Velde drew on and contributed to a print culture that played a key role in defining "Dutch" landscape. Examination of these printed landscape series as part of a wide-ranging print culture underscores the consistent interrelationship of landscape, history, and politics. To varying degrees, the contemporaneous descriptive geographies, histories, allegorical tableaux, didactic prints, and poetic anthologies considered in this study provide parallels for the prints' serial structure, journey theme, and commemorative motifs. More...
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In Europe within Reach Gerrit Verhoeven traces some sweeping evolutions in the early modern travel behaviour of Dutch and Flemish elites (1585-1750), as the classical Grand Tour was slowly but surely overshadowed by other types of travelling. Leisure trips to Paris, London or Berlin, a cours pittoresque along the Rhine, domestic trips in the Low Countries and a series of other destinations gained ground, while new sorts of travellers cropped up: female and middle-class travellers, domestic servants, children, youngsters and the elderly. Verhoeven does not only trace these evolutions, but also explains why Netherlandish travellers gradually turned into art connoisseurs; why they were spellbound by sites of memory and by rugged landscapes; or why all sorts of fashionable gadgets and thingies were bought on the way.
Cabinets of prints and drawings are found in the earliest art collections of Early Modern Europe. From the sixteenth century onwards, some of them acquired such fame that the necessity for an ordered and scientific display meant that a dedicated keeper was occasionally employed to ensure that fellow enthusiasts, as well as visiting diplomats, courtiers and artists, might have access to the print room. Often collected and displayed together with drawings, the prints formed a substantial part of princely collections which sometimes achieved astounding longevity as a specialised group of collectibles, such as the Florentine Gabinetto Disegni e Stampe at the Uffizi (GDSU). Prints and drawings, b...
Newest research into drama and performance of the Middle Ages and Tudor period. Medieval English Theatre is the premier journal in early theatre studies. Its name belies its wide range of interest: it publishes articles on theatre and pageantry from across the British Isles up to the opening of the London playhouses and the suppression of the civic religious plays , and also includes contributions on European and Latin drama, together with analyses of modern survivals or equivalents, and of research productions of medieval plays. The papers in this volume explore richly interlocking topics. Themes of royalty and play continue from Volume 43. We have the first in-depth examination of the empl...
This study reproduces and describes, for the first time, all the maps of China printed in Europe between 1584 and 1735, unravelling the origin of each individual map, their different printing, issues and publication dates.