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Early Netherlandish Paintings
"Any contemporary understanding of early Netherlandish paintings must take into account not only that historical data about them is fragmentary but also that art historians have used a variety of premises from which to study the works. This book, therefore, explores how the paintings of the period and the factual knowledge surrounding them have been assembled, analyzed, and interpreted from their rediscovery in the early nineteenth century to the present day." "Assembling these multiple perspectives in one volume, the editors underscore the common ground shared by their colleagues and intend thereby to advance the scholarly dialogue among them."--BOOK JACKET.
The Realism of Piero Della Francesca
Piero della Francesca tried to introduce a new idea of painting. Based on a methodical application of perspective, his work cultivated the illusion that it reported on things found rather than imagined. Piero's art marked an exception in fifteenth-century culture, with its emphasis on poetic inspiration and the artist's imagination.
Leonardo’s Paradox
Leonardo da Vinci (1452–1519) was one of the preeminent figures of the Italian Renaissance. He was also one of the most paradoxical. He spent an incredible amount of time writing notebooks, perhaps even more time than he ever held a brush, yet at the same time Leonardo was Renaissance culture’s most fanatical critic of the word. When Leonardo criticized writing he criticized it as an expert on words; when he was painting, writing remained in the back of his brilliant mind. In this book, Joost Keizer argues that the comparison between word and image fueled Leonardo’s thought. The paradoxes at the heart of Leonardo’s ideas and practice also defined some of Renaissance culture’s central assumptions about culture and nature: that there is a look to script, that painting offered a path out of culture and back to nature, that the meaning of images emerged in comparison with words, and that the difference between image-making and writing also amounted to a difference in the experience of time.
On the Nature of Ecological Paradox
This work is a large, powerfully illustrated interdisciplinary natural sciences volume, the first of its kind to examine the critically important nature of ecological paradox, through an abundance of lenses: the biological sciences, taxonomy, archaeology, geopolitical history, comparative ethics, literature, philosophy, the history of science, human geography, population ecology, epistemology, anthropology, demographics, and futurism. The ecological paradox suggests that the human biological–and from an insular perspective, successful–struggle to exist has come at the price of isolating H. sapiens from life-sustaining ecosystem services, and far too much of the biodiversity with which we...
The Transformation of Vernacular Expression in Early Modern Arts
In response to the dominance of Latin as the language of intellectual debate in early modern Europe, regional centers started to develop a new emphasis on vernacular languages and forms of cultural expression. This book shows that the local acts as a mark of distinction in the early modern cultural context. Interdisciplinary in scope, essays examine vernacular strands in the visual arts, architecture and literature from the fourteenth to seventeenth centuries. Contributions focus on change, rather than consistencies, by highlighting the transformative force of the vernacular over time and over different regions, as well as the way the concept of the vernacular itself shifts depending on the historical context. Contributors include James J. Bloom, Jessica E. Buskirk, C. Jean Campbell, Lex Hermans, Sun Jing, Trudy Ko, David A. Levine, Eelco Nagelsmit, Alexandra Onuf, Bart Ramakers, and Jamie L. Smith
Michelangelo, God's Architect
"As he entered his seventies, the great Italian Renaissance artist Michelangelo despaired that his productive years were past. Anguished by the death of friends and discouraged by the loss of commissions to younger artists, this supreme painter and sculptor began carving his own tomb. It was at this unlikely moment that fate intervened to task Michelangelo with the most ambitious and daunting project of his long creative life. 'Michelangelo, God's Architect' is the first book to tell the full story of Michelangelo's final two decades, when the peerless artist refashioned himself into the master architect of St. Peter's Basilica and other major buildings. When the Pope handed Michelangelo con...
Early Modern Medievalisms
Modernity has historically defined itself by relation to classical antiquity on the one hand, and the medieval on the other. While early modernity’s relation to Antiquity has been amply documented, its relation to the medieval has been less studied. This volume seeks to address this omission by presenting some preliminary explorations of this field. In seventeen essays ranging from the Italian Renaissance to Enlightenment France, it focuses on three main themes: continuities and discontinuities between the medieval and early modern, early modern re-uses of medieval matter, and conceptualizations of the medieval. Collectively, the essays illustrate how early modern medievalisms differ in important respects from post-Romantic views of the medieval, ultimately calling for a re-definition of the concept of medievalism itself. Contributors include: Mette Bruun, Peter Damian-Grint, Anne-Marie De Gendt, Daphne Hoogenboezem, Tiphaine Karsenti, Joost Keizer, Waldemar Kowalski, Elena Lombardi, Coen Maas, Pieter Mannaerts, Christoph Pieper, Jacomien Prins, Adam Shear, Paul Smith, Martin Spies, Andrea Worm, and Aurélie Zygel-Basso.
Raphael’s Ostrich
Raphael’s Ostrich begins with a little-studied aspect of Raphael’s painting—the ostrich, which appears as an attribute of Justice, painted in the Sala di Costantino in the Vatican. Una Roman D’Elia traces the cultural and artistic history of the ostrich from its appearances in ancient Egyptian hieroglyphs to the menageries and grotesque ornaments of sixteenth-century Italy. Following the complex history of shifting interpretations given to the ostrich in scientific, literary, religious, poetic, and satirical texts and images, D’Elia demonstrates the rich variety of ways in which people made sense of this living “monster,” which was depicted as the embodiment of heresy, stupidit...
The Aura of the Word in the Early Age of Print (1450?600)
Did the invention of movable type change the way that the word was perceived in the early modern period? In his groundbreaking essay "The Work of Art in the Age of Mechanical Reproduction," the cultural critic Walter Benjamin argued that reproduction drains the image of its aura, by which he means the authority that a work of art obtains from its singularity and its embeddedness in a particular context. The central question in The Aura of the Word in the Early Age of Print (1450-1600) is whether the dissemination of text through print had a similar effect on the status of the word in the early modern period. In this volume, contributors from a variety of fields look at manifestations of the ...
Pieter Bruegel the Elder
Pieter Bruegel the Elder: Art Discourse in the Sixteenth-Century Netherlands examines the later images by Bruegel in the context of two contemporary discourses - art theoretical and convivial. The first concerns the purely visual interactions between artists and artistic practices that unfold in pictures, which often transgress the categorical boundaries modern scholars place on their work, such as sacred and profane, antique and modern, and Italian and Northern. In this context, the images themselves - those of Bruegel, his contemporaries and predecessors - make up the primary source material from which the author argues. The second deals with the dialogue that occurred between viewers in f...
