Bøger i Visual Culture in Early Modernity serien

During the early modern period, visual imagery was put to ever new uses as many disciplines adopted visual criteria for testing truth claims, representing knowledge, or conveying information. Religious propagandists, political writers, satirists, cartographers, the scientific community, and others experimented with uses of visual images. Artists.

This collection of essays explores hybridity in early modern art through two primary lenses: hybrid media and hybrid time.

Emphasizing on the 'middle ranks' of society in Renaissance Italy - artisans, merchants, and professionals such as bankers and lawyers, this book focuses on social subjects, documents and unusual objects. It demonstrates how a burgeoning market for erotica, along with a cultural tradition of allusion and innuendo.

Focusing on the ways his art and persona were valued and criticized by writers, collectors, and artists subsequent to his death, this book examines the reception of the works of Albrecht Durer. The author traces carefully how Durer's paintings, prints, drawings and theoretical writings traveled widely.

Employing a wide range of approaches from various disciplines, this volume explores the diverse ways in which European art and cultural practice from the fourteenth through the seventeenth centuries confronted, interpreted, represented and evoked the realm of the sensual.

Interested in the ways in which medieval and early modern communities have acted as participants, observers, and interpreters of events and how they ascribed meaning to them, this collection includes essays that explore the concept of beholding and the experiences of individual and collective beholders of violence during the period.

Examining their production practices in various genres including manuscript illustration, glass painting and staining, tapestry manufacture, portrait painting, and engraving, this book explores how Netherlandish artists migrating to England in the early modern period overcame difficulties raised by their outsider status.

Focusing on three celebrated northern European still life painters - Jan Brueghel, Daniel Seghers, and Jan Davidsz de Heem, this book examines the emergence of the first garland painting in 1607-1608, and its subsequent transformation into a widely collected type of devotional image, curiosity, and decorative form.

Focusing on the Dutch master's simultaneous use of Northern archaisms with Caravaggio's motifs and style, the author nuances our understanding of Ter Brugghen's appropriations from the Italian painter. Her analysis centers on four paintings: "Crowning with Thorns", the "Crucifixion", "Doubting Thomas" and the "Calling of Matthew".

Includes essays that address issues surrounding the use, dissemination, and reception of copies and even deliberate forgeries within the history of art, focusing on paintings, prints and sculptures created and sold from the sixteenth century to the eighteenth century.

Examines Giorgio Vasari's interest, as an art historian and as an artist, in engravings and woodblock prints, focusing not only on aspects of Vasari's career, but also on aspects of sixteenth-century artistic culture and artistic practice.

Focusing on Rome, the paradigmatic centre of the High Renaissance narrative, this title features essays that present a case study of a particular aspect of the culture of the city in the early sixteenth century, including new analyses of Raphael's "stanze", Michelangelo's "Sistine Ceiling" and the architectural designs of Bramante.

Tracing the history of St Antoninus' cult and burial from the time of his death in 1459 until his remains were moved to their final resting place in 1589, this study demonstrates that the saint's relic cult was a key element of Florence's sacred cityscape.

Explores performative aspects of Baroque culture, giving examples from the politics of diplomacy and everyday life, from theatre, music and ritual as well as from architecture, painting and sculpture. This title demonstrates how broadly the concept of performativity has been adopted among scholars of different disciplines.

Focuses on sacred art and Catholicism in Rome during the late sixteenth and seventeenth centuries. This study addresses the responses of members of all social classes - not just elites - to art created for the public. It also provides a view of the range of religious ideas that circulated in early modern Rome.

The late Renaissance sculptor Leone Leoni (1509-1590) came from modest beginnings, but died as a nobleman and knight with a house and art collection envied by the nobility. This book focuses on Leoni's background and character, and on unknown aspects of his career, his social position in Milan, and the contents of his impressive art collection.

Structured around the interconnected case studies and driven by a methodology of material, contextual, and iconographic analysis, this book argues that early European single-sheet prints, in both the north and south, are best understood as highly accessible objects shaped and framed by individual viewers.

Concentrating largely on the ''middle ranks'' of society in Renaissance Italy - artisans, merchants, and professionals such as bankers and lawyers - this book focuses on new social subjects, new documents and unusual objects. Using innovative methods of inquiry and interdisciplinary analytical tools, contributors explore a little-known but pervasive erotic culture in which sexually explicit artefacts, games and gestures were considered essential to a number of rituals and social occasions. At the same time, they demonstrate how a burgeoning market for erotica, along with a cultural tradition of allusion and innuendo, played an increasingly important role in the Italian peninsula between the fifteenth and early seventeenth centuries. This volume fills some pervasive lacunae in both Renaissance studies and the history of sexuality through a series of critical engagements with material culture and social custom. It reflects recent scholarly interest in interdisciplinary areas such as the material Renaissance, visual communications, urban sociability in the domestic context, and court records regarding marital disputes.

Reveals Lucrezia Tornabuoni de' Medici's impact on the visual world of her time. This is a full-length scholarly argument for a lay woman's contributions to the visual arts of fifteenth-century Florence. It maps out the cultural network of gender, piety, and power in which Lippi's painting was originally embedded.

The Spectacle of Clouds examines the different ways Heaven has been conceived and represented from the 15th to the 17th century, crossing over into the fields of history, religion and philosophy. By examining visual sources such as paintings, frescos and stage designs, together with letters, guild-ledgers.

Emphasizing the peculiar, the perverse, the clandestine, and the scandalous, this volume opens up a critical discourse on sexuality and visual culture in early modern Italy. It foregrounds the visual culture of early modern sexuality, from representations of sex and sexualized bodies to material objects associated with sexual activities.

Shedding light on the relatively unknown art of the Wittelsbach dukes' sixteenth-century court, this is a monograph to focus on this Italian-trained Netherlandish artist. It incorporates original archival material, including letters and payment records into the analysis of Sustris' many projects that ranged from large fresco cycles.

Challenging the conventional wisdom that Pieter Bruegel the Elder eschewed Italianate influences, this title demonstrates how the artist's later peasant paintings reveal a complicated artistic dialogue in which visual concepts and pictorial motifs from Italian and classical ideas are employed for a specifically Northern phenomenon.

Interdisciplinary in scope, this book constitutes the first overview of the development of early modern papal funeral apparati, the temporary decorations used during the funeral masses in St Peter's. Drawing from a range of unpublished sources.

During the early modern period, visual imagery was put to ever new uses as many disciplines adopted visual criteria for testing truth claims, representing knowledge, or conveying information. Religious propagandists, political writers, satirists, cartographers, the scientific community, and others experimented with new uses of visual images. Artists, writers, preachers, musicians, and performers, among others, often employed visual images or conjured mental images to connect with their audiences. Contributors to this interdisciplinary collection creatively explore how the exponential growth in images, especially prints, impacted the intellectual horizons and the visual awareness of viewers in early modern Germany. Each of the chapters serves as a case study for one or more of the volumeΓÇÖs sub-themes: art, visual literacy, and strategies of presentation; audience and the art of persuasion; the art of envisioning; the ephemeral arts and theatricality; the built environment and spatial settings; and the history of the visual.

Emphasizing the peculiar, the perverse, the clandestine and the scandalous, this volume opens up a critical discourse on sexuality and visual culture in early modern Italy. Contributors consider not just painted (conventional) representations of sexual activities and eroticized bodies, but also images from print media, drawings, sculpted objects and painted ceramic jars. In this way, the volume presents an entirely new picture of Renaissance sexuality, stripping away layers of misconceptions and manipulations to reveal an often-misunderstood world. ''Sex acts'' is interpreted broadly, from the acting out, or performing, of one''s (or another''s) sex to sexual activity, including what might be considered, now or then, peculiar practices and preferences and a variety of possibly scandalous scenarios. While the contributors come from a variety of disciplinary backgrounds, this collection foregrounds the visual culture of early modern sexuality, from representations of sex and sexualized bodies to material objects associated with sexual activities. The picture presented here nuances our understanding of Renaissance sexuality as well as our own.

Demonstrates that Bellini's and Titian's famous series of mytho-poetical paintings for the camerino of Duke Alfonso d'Este of Ferrara, and Francesco Colonna's "Hypnerotomachia Poliphili" - were conceived as mnemonic or pedagogical devices aimed at educating the reader in the medical science of reproductive physiology.

The early modern period saw the proliferation of religious, public and charitable institutions and the emergence of new educational structures. This collection provides fresh insights into the domestic experience of men, women and children who lived in non-family arrangements, expanding and problematizing the notion of 'domestic interior'.