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A Companion to Renaissance and Baroque Art provides a diverse, fresh collection of accessible, comprehensive essays addressing key issues for European art produced between 1300 and 1700, a period that might be termed the beginning of modern history. Presents a collection of original, in-depth essays from art experts that address various aspects of European visual arts produced from circa 1300 to 1700 | Divided into five broad conceptual headings: Social-Historical Factors in Artistic Production; Creative Process and Social Stature of the Artist; The Object: Art as Material Culture; The…mehr
A Companion to Renaissance and Baroque Art provides a diverse, fresh collection of accessible, comprehensive essays addressing key issues for European art produced between 1300 and 1700, a period that might be termed the beginning of modern history.
Presents a collection of original, in-depth essays from art experts that address various aspects of European visual arts produced from circa 1300 to 1700
Divided into five broad conceptual headings: Social-Historical Factors in Artistic Production; Creative Process and Social Stature of the Artist; The Object: Art as Material Culture; The Message: Subjects and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse
Covers many topics not typically included in collections of this nature, such as Judaism and the arts, architectural treatises, the global Renaissance in arts, the new natural sciences and the arts, art and religion, and gender and sexuality
Features essays on the arts of the domestic life, sexuality and gender, and the art and production of tapestries, conservation/technology, and the metaphor of theater
Focuses on Western and Central Europe and that territory's interactions with neighboring civilizations and distant discoveries
Includes illustrations as well as links to images not included in the book
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Autorenporträt
Babette Bohn is Professor of Art History at Texas Christian University. Her publications include two books on Italian prints, Agostino Carracci (1995) and Italian Masters of the Sixteenth Century (1996), and two on the drawings of Ludovico Carracci (2004) and Guido Reni (2008). James M. Saslow is Professor of Art History, Theatre, and Renaissance Studies at Queens College and the Graduate Center, City University of New York. His most recent book, Pictures and Passions: A History of Homosexuality in the Visual Arts (1999), received two awards from the Lambda Literary Foundation.
Inhaltsangabe
Contributors viii Preface xv Acknowledgments xvii Introduction 1 Babette Bohn and James M. Saslow Part 1 The Context: Social-Historical Factors in Artistic Production 21 1 A Taxonomy of Art Patronage in Renaissance Italy 23 Sheryl E. Reiss 2 Judaism and the Arts in Early Modern Europe: Jewish and Christian Encounters 44 Shelley Perlove 3 Religion, Politics, and Art in Late Medieval and Renaissance Italy 65 Julia I. Miller 4 Europe's Global Vision 85 Larry Silver 5 Italian Art and the North: Exchanges, Critical Reception, and Identity, 1400-1700 106 Amy Golahny 6 The Desiring Eye: Gender, Sexuality, and the Visual Arts 127 James M. Saslow Part 2 The Artist: Creative Process and Social Status 149 7 The Artist as Genius 151 William E. Wallace 8 Drawing in Renaissance Italy 168 Mary Vaccaro 9 Self-Portraiture 1400-1700 189 H. Perry Chapman 10 Recasting the Role of the Italian Sculptor: Sculptors, Patrons, Materials, and Principles for the New Early Modern Age 210 Elinor M. Richter 11 From Oxymoron to Virile Paintbrush: Women Artists in Early Modern Europe 229 Babette Bohn Part 3 The Object: Art as Material Culture 251 12 The Birth of Mass Media: Printmaking in Early Modern Europe 253 Alison G. Stewart 13 The Material Culture of Family Life in Italy and Beyond 275 Jacqueline Marie Musacchio 14 Tapestry: Luxurious Art, Collaborative Industry 295 Koenraad Brosens 15 The New Sciences and the Visual Arts 316 Eileen Reeves 16 Seeing Through Renaissance and Baroque Paintings: Case Studies 336 Claire Barry Part 4 The Message: Subjects and Meanings 359 17 Iconography in Renaissance and Baroque Art 361 Mark Zucker 18 Renaissance Landscapes: Discovering the World and Human Nature 381 Lawrence O. Goedde 19 The Nude Figure in Renaissance Art 402 Thomas Martin 20 Genre Painting in Seventeenth-Century Europe 422 Wayne Franits 21 The Meaning of the European Painted Portrait, 1400-1650 442 Joanna Woods-Marsden 22 All the World's a Stage: The Theater Conceit in Early Modern Italy 463 Inge Jackson Reist 23 Intensity and Orthodoxy in Iberian and Hispanic Art of the Tridentine Era, 1550-1700 484 Marcus B. Burke Part 5 The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse 505 24 Historians of Northern European Art: From Johann Neudörfer and Karel van Mander to the Rembrandt Research Project 507 Jeffrey Chipps Smith 25 Artistic Biography in Italy: Vasari to Malvasia 525 David Cast 26 With a Critical Eye: Painting and Theory in France, 1600-43 The Case of Simon Vouet and Nicolas Poussin 541 Joseph C. Forte 27 The Italian Piazza: From Gothic Footnote to Baroque Theater 561 Niall Atkinson 28 Building in Theory and Practice: Writing about Architecture in the Renaissance 582 Carolyn Yerkes Index 602
Contributors viii Preface xv Acknowledgments xvii Introduction 1 Babette Bohn and James M. Saslow Part 1 The Context: Social-Historical Factors in Artistic Production 21 1 A Taxonomy of Art Patronage in Renaissance Italy 23 Sheryl E. Reiss 2 Judaism and the Arts in Early Modern Europe: Jewish and Christian Encounters 44 Shelley Perlove 3 Religion, Politics, and Art in Late Medieval and Renaissance Italy 65 Julia I. Miller 4 Europe's Global Vision 85 Larry Silver 5 Italian Art and the North: Exchanges, Critical Reception, and Identity, 1400-1700 106 Amy Golahny 6 The Desiring Eye: Gender, Sexuality, and the Visual Arts 127 James M. Saslow Part 2 The Artist: Creative Process and Social Status 149 7 The Artist as Genius 151 William E. Wallace 8 Drawing in Renaissance Italy 168 Mary Vaccaro 9 Self-Portraiture 1400-1700 189 H. Perry Chapman 10 Recasting the Role of the Italian Sculptor: Sculptors, Patrons, Materials, and Principles for the New Early Modern Age 210 Elinor M. Richter 11 From Oxymoron to Virile Paintbrush: Women Artists in Early Modern Europe 229 Babette Bohn Part 3 The Object: Art as Material Culture 251 12 The Birth of Mass Media: Printmaking in Early Modern Europe 253 Alison G. Stewart 13 The Material Culture of Family Life in Italy and Beyond 275 Jacqueline Marie Musacchio 14 Tapestry: Luxurious Art, Collaborative Industry 295 Koenraad Brosens 15 The New Sciences and the Visual Arts 316 Eileen Reeves 16 Seeing Through Renaissance and Baroque Paintings: Case Studies 336 Claire Barry Part 4 The Message: Subjects and Meanings 359 17 Iconography in Renaissance and Baroque Art 361 Mark Zucker 18 Renaissance Landscapes: Discovering the World and Human Nature 381 Lawrence O. Goedde 19 The Nude Figure in Renaissance Art 402 Thomas Martin 20 Genre Painting in Seventeenth-Century Europe 422 Wayne Franits 21 The Meaning of the European Painted Portrait, 1400-1650 442 Joanna Woods-Marsden 22 All the World's a Stage: The Theater Conceit in Early Modern Italy 463 Inge Jackson Reist 23 Intensity and Orthodoxy in Iberian and Hispanic Art of the Tridentine Era, 1550-1700 484 Marcus B. Burke Part 5 The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse 505 24 Historians of Northern European Art: From Johann Neudörfer and Karel van Mander to the Rembrandt Research Project 507 Jeffrey Chipps Smith 25 Artistic Biography in Italy: Vasari to Malvasia 525 David Cast 26 With a Critical Eye: Painting and Theory in France, 1600-43 The Case of Simon Vouet and Nicolas Poussin 541 Joseph C. Forte 27 The Italian Piazza: From Gothic Footnote to Baroque Theater 561 Niall Atkinson 28 Building in Theory and Practice: Writing about Architecture in the Renaissance 582 Carolyn Yerkes Index 602
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