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Subject as Aporia in Early Modern Art
The studies in this volume focus on works of art that generate bafflement, and that make that difficulty of reading part of their rhetorical structure. These are works whose subjects are not easily identifiable or can be readily associated with more than one subject at the same time; works that take a subject into a new genre or format (pagan into Christian, for example, or vice versa), and thus destabilize the subject itself; works that concentrate on the marginal rather than the central episode; and works that introduce elements of the preparatory phase-the indeterminacy that are native to the sketch or drawing, for example-into the realm of finished works. Unable to settle on a single rea...
Michelangelo, Selected Scholarship in English: The Sistine Chapel
Accessible to readers-useful to spcialists Much as been written on Michelangelo. By 1970, the number of scholarly books and articles exceeded 4,000, approximately a tenth in English. In the past 25 years, the literature has grown exponentially, with a notable increase in English-language publications. The five-volume series reproduces some 100 articles in English, selected from a broad range of books and journals. The collection is both accessible to the general reader and useful to the specialist, offering a representative sample of old and new commentary on the artist and his work. The career of a geniusArticles are arranged chronologically with separate volumes covering the artist's early...
The Oxford Handbook of Witchcraft in Early Modern Europe and Colonial America
The essays in this Handbook, written by leading scholars working in the rapidly developing field of witchcraft studies, explore the historical literature regarding witch beliefs and witch trials in Europe and colonial America between the early fifteenth and early eighteenth centuries. During these years witches were thought to be evil people who used magical power to inflict physical harm or misfortune on their neighbours. Witches were also believed to have made pacts with the devil and sometimes to have worshipped him at nocturnal assemblies known as sabbaths. These beliefs provided the basis for defining witchcraft as a secular and ecclesiastical crime and prosecuting tens of thousands of ...
Writing Witch-Hunt Histories
This book gives an analytical review of the history of witch-hunt historiography. So far not much attention has been paid to how the European witch-hunts have been studied and explained in some 150 years of academic research on the issue. The history of the approaches and explanations in witch-hunt research fundamentally contributes not only to our understanding of the bizarre phenomenon in European history but also contributes to understanding of cultural as well as academic trends which heavily direct any research even when scholars are not cognisant of their underlying premises. How and why the picture of witch-hunts has been changing in scholarly works and text books is as illuminating an issue as the proper explanations offered by the research works. Contributors include: Rune Blix Hagen, Ronald Hutton, Gunnar W. Knutsen, Marianna G. Muravyeva, Marko Nenonen, Raisa Maria Toivo, Charles Zika
The Long Picturesque, or Unraveling the Rules of Art
This book provides a Renaissance art historian’s view of how the picturesque aesthetic developed from roots in the sixteenth century (mostly in painting, but with ramifications for printmaking, landscape design, and architecture), and further, how the picturesque aesthetic fundamentally changed the relationship between art and nature, between viewer and image. The book's argument is based on wide reading of obscure yet piquant critical texts, mostly of the seventeenth and eighteenth centuries, together with consideration of varied works of art, ranging from Fra Angelico to Raphael and Michelangelo, and from Rubens to Canaletto, and from James Gibbs to Jacques Demy, all of them studied not for their place in the history of style, but for their spatial imagination.
Logodaedalus
Before Romantic genius, there was ingenuity. Early modern ingenuity defined every person—not just exceptional individuals—as having their own attributes and talents, stemming from an “inborn nature” that included many qualities, not just intelligence. Through ingenuity and its family of related terms, early moderns sought to understand and appreciate differences between peoples, places, and things in an attempt to classify their ingenuities and assign professions that were best suited to one’s abilities. Logodaedalus, a prehistory of genius, explores the various ways this language of ingenuity was defined, used, and manipulated between 1470 and 1750. By analyzing printed dictionaries and other lexical works across a range of languages—Latin, Italian, Spanish, French, English, German, and Dutch—the authors reveal the ways in which significant words produced meaning in history and found expression in natural philosophy, medicine, natural history, mathematics, mechanics, poetics, and artistic theory.
The Cambridge Companion to Raphael
This book examines all facets of the High Renaissance painter Raphael.
The Italian Renaissance and Cultural Memory
Why did Renaissance art come to matter so much, so widely, and for so long? Patricia Emison's answer depends on a recalibrated view of the long Renaissance - from 1300 to 1600 - synthesizing the considerable evolution in our understanding of the epoch since the foundational 19th-century studies of Burckhardt and Wölfflin. Demonstrating that the imitation of nature and of antiquity must no longer define its limits, she exposes Renaissance style's self-consciously modern aspect. She sets the art against the literary and political interests of the time, and analyzes works both of very familiar artists - Leonardo, Michelangelo, and Raphael - and of lesser-known figures, including Cima and Barocci. An understanding emerges of both the period's long-standing fame and its various historical debts. Moving beyond the Renaissance, Emison unfolds the varying and layered significance it has held from the Old Master era through Impressionism, Modernism, and Post-Modernism.
Moving Pictures and Renaissance Art History
Film, like the printed imagery inaugurated during the Renaissance, spread ideas – not least the idea of the power of visual art – across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, from the 1920s to the mid-1960s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, between the demands of narrative and those of visual composition, spurred new ways of addressing the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates are part of the story told here.
