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Moralizing the Italian Marvellous in Early Modern England
This volume breaks new ground in the exploration of Anglo-Italian cultural relations: it presents analyses of a wide range of early modern Italian texts adapted into contemporary English culture, often through intermediary French translations. When transposed into English, their Italian origin was frequently categorized as marvellous and consequently censured because of its strangeness: thus, English translators often gave their public a moralized and tamed version of Italy’s uniqueness. This volume’s contributors show that an effective way of moralizing Italian custom was to exoticize its origins, in order to protect the English public from an Italianate influence. This ubiquitous moralization is visible in the evolution of the concept of tragedy, and in the overtly educational aim acquired by the Italian novella, adapted for an allegedly female audience. Through the analysis of various literary genres (novella, epic poem, play, essay), the volume focuses on the mechanisms of appropriation and rejection of Italian culture through imported topoi and narremes.
Victorian and Edwardian Responses to the Italian Renaissance
The historiography of the Italian Renaissance has been much studied, but generally in the context of a few key figures. Much less appreciated is the extent of the enthusiasm for the subject in the 19th and early 20th centuries, when the subject was 'discovered' by travellers and men and women of letters, historians, artists, architects and photographers, and by collectors on both sides of the Atlantic. The essays in Victorian and Edwardian Responses to the Italian Renaissance explore the breadth of the responses stimulated by the encounter between the British, the Americans and the Italians of the Renaissance. The volume approaches the subject from an interdisciplinary perspective. While rec...
Wilhelm Bode and the Art Market
The professional career and success of Wilhelm Bode (1845-1929) relied on the business of connoisseurship. Like other contemporary art historians involved in the commerce of art, he was entangled in the reciprocal dynamics and interdependencies of the nascent discipline of art history, connoisseurship and the art trade. The volume introduces new material and a fresh perspective on Bode’s strategic participation in the Western art market, exposing the particular consequences of these entanglements on the birth of the art historical canon and showcasing his complex agency within the art marketplace of the late nineteenth and the early twentieth centuries.
Old Masters Worldwide
As a result of the Napoleonic wars, vast numbers of Old Master paintings were released on to the market from public and private collections across continental Europe. The knock-on effect was the growth of the market for Old Masters from the 1790s up to the early 1930s, when the Great Depression put an end to its expansion. This book explores the global movement of Old Master paintings and investigates some of the changes in the art market that took place as a result of this new interest. Arguably, the most important phenomenon was the diminishing of the traditional figure of the art agent and the rise of more visible, increasingly professional, dealerships; firms such as Colnaghi and Agnew's in Britain, Goupil in France and Knoedler in the USA, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market.
