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An exploration of the interaction between art and politics in early modern Germany, this work focuses on art, political in content, produced by the Augsburg artist Jörg Breu the Elder during the second and third decodes of the sixteenth century. The book argues for the function of the art as fashioning political identities. The artist Jörg Breu is first introduced. His work for the city of Augsburg and for Habsburg and Wittelsbach rulers are examined. These works are placed within their historical context and analyzed according to how they articulate themes of warfare, ceremony, and history in order to construct political identity. The analysis of Breu's city chronicle and of the response of his art to political contest is particularly useful for historians of art and of politics.
An exploration of the complex political dynamics of early modern Germany and on the manner in which art produced by Jorg Breu the Elder of Augsburg responded to those dynamics.
This title was first published in 2002: Jörg Breu belonged to the generation of German Renaissance artists that included Dürer, Cranach, Grünewald, Altdorfer, and, in his own city of Augsburg, Hans Burgkmair the Elder. His art registered the early reception of Italian art in Germany and spanned the dramatic years of the Reformation in Augsburg, when the city was riven with social and religious tensions. Uniquely, for a German artist, Breu left a diary chronicling his reaction to the massive social and cultural forces that engulfed him, including his own conversion to the Protestant cause. His story is representative of the condition of many artists during the Reformation years living through this watershed between two cultural eras, which witnessed the transfer of creative energies from religious painting to secular and applied forms of art. In this wide ranging and original study, Andrew Morrall examines the effect of these events on the nature and practice of Jörg Breu's art and its reception, not just in his own period, but right up to the present day.
This captivating book reproduces arguably the most extraordinary primary source documents in fashion history. Providing a revealing window onto the Renaissance, they chronicle how style-conscious accountant Matthäus Schwarz and his son Veit Konrad experienced life through clothes, and climbed the social ladder through fastidious management of self-image. These bourgeois dandies' agenda resonates as powerfully today as it did in the sixteenth century: one has to dress to impress, and dress to impress they did. The Schwarzes recorded their sartorial triumphs as well as failures in life in a series of portraits by illuminists over 60 years, which have been comprehensively reproduced in full color for the first time. These exquisite illustrations are accompanied by the Schwarzes' fashion-focussed yet at times deeply personal captions, which render the pair the world's first fashion bloggers and pioneers of everyday portraiture. The First Book of Fashion demonstrates how dress – seemingly both ephemeral and trivial – is a potent tool in the right hands. Beyond this, it colorfully recaptures the experience of Renaissance life and reveals the importance of clothing to the aesthetics and every day culture of the period. Historians Ulinka Rublack's and Maria Hayward's insightful commentaries create an unparalleled portrait of sixteenth-century dress that is both strikingly modern and thorough in its description of a true Renaissance fashionista's wardrobe. This first English translation also includes a bespoke pattern by TONY award-winning costume designer and dress historian Jenny Tiramani, from which readers can recreate one of Schwarz's most elaborate and politically significant outfits.
Until recently the impact of the Lutheran Reformation has been largely regarded in political and socio-economic terms, yet for most people it was not the abstract theological debates that had the greatest impact upon their lives, but what they saw in their parish churches every Sunday. This collection of essays provides a coherent and interdisciplinary investigation of the impact that the Lutheran Reformation had on the appearance, architecture and arrangement of early modern churches. Drawing upon recent research being undertaken by leading art historians and historians on Lutheran places of worship, the volume emphasises often surprising levels of continuity, reflecting the survival of Catholic fixtures, fittings and altarpieces, and exploring how these could be remodelled in order to conform with the tenets of Lutheran belief. The volume not only addresses Lutheran art but also the way in which the architecture of their churches reflected the importance of preaching and the administration of the sacraments. Furthermore the collection is committed to extending these discussions beyond a purely German context, and to look at churches not only within the Holy Roman Empire, but also in Scandinavia, the Baltic States as well as towns dominated by Saxon communities in areas such as in Hungary and Transylvania. By focusing on ecclesiastical 'material culture' the collection helps to place the art and architecture of Lutheran places of worship into the historical, political and theological context of early modern Europe.
Interdisciplinary essays on early modern Germany that address orthodoxy and its challenges in religion, politics, and the arts. Confronting the transformation of normative canons after the Reformation, the essays investigate authority and knowledge in an era of shifting cultural foundations.
This interdisciplinary collection of essays about early modern Germany addresses the tensions, both fruitful and destructive, between normative systems of order on the one hand, and a growing diversity of practices on the other. Individual essays address crucial struggles over religious orthodoxy after the Reformation, the transformation of political loyalties through propaganda and literature, and efforts to redefine both canonical forms and new challenges to them in literature, music, and the arts. Bringing together the most exciting papers from the 2005 conference of Frühe Neuzeit Interdisziplinär, an international research and conference group, the collection offers fresh comparative insights into the terrifying as well as exhilarating predicaments that the people of the Holy Roman Empire faced between the Reformation and the Enlightenment. Contributors include: Claudia Benthien, Robert von Friedeburg, Markus Friedrich, Claire Gantet, Susan Lewis Hammond, Thomas Kaufmann, Hildegard Elisabeth Keller, Benjamin Marschke, Nathan Baruch Rein, and Ashley West.
The book offers a concise introduction to the history of art, culture and everyday life of cities in the German cultural area between renaissance and revolution. References from sources and illustrations define the text; they are together useful resources for classes at schools and universities.
This lively collection of essays examines the link between public opinion and the development of changing 'Netherlandish' identities in the sixteenth and seventeenth centuries.
Bringing to bear her extensive knowledge of the cultures of Renaissance Europe and sixteenth-century Mexico, M?a Dom?uez Torres here investigates the significance of military images and symbols in post-Conquest Mexico. She shows how the 'conquest' in fact involved dynamic exchanges between cultures; and that certain interconnections between martial, social and religious elements resonated with similar intensity among Mesoamericans and Europeans, creating indeed cultural bridges between these diverse communities. Multidisciplinary in approach, this study builds on scholarship in the fields of visual, literary and cultural studies to analyse the European and Mesoamerican content of the martial imagery fostered within the indigenous settlements of central Mexico, as well as the ways in which local communities and leaders appropriated, manipulated, modified and reinterpreted foreign visual codes. Military Ethos and Visual Culture in Post-Conquest Mexico draws on post-structuralist and post-colonial approaches to analyse the complex dynamics of identity formation in colonial communities.