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From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edited volume reconsiders some of the events, habits and spaces that contributed to defining exhibition practices and shaping the imagery of the exhibition space in the early modern period. The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art. The book will be of interest to scholars working in art history, museum studies, exhibition history, and architectural history.
This book explores the principles of the display of art in the magnificent Roman palaces of the early modern period, focusing attention on how the parts function to convey multiple artistic, social, and political messages, all within a splendid environment that provided a model for aristocratic residences throughout Europe. Many of the objects exhibited in museums today once graced the interior of a Roman Baroque palazzo or a setting inspired by one. In fact, the very convention of a paintings gallery— the mainstay of museums—traces its ancestry to prototypes in the palaces of Rome. Inside Roman palaces, the display of art was calibrated to an increasingly accentuated dynamism of social and official life, activated by the moving bodies and the attention of residents and visitors. Display unfolded in space in a purposeful narrative that reflected rank, honor, privilege, and intimacy. With a contextual approach that encompasses the full range of media, from textiles to stucco, this study traces the influential emerging concept of a unified interior. It argues that art history—even the emergence of the modern category of fine art—was worked out as much in the rooms of palaces as in the printed pages of Vasari and other early writers on art.
This volume gathers together recent research from leading scholars specializing in the history of collecting. American Southern art collections, both public and private, contain rich and representative holdings of Renaissance and Baroque art which remain understudied, compared to the collections bracketing the east and west coasts of the United States. This anthology considers how these works of art were acquired for both prominent public and private collections, how they have been curated and displayed in exhibitions, and how they have also been preserved historically. Individual essays address a variety of art media representative of the early modern period in Europe and the Americas. Case studies of specific works of art, collections, and collectors address the broad geographic scope of Southern collections, inclusive of Washington, DC, the Carolinas, Georgia, Alabama, Louisiana, Arkansas, and Texas.
Published to accompany an exhibition held at the Harvard Art Museums, Sept. 6-Dec. 10, 2011, and the Block Museum of Art, Jan. 17-Apr. 8, 2012.
This richly illustrated book presents the latest research into Irish fine art from the 17th and 18th centuries. It is comprised of a rich selection of case studies into artistic practice that showcase the burgeoning nature of fine art media in Ireland, the quality of production, and the breadth of patronage. Investigating these signifiers of a 'cultured' lifestyle - their production, consumption, appreciation, display, and discourse - provides fascinating insights into the sensibility of Ireland's minority-rule elites, and the practitioners it fostered. Featuring contributions from emergent and established art historians, 'Irish Fine Art in the Early Modern Period' takes its subject matter beyond the realms of academic journals, exhibitions and conferences, and presents it within a lavishly designed and vital publication that presents substantial new insights into Ireland's artistic and social history.
This study of the ways in which Flemish painting between 1550 and 1650 reflected the burgeoning capitalism of Antwerp, focuses not only on the market-scene paintings, but also on the interaction between painters and markets as it was influenced by merchants, governments and consumers.
Throughout the early modern period in France, surgeon men-midwives were predominantly associated with sexual impropriety and physical danger; yet over time they managed to change their image, and by the eighteenth century were summoned to attend even the uncomplicated deliveries of wealthy, urban clients. In this study, Lianne McTavish explores how surgeons strove to transform the perception of their midwifery practices, claiming to be experts who embodied obstetrical authority instead of intruders in a traditionally feminine domain. McTavish argues that early modern French obstetrical treatises were sites of display participating in both the production and contestation of authoritative knowledge of childbirth. Though primarily written by surgeon men-midwives, the texts were also produced by female midwives and male physicians. McTavish's careful examination of these and other sources reveals representations of male and female midwives as unstable and divergent, undermining characterizations of the practice of childbirth in early modern Europe as a gender war which men ultimately won. She discovers that male practitioners did not always disdain maternal values. In fact, the men regularly identified themselves with qualities traditionally respected in female midwives, including a bodily experience of childbirth. Her findings suggest that men's entry into the lying-in chamber was a complex negotiation involving their adaptation to the demands of women. One of the great strengths of this study is its investigation of the visual culture of childbirth. McTavish emphasizes how authority in the birthing room was made visible to others in facial expressions, gestures, and bodily display. For the first time here, the vivid images in the treatises are analysed, including author portraits and engravings of unborn figures. McTavish reveals how these images contributed to arguments about obstetrical authority instead of merely illustrating the written content of the books. At the same time, her arguments move far beyond the lying-in chamber, shedding light on the exchange of visual information in early modern France, a period when identity was largely determined by the precarious act of putting oneself on display.
Festivities such as those exalting the court of Louis XIV, the celebration of James II's London coronation, and the commemoration of the peace celebrations of 1749 at The Hague culminated in dazzling pyrotechnical displays. These were in turn reproduced as prints, paintings, and narrative descriptions. This unique book examines the propagandistic and rhetorical functions these printed records came to serve as vehicles of aesthetic, cultural, and emotional significance.
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
The redecoration of the exhibition spaces at the Borghese palace and villa, undertaken together with the reinstallation of the family's vast art collections, was one of the most important events in the cultural life of eighteenth-century Rome. In this comprehensive study, Carole Paul reconstructs the planning and execution of the project and explains its multifaceted significance: its place in the history of Italian art, architecture, and interior design at a complex moment of transition from baroque to neoclassical style, as well as its unrecognized but profound influence on the development of the modern art museum. The study shows how the installations and decorations worked together to evoke traditional themes in innovative ways. Addressed primarily to a new audience of tourists from abroad, the thematic content of the spaces celebrated the greatness of the Borghese family and of Roman tradition, while their stylistic diversity and sophistication made a case for the continued vitality - even modernity - of Roman art and culture. Designed for the exercise of a highly refined social performance, these sites helped to model the experience of art as a form of enlightened modern civility.