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"The publications of the late Prof. Dr. Erik Duverger (1932-2004) are impressive. He was internationally well-known as an authority on the history of art trade and tapestry based on extensive archival research ... As a token of appreciation and deep gratitude colleagues and friends pay tribute to Erik Duverger in a Liber Memorialis."--Back cover.
This book explores an anonymous sixteenth-century portrait of Muley al-Hassan, the Hafsid king of Tunis (ca. 1528–1550), that bears witness to relations between North Africa, the Habsburgs, and the Ottomans. While Muley al-Hassan appears frequently in the vast literature on Charles V Habsburg, he is overshadowed by the emperor. Here he emerges as a protagonist, a figure whose shifting reputation can be traced well into the seventeenth century. Images of the King of Tunis circulated in broadsheets, ephemeral images made for triumphal entries, manuscripts, tapestry designs, engravings, and books. The ceaseless production of Tunisian imagery allowed Europeans to face their North African counterparts through scenes of battle but also through imaginary encounters and festive cross-dressing. This book shows how portraits of Hafsid rulers challenge assumptions about the absolute divide between Christian and Muslim, sovereign and subject, the familiar and the foreign, and they put a face on the entangled histories of the early modern Mediterranean.
Customised Books in Early Modern Europe and the Americas, 1400‒1700 examines the form, function, and meaning of alterations made by users to the physical structure of their book, through insertion or interpolation, subtraction or deletion, adjustments in the ordering of folios or quires, amendments of image or text. Although our primary interest is in printed books and print series bound like books, we also consider selected manuscripts since meaningful alterations made to incunabula and early printed books often followed the patterns such changes took in late fourteenth- and fifteenth-century codices. Throughout Customised Books the emphasis falls on the hermeneutic functions of the modifications made by makers and users to their manuscripts and books. Contributors: B. Boler Hunter, T. Cummins, A. Dlabačova, K.A.E. Enenkel, C.D. Fletcher, P.F. Gehl, P. Germano Leal, J. Kiliańczyk-Zięba, J. Koguciuk, A. van Leerdam, S. Leitch, S. McKeown, W.S. Melion, K. Michael, S. Midanik, B. Purkaple, J. Rosenholtz-Witt, B.L. Rothstein, M.R. Wade, and G. Warnar.
This volume explores the production, transmission, and reading practices of vernacular Bibles in early modern Europe. This varied collection of essays provides historical, book historical, literary, theological, and art historical perspectives to the movements of manuscript and printed Bibles. The contributions concern Bibles in many different languages and from across the European continent, from Ireland to Portugal. Rather than perceiving Scripture and the material carriers of Scripture as static things, this volume demonstrates how Bibles constantly acquired new meanings and functions as they moved through time and space, and were touched by the hands of makers, readers, and users.
The question of whether seventeenth-century painters such as Rembrandt and Rubens were exclusively responsible for the paintings later sold under their names has caused many a heated debate. Despite the rise of scholarship on the history of the art market, much is still unknown about the ways in which paintings were produced, assessed, priced, and marketed during this period, which leads to several provocative questions: did contemporary connoisseurs expect masters such as Rembrandt to paint works entirely by their own hand? Who was credited with the ability to assess paintings as genuine? The contributors to this engaging collection—Eric Jan Sluijter, Hans Van Miegroet, and Neil De Marchi, among them—trace these issues through the booming art market of the seventeenth and eighteenth centuries, arriving at fascinating and occasionally unexpected conclusions.
Over the past four years the Royal Fine Arts Museums of Belgium have undertaken a huge research
16 essays by a group of internationally acclaimed authors help contribute to a clearer perception of the complex facets of Jacob Jordaens' oeuvre—and moreover to distinguish it from the works of Rubens, van Dyck, and his contemporaries. The title "Genius of Grand Scale" refers to the spectrum from history to genre as well as to Jordaens' preference for large formats. The greatness of the artist Jacob Jordaens needs to be emphasized, since even though he outlived Rubens for four whole decades, he was never able to escape from under his shadow. By reference to iconographic and iconological studies, single works are identified and presented in a broad review and the long, in many aspects fragmentary reception of his artistic work also forms a large part of the interpretations presented here. Furthermore, technical examinations of paintings assist in defining more precisely how they were generated.This overdue volume presents essential reading for anyone interested in Jacob Jordaens.
This book provides a new way of thinking about eighteenth-century French art and visual culture by prioritizing production over reception. Abandoning the ideologically driven discourse that distinguished fine from decorative art between the 1690s and 1770s, The Mobile Image reveals how the two have been inextricably bound from the earliest stages of artistic instruction through the daily life of painters’ workshops. In this study, author David Pullins defines artisanal and artistic means of learning, seeing, and making through a system of “mobile images”: motifs that were effectively engineered for mobility and designed never to be definitive, always awaiting replication and circulation. He examines the careers of Antoine Watteau, Jean-Baptiste Oudry, and François Boucher, situating them against a much broader cast of actors—such as printmakers, publishers, anonymous studio assistants, and architects, among others—to place eighteenth-century painting within a wider context of media and making.
The celebrated French artist Edme Bouchardon (1698–1762) is primarily known as a sculptor today, but his contemporaries widely lauded him as a draftsman as well. Talented, highly innovative, and deeply invested in the medium, Bouchardon made an important contribution to the European art and culture of his time, and in particular to the history of drawing. Around two thousand of his drawings survive—most of which bear no relation, conceptual or practical, to his sculpture—yet, remarkably, little scholarly attention has been paid to this aspect of his oeuvre. This is the first book-length work devoted to the artist’s draftsmanship since 1910. Ambitious in scope, this volume offers a compelling narrative that effectively covers four decades of Bouchardon’s activity as a draftsman—from his departure for Rome in 1723 as an aspiring student to his death in Paris in 1762, by which time he was one of the most renowned artists in Europe. His accomplished and dynamic style is analyzed and copiously illustrated in a series of five interrelated chapters that serve as case studies, each of which focuses on a coherent group of drawings from a particular period of Bouchardon’s career.
One of the most forward-looking artists of the eighteenth century, Jean Honoré Fragonard (1732–1806) was a virtuoso draftsman whose works on paper count among the great achievements of his time. This book showcases Fragonard's mastery and experimentation in a range of media, from vivid red chalk to luminous brown wash, as well as etching, watercolor, and gouache. With essays that focus on the role of drawing in his creative process and provide a modern reevaluation of his graphic work, the book offers fresh perspectives on this innovative and independent artist, who began his career in the Rococo era but lived through and adapted to changing times in France, and who chose to leave the more defined path of official patronage in order to work for private clients. Unlike many earlier painters who used drawings primarily as preparatory tools, Fragonard explored their potential as works of art in their own right, ones that permitted him to work with great freedom and allowed his genius to shine. The 100 featured works come from New York collections, public and private, balancing a mix of well-loved masterpieces, new discoveries, and works that have long been out of the public eye. Fragonard: Drawing Triumphant illuminates the approach of a ceaselessly inventive artist whose draftsmanship was at the core of his remarkable body of work.