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Long before the photo op, political rulers were manipulating visual imagery to cultivate their authority and spread their ideology. Born just decades after Gutenberg, the Holy Roman Emperor Maximilian I (1459-1519) was, Larry Silver argues, the first ruler to exploit the propaganda power of printed images and text. Marketing Maximilian explores how Maximilian used illustrations and other visual arts to shape his image, achieve what Max Weber calls "the routinization of charisma," strengthen the power of the Hapsburg dynasty, and help establish the Austro-Hungarian Empire. A fascinating study of the self-fashioning of an early modern ruler who was as much image-maker as emperor, Marketing Maximilian shows why Maximilian remains one of the most remarkable, innovative, and self-aggrandizing royal art patrons in European history. Silver describes how Maximilian--lacking a real capital or court center, the ability to tax, and an easily manageable territory--undertook a vast and expensive visual-media campaign to forward his extravagant claims to imperial rank, noble blood, perfect virtues, and military success. To press these claims, Maximilian patronized and often personally supervised and collaborated with the best printers, craftsmen, and artists of his time (among them no less than Albrecht Dürer) to plan and produce illustrated books, medals, heralds, armor, and an ambitious tomb monument.
Despite its popular association today with magic, astrology was once a complex and sophisticated practice, grounded in technical training provided by a university education. The Crown and the Cosmos examines the complex ways that political practice and astrological discourse interacted at the Habsburg court, a key center of political and cultural power in early modern Europe. Like other monarchs, Maximilian I used astrology to help guide political actions, turning to astrologers and their predictions to find the most propitious times to sign treaties or arrange marriage contracts. Perhaps more significantly, the emperor employed astrology as a political tool to gain support for his reforms and to reinforce his own legitimacy as well as that of the Habsburg dynasty. Darin Hayton analyzes the various rhetorical tools astrologers used to argue for the nobility, antiquity, and utility of their discipline, and how they strove to justify their "science" on the grounds that through its rigorous interpretation of the natural world, astrology could offer more reliable predictions. This book draws on extensive printed and manuscript sources from archives across northern and central Europe, including Poland, Germany, France, and England.
H2H Marketing focuses on redefining the role of marketing by reorienting the mindset of decision-makers and integrating the concepts of Design Thinking, Service-Dominant Logic and Digitalization. Following the authors' successful book on H2H Marketing, this book brings foward selected case studies showcasing various aspects of the concept, its fundamental elements, and its implementation.
This is an analysis of the diverse facets of Alexander the Great’s image from the Renaissance era through the Baroque into the nineteenth century. Perceived as the first sovereign ruler of the world, for centuries Alexander became an exemplar for the most ambitious kings and emperors. This cultural phenomenon flourished above all in the Renaissance while extending into the nineteenth century. Early modern monarchs’ identification with Alexander associated them with ideas of kingly wisdom. Yet this admiration waned on occasions. Napoleon was Alexander of Macedonia’s most ardent critic. During the nineteenth century, the Macedonian hero was viewed as an individual who won control of the Achaemenid empire, but also underwent a progressive moral decline that converted him into a tyrant. The book will be of interest to scholars working in art history and iconography.
A new history of how one of the Renaissance’s preeminent cities lost its independence in the Italian Wars. In 1499, the duchy of Milan had known independence for one hundred years. But the turn of the sixteenth century saw the city battered by the Italian Wars. As the major powers of Europe battled for supremacy, Milan, viewed by contemporaries as the “key to Italy,” found itself wracked by a tug-of-war between French claimants and its ruling Sforza family. In just thirty years, the city endured nine changes of government before falling under three centuries of Habsburg dominion. John Gagné offers a new history of Milan’s demise as a sovereign state. His focus is not on the successive wars themselves but on the social disruption that resulted. Amid the political whiplash, the structures of not only government but also daily life broke down. The very meanings of time, space, and dynasty—and their importance to political authority—were rewritten. While the feudal relationships that formed the basis of property rights and the rule of law were shattered, refugees spread across the region. Exiles plotted to claw back what they had lost. Milan Undone is a rich and detailed story of harrowing events, but it is more than that. Gagné asks us to rethink the political legacy of the Renaissance: the cradle of the modern nation-state was also the deathbed of one of its most sophisticated precursors. In its wake came a kind of reversion—not self-rule but chaos and empire.
This sixth volume in the European Festival Studies series stems from a joint conference (Venice, 2013) between the Society for European Festivals Research and the European Science Foundation’s PALATIUM project. Drawing on up-to-date scholarship, a Europe-wide group of early-career and experienced academics provides a unique account of spectacular occasions of state which influenced the political, social and cultural lives of contemporary societies. International pan-European turbulence associated with post-Reformation religious conflict supplies the context within which the book explores how the period’s rulers and élite families competed for power – in a forecast of today’s divided world.
Henricus Isaac gehört zu jenen frankoflämischen Komponisten, die durch ihr Wirken an zentralen musikalischen Institutionen Europas die Musik um 1500 maßgeblich beeinflussten. Seine Tätigkeit u. a. für Kaiser Maximilian I. brachte ihn in Kontakt mit verschiedenen kompositorischen Traditionen, Musizierpraktikten und Repertoires, was sich auch in der Art und Stilhöhe der Kompositionen niederschlägt. Der vorliegende Band präsentiert Beiträge, die anlässlich des 500. Todesjahres Isaacs im Jahr 2017 entstanden sind und die unterschiedlichsten Bereiche von dessen Wirken berücksichtigen. Schwerpunkte bilden Untersuchungen zu seinen Wirkungsstätten, Fragen der Quellenüberlieferung und die Auseinandersetzung mit der instrumentalen Rezeption und Aufführungspraxis seiner Werke.
Now appearing in its first English translation, Theuerdank introduces readers to the fascinating world of the Renaissance. A forerunner of the graphic novel, Theuerdank , first published in 1517, includes more than 100 woodcuts executed by leading artists of Central Europe. Long hailed by scholars as a masterpiece of German literature, Theuerdank is a fictional account of Habsburg Emperor Maximilian I (1508– 19) and his journey to wed one of the most influential princesses of Europe, the wealthy heiress Mary of Burgundy. Through word and image, this epic poem, which casts Maximilian as Knight Theuerdank, recounts his adventures overcoming a series of challenges to reach his goal: avalanches, lightning strikes, shipwrecks, murder plots, duels, and pitched battles. From politics and propaganda to the environment and the natural world, from intimate glimpses of daily life to revolutionary innovations in warfare, Theuerdank sheds light on those critical changes transforming European society and culture in this period. With the inclusion of an introductory essay, chronology, genealogical tables, maps, translator’s note, and discussion questions, this volume is a useful tool for students of history, art history, German, and Renaissance studies.
Disziplinäre Grenzen überschreitend zielt der Band darauf ab, die Visualisierung Mohammeds in der westlichen Welt vis-à-vis mit dessen Darstellung im Islam zu untersuchen. Dabei wird das Material weder geographischen oder sprachlichen Sphären zugeordnet noch werden Textquellen isoliert von bildlichen Darstellungen betrachtet. Die Beiträge eröffnen vielmehr einen thematischen und theoretischen Dialog über die Frage, wie der Prophet in verschiedenen kulturellen Traditionen, in Europa und Amerika und in der Welt des Islam, vom Mittelalter bis in die Gegenwart, vergegenwärtigt wurde.