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Thirteen specialists on the history of tapestry offer a detailed survey of the lives and works of the Flemish weavers and of their relations with foreign patrons and artists.
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
This volume presents a critical edition of Laurens Pignon's treatise "Contre les devineurs" (1411) and examines its literary and historical context of courtly magic and astrology in Burgundy and France during the reign of Charles VI.
In Individuals and Materials in the Greco-Roman Cults of Isis Valentino Gasparini and Richard Veymiers present a collection of reflections on the individuals and groups which animated one of Antiquity’s most dynamic, significant and popular religious phenomena: the reception of the cults of Isis and other Egyptian gods throughout the Hellenistic and Roman worlds. These communities, whose members seem to share the same religious identity, for a long time have been studied in a monolithic way through the prism of the Cumontian category of the “Oriental religions”. The 26 contributions of this book, divided into three sections devoted to the “agents”, their “images” and their “practices”, shed new light on this religious movement that appears much more heterogeneous and colorful than previously recognized.
Based on two international conferences held at Cornell University and the Freie Universität of Berlin in 2010 and 2015, this volume is the first ever to explicitly address the destruction of plaster cast collections of ancient Mediterranean and Western sculpture. Focusing on Europe, the Americas, and Japan, art historians, archaeologists and a literary scholar discuss how different museum and academic traditions – national as well as disciplinary –, notions of value and authenticity, or colonialism impacted the fate of collections. The texts offer detailed documentation of degrees of destruction by spectacular acts of defacement, demolition, discarding, or neglect. They also shed light on the accompanying discourses regarding aesthetic ideals, political ideologies, educational and scholarly practices, or race. With destruction being understood as a critical part of reception, the histories of cast collections defy the traditional, homogenous narrative of rise and decline. Their diverse histories provide critical evidence for rethinking the use and display of plaster cast collections in the contemporary moment.
Raphael’s Ostrich begins with a little-studied aspect of Raphael’s painting—the ostrich, which appears as an attribute of Justice, painted in the Sala di Costantino in the Vatican. Una Roman D’Elia traces the cultural and artistic history of the ostrich from its appearances in ancient Egyptian hieroglyphs to the menageries and grotesque ornaments of sixteenth-century Italy. Following the complex history of shifting interpretations given to the ostrich in scientific, literary, religious, poetic, and satirical texts and images, D’Elia demonstrates the rich variety of ways in which people made sense of this living “monster,” which was depicted as the embodiment of heresy, stupidity, perseverance, justice, fortune, gluttony, and other virtues and vices. Because Raphael was revered as a god of art, artists imitated and competed with his ostrich, while religious and cultural critics complained about the potential for misinterpreting such obscure imagery. This book not only considers the history of the ostrich but also explores how Raphael’s painting forced viewers to question how meaning is attributed to the natural world, a debate of central importance in early modern Europe at a time when the disciplines of modern art history and natural history were developing. The strangeness of Raphael’s ostrich, situated at the crossroads of art, religion, myth, and natural history, both reveals lesser-known sides of Raphael’s painting and illuminates major cultural shifts in attitudes toward nature and images in the Renaissance. More than simply an examination of a single artist or a single subject, Raphael’s Ostrich offers an accessible, erudite, and charming alternative to Vasari’s pervasive model of the history of sixteenth-century Italian art.