A Companion to Renaissance and Baroque Art
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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
(1989): 133–47. Perlove, Shelley and Larry Silver. Rembrandt’s Faith. Church and Temple in the Dutch Golden Age. University Park, PA: Pennsylvania State University Press, 2009. Popper, Leopold (1893). Die Inschriften des alten Prager Judenfriedhofes zum erstenmal vollständig entziffert. Braunschweig: Appelhans and Pfenningstoriff. Sadek, Vladimír, Jirì Macht, and Jiřina Šedinová. The Ghetto of Prague. Prague: Olympia, 1992. Schwartz, Gary. The Rembrandt Book. New York: Abrams, 2006. 64 jjj S
historiae, and Source and contributed an essay to Watching Art: Essays in Honor of James Beck (2006). She has also written catalogues for exhibitions on contemporary artists. James M. Saslow, Professor of Art History, Theatre, and Renaissance Studies at Queens College and the Graduate Center, City University of New York, previously taught at Columbia University, Vassar, and as Kennedy Visiting Professor in Renaissance Studies at Smith. His teaching and research focus on gender and sexuality in
Artemisia Gentileschi, and Mattia Preti.22 Italian Artists’ Responses to Northern Art As soon as Flemish paintings began arriving in Italy, they attracted the attention of Italian artists, who often appropriated northern motifs for their own paintings. In his earliest surviving painting, the Tarquinia Madonna of 1437 (Galleria nazionale dell’arte antica, Rome; http://www.frafilippolippi.org/Madonna-withChild-(Tarquinia-Madonna)-1437.html), Filippo Lippi adopted an architectural framework that
Renaissance Art in its Historical Context. Englewood Cliffs, NJ: Prentice Hall, 1994. Harris, Ann Sutherland. Seventeenth-Century Art and Architecture. Upper Saddle River, NJ: Prentice Hall, 2005. Harwood, Laurie B. Inspired by Italy. Dutch Landscape Painting 1600–1700, London: Dulwich Picture Gallery, 2002. Holt, Elizabeth G. A Documentary History of Art, Vol. II: Michelangelo and the Mannerists: The Baroque and the Eighteenth Century. New York: Doubleday Anchor, 1958.
from Cassandra Fedele to Louis XIV, edited by Thomas F. Mayer and D. R. Woolf, 63– 96. Ann Arbor: University of Michigan Press, 1995. Wittkower, Rudolf and Margot Wittkower. Born Under Saturn: The Character and Conduct of Artists. New York: W. W. Norton, 1969. 8 Drawing in Renaissance Italy Mary Vaccaro Disegno – loosely translatable as drawing or design – encompasses the mechanical act of drawing as well as the broader intellectual concept of design. A traditional part of artistic training