A Companion to Renaissance and Baroque Art

A Companion to Renaissance and Baroque Art

Babette Bohn

Language: English

Pages: 648

ISBN: 1444337262

Format: PDF / Kindle (mobi) / ePub

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 

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Early Modern Europe: Jewish and Christian Encounters Shelley Perlove xvii 1 21 23 44 3 Religion, Politics, and Art in Late Medieval and Renaissance Italy Julia I. Miller 65 4 Europe’s Global Vision Larry Silver 85 5 Italian Art and the North: Exchanges, Critical Reception, and Identity, 1400–1700 Amy Golahny 106 vi ᭿᭿᭿ CONTENTS 6 The Desiring Eye: Gender, Sexuality, and the Visual Arts James M. Saslow Part 2 The Artist: Creative Process and Social Status 127 149 7 The Artist as

lengthy text on the steps below the Virgin’s throne begins, “The angelic flowers, the rose and the lily with which the heavenly fields are decked, do not delight me more than righteous counsel.”20 The inscription goes on to condemn the powerful who would do harm to the weak, enjoining city counselors to protect all of Siena’s citizens, including the most humble. To the medieval Sienese, the belief that the Virgin Mary had a special regard for their republic was as deeply embedded in their

there was a patriotic motive in the choice of buildings; perhaps there is a pointed comparison being made between Florence and Rome, as it was not uncommon for cities to enhance their prestige by being seen as a “New Rome.”26 Yet the painting’s form and implications go beyond that of piety and patriotism; indeed, the contemporary references to Lorenzo de’ Medici and to Florence almost overwhelm the traditional Franciscan subject. Francesco Sassetti was the general manager of the Medici bank, and

Mappamundi to Christian Empire: The Heritage of Ptolemaic Cartography in the Renaissance,” in Woodward, Cartography, 10–50. John Block Friedman, The Monstrous Races in Medieval Art and Thought (Cambridge: Harvard University Press, 1981), esp. 46–47. Pochat, Exotismus, 152–54; Leitch, Mapping Ethnography, 63–99; Mark McDonald, “Burgkmair’s Woodcut Frieze of the Natives of Africa and India,” Print Quarterly 20 (2003): 227–44; Jean-Michel Massing, “Hans Burgkmair’s Depiction of Native Africans,” RES

martial display best known through Rembrandt’s Night Watch (1642). Portraits of those farther down the social scale, professionals and skilled artisans who were denied military trappings, still imbued their sitters with similar qualities. Rembrandt’s Anatomy Lesson of Dr. Nicolaes Tulp (1632; fig.  15.2) stresses the Amsterdam surgeon’s scientific detachment and technical skill, civilian analogues to military virtues. Turning from images  of heterosexual men to art by or for them, artists and

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