While the socio-economic and historical aspects of the Dutch East India Company (VOC) have been extensively documented and researched, the role of the VOC in visual culture and the arts has been relatively neglected.
Flexible Polyurethane (PUR) foams, in use since the 1950s and familiar from furniture upholstery and other domestic textiles, can be found in museum collections in numerous art and design objects.
This book of essays highlights the lives, careers, and works of art of women artists and artisans in Venice and its territories from the fourteenth to the eighteenth centuries.
This book of essays highlights the lives, careers, and works of art of women artists and artisans in Venice and its territories from the fourteenth to the eighteenth centuries.
This book gives the historical perspective of 17th century Dutch paintings for 'Anatomy lessons' using pairning that were created for the Surgeons' Guild in Amsterdam, to aid surgeons in teaching and knowledge.
The art market in seventeenth-century Amsterdam is renowned as a competitive, multi-layered arena where diverse artists catered to a broad and varied clientele.
Wahrend im Zuge von 1968 unter dem Einfluss marxistischer Theorie ein neues politisches Selbstverstandnis der Kunstwissenschaft entstand, scheint sich seit den 1980er Jahren im deutschsprachigen Raum eine schleichende Entpolitisierung des Faches vollzogen zu haben.
Focusing on the interrelationship between Jacob van Loo's art, honor, and career, this book argues that Van Loo's lifelong success and unblemished reputation were by no means incompatible, as art historians have long assumed, with his specialization in painting nudes and his conviction for manslaughter.
In The Enlightenment's Animals Nathaniel Wolloch takes a broad view of changing conceptions of animals in European culture during the long eighteenth century.
The concepts of purity and contamination preoccupied early modern Europeans fundamentally, structuring virtually every aspect of their lives, not least how they created and experienced works of art and the built environment.
These ground-breaking essays, all based on original archival research, consider the evolving interest in Bolognese art in seventeenth-century Italy, particularly focusing on the period after the death of Guido Reni in 1642.
Why did the Museum of Modern Art and the Guggenheim in New York, and art collectors and curators such as Katherine Dreier and Alfred Barr, collect modern German art in the first half of the twentieth century?
The figure of the witch is familiar from the work of early modern German, Dutch, and Flemish artists, but much less so in the work of their Italian counterparts.
In the mid- to late seventeenth century, a number of Dutch painters created a new type of refined genre painting that was much admired by elite collectors.
In the fifteenth century, the Oblates of Santa Francesca Romana, a fledgling community of religious women in Rome, commissioned an impressive array of artwork for their newly acquired living quarters, the Tor de'Specchi.
In The Enlightenment's Animals Nathaniel Wolloch takes a broad view of changing conceptions of animals in European culture during the long eighteenth century.
Engraving Accuracy in Early Modern England traces major concepts including: the creation of the visual effects of accuracy through careful action and training; the development of visual judgment and connoisseurship; the role of an epistolary network in the production of knowledge; balancing readers' expectations with representational conventions; and the effects of collecting on the creation and circulation of knowledge.
The life-like depiction of the body became a central interest and defining characteristic of the European Early Modern period that coincided with the establishment of which images of the body were to be considered 'decent' and representable, and which disapproved, censored, or prohibited.
Landscape and the Arts in Early Modern Italy: Theatre, Gardens and Visual Culture argues that theatre, and the new genre of opera in particular, played a key role in creating a new vision of landscape during the long seventeenth century in Italy.
Drawing on a broad theoretical range from speculative realism to feminist psychoanalysis and anti-colonialism, this book represents a radical departure from traditional scholarship on maritime archaeology.
In the mid- to late seventeenth century, a number of Dutch painters created a new type of refined genre painting that was much admired by elite collectors.
The sixteenth-century pictorial manuscript known as the Codex Borbonicus contains a remarkable record of the eighteen Mexica (or "e;Aztec"e;) festival periods of twenty days, known as veintenas, celebrated during the 365-day solar year.
The figure of the witch is familiar from the work of early modern German, Dutch, and Flemish artists, but much less so in the work of their Italian counterparts.
Early modern art features a remarkable fascination with ornament, both as decorative device and compositional strategy, across artistic media and genres.
Raphael's Poetics applies strategies of interpretation implicit in antique poetry to the visual art of the Renaissance, concentrating on Raphael's Roman works and their cultural context.
Giles Knox examines how El Greco, Velaizquez, and Rembrandt, though a disparate group of artists, were connected by a new self-consciousness with respect to artistic tradition.
Claude III Audran, Arbiter of the French Arabesque' is the first substantial biographical study of Claude III Audran, a late 17th- and early 18th-century master of ornament and a proponent of cutting-edge design who took inspiration from contemporary sources.
During the early modern period, objects of maritime material culture were removed from their places of origin and traded, collected and displayed worldwide.
The visual legacy of early modern cardinals constitutes a vast and extremely rich body of artworks, many of superb quality, in a variety of media, often by well-known artists and skilled craftsmen.
The volume presents a wide-ranging investigation of the ways in which Petrarch's legacy informed the relationship between visual and literary portraits in sixteenth-century Italy.
Why did the Museum of Modern Art and the Guggenheim in New York, and art collectors and curators such as Katherine Dreier and Alfred Barr, collect modern German art in the first half of the twentieth century?
If mediatization has surprisingly revealed the secret life of inert matter and the 'face of things', the flipside of this has been the petrification of living organisms, an invasion of stone bodies in a state of suspended animation.
By almost any measure Bernardino Barbatelli, called Poccetti, was a successful and sought after painter in late sixteenth-century Florence, but his works have remained largely overlooked.
Image and the Office of the Dead in Late Medieval Europe explores the Office of the Dead as a site of interaction between text, image, and experience in the culture of commemoration that thrived in the fourteenth and fifteenth centuries.
The Art of Anna Dorothea Therbusch (1721-1782) is the first English-language monograph on this exceptional German artist that critically examines Therbusch's artworks and career as a history and mythological painter, portraitist, and maker of synthetic pigments within the German and international milieu that both condemned and celebrated her accomplishments.
Raphael's Poetics applies strategies of interpretation implicit in antique poetry to the visual art of the Renaissance, concentrating on Raphael's Roman works and their cultural context.
