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.
The Fonte Gaia from Renaissance to Modern Times examines the history of Siena's famous public fountain, from its fifteenth-century origins to its eventual replacement by a copy in the nineteenth century (and the modern fate of both).
Rembrandt, Vermeer, and the Gift in Seventeenth-Century Dutch Art offers a new perspective on the art of the Dutch Golden Age by exploring the interaction between the gift's symbolic economy of reciprocity and obligation and the artistic culture of early modern Holland.
During the early modern period, objects of maritime material culture were removed from their places of origin and traded, collected and displayed worldwide.
Film, like the printed imagery inaugurated during the Renaissance, spread ideas - not least the idea of the power of visual art - across not only geographical and political divides but also strata of class and gender.
This book presents four case studies that interrogate how German fifteenth-century painted triptychs engage with, and ultimately blur, various boundaries.
Sixteenth-century Flemish painter Joachim Beuckelaer produced dozens of large-scale paintings of contemporary working women and men selling, presenting, and preparing a visually stunning array of foodstuffs for the viewer.
Gender, Space, and Experience at the Renaissance Court investigates the dynamic relationships between gender and architectural space in Renaissance Italy.
Early modern art features a remarkable fascination with ornament, both as decorative device and compositional strategy, across artistic media and genres.
Gender, Space, and Experience at the Renaissance Court investigates the dynamic relationships between gender and architectural space in Renaissance Italy.
Picturing German Antiquity in the Age of Print: Art, Archaeology, and the Style All'antica in Early Modern Augsburg examines the central role of print to local antiquarian pursuits and generation of a style all'antica in early sixteenth-century Augsburg, Germany.
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.
The question whether or not seventeenth century painters such as Rembrandt and Rubens created the paintings which were later sold under their names, has caused many a heated debate.
For women at the early modern courts, clothing and jewellery were essential elements in their political arsenal, enabling them to signal their dynastic value, to promote loyalty to their marital court and to advance political agendas.
The motif of the woman and the dragon has been prevalent in Western art since antiquity, yet has hitherto remained understudied, and artworks featuring this motif in Western Mediterranean cultures have been examined primarily in relation to the topos of the male dragon-slayer.
This book brings together two of the most important figures of twentieth-century criticism, Walter Benjamin and Theodor Adorno, to consider a topic that was central to their thinking: the place of and reason for art in society and culture.
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.
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.
This collection brings together art historians, museum professionals, conservators, and conservation scientists whose work involves Rembrandt van Rijn and associated artists such as Gerrit Dou, Jan Lievens, and Ferdinand Bol.
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.
A Prayer Book owned by the Rothschilds, an Italian bronze casket by Antico, a lavishly illustrated Carnival chronicle from sixteenth-century Germany, an altarpiece by Pieter Brueghel the Younger - much of the artwork in this book, held by Australian collections, is essentially unknown beyond the continent.
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.
