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.
This collection of essays examines the vogue for games and game playing as expressed in art and literature in sixteenth- and seventeenth-century Europe.
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.
In 1454 the Sienese painter Francesco di Bartolomeo Alfei faced litigation from the Mercanzia in Siena for defaulting on a contract from one of the leading Franciscan confraternities in the city.
This book presents four case studies that interrogate how German fifteenth-century painted triptychs engage with, and ultimately blur, various boundaries.
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).
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.
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.
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.
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.
Combining strikingly new scholarship by art historians, historians, and ethnomusicologists, this interdisciplinary volume illuminates trade ties within East Asia, and from East Asia outwards, in the years 1550 to 1800.
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.
Combining strikingly new scholarship by art historians, historians, and ethnomusicologists, this interdisciplinary volume illuminates trade ties within East Asia, and from East Asia outwards, in the years 1550 to 1800.
Based on original archival research, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective.
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.
In his own day, Godefridus Schalcken (1643-1706) was an internationally renowned Dutch painter, but little is known about the four years that he spent in London.
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.
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.
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.
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.
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.
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 1454 the Sienese painter Francesco di Bartolomeo Alfei faced litigation from the Mercanzia in Siena for defaulting on a contract from one of the leading Franciscan confraternities in the city.
In his own day, Godefridus Schalcken (1643-1706) was an internationally renowned Dutch painter, but little is known about the four years that he spent in London.
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.
