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.
Abel Gance's silent masterpiece, Napoleon, was given a limited run on its debut in 1927, but soon afterwards distributors in France and America, unwilling to deal with its nine-hour running time, subjected it to savage cuts - with devastating results for the movie and for film history.
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 volume takes a fresh look at the various aesthetics emerging globally in the early sound film era, with a focus on the films' fundamentally experimental and inventive character.
International expositions or world's fairs are the largest and most important stage on which millions routinely gather to directly experience, express, and respond to cultural difference.
This book offers a new perspective on a long-debated issue: the role of the occult in surrealism, in particular under the leadership of French writer Andre Breton.
Louis Van Gasteren was one of the most prolific filmmakers in the history of the Netherlands, with a resume that includes nearly eighty documentaries and two feature films-to say nothing of artworks and books.
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.
During the course of Dutch physicist and Spinoza Prize-winner Ad Lagendijk's long and influential career, he has published more than 300 articles, supervised over thirty doctoral dissertations, and given countless presentations and conference addresses.
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.
This collection departs from the observation that online forms of communication-the email, blog, text message, tweet-are actually haunted by old epistolary forms: the letter and the diary.
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.
During the course of Dutch physicist and Spinoza Prize-winner Ad Lagendijk's long and influential career, he has published more than 300 articles, supervised over thirty doctoral dissertations, and given countless presentations and conference addresses.
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.
Conjuring up all the glamour of the event, Jungen recounts the history of the Cannes Film Festival from an American perspective surveying the complex interplay of talent, money and corporate clout.
This first comprehensive overview of the process of commissioning and financing the construction of cathedrals in the Middle Ages reveals a financing system almost as monumental as the cathedrals themselves.
The Eco-Self in Early Modern English Literature tracks an important shift in early modern conceptions of selfhood, arguing that the period hosted the birth of a new subset of the human, the eco-self, which melds a deeply introspective turn with an abiding sense of humans' embedment in the world.
We normally think of early film as being black and white, but the first color cinematography appeared as early as the first decade of the twentieth century.
This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan.
This edited volume provides a multifaceted investigation of the dynamic interrelations between visual arts and urbanization in contemporary Mainland China with a focus on unseen representations and urban interventions brought about by the transformations of the urban space and the various problems associated with it.
This collection brings together a number of leading scholars in film studies to explore viewing and listening dispositives - the Foucauldian concept of a strategic and technical configuration of practices and discourses - from the emergence of film studies as a field in the 1960s to more recent uses of the concept.
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.
This bilingual English-Swedish study of August Strindberg's renowned play Miss Julie (1888) provides a penetrating analysis of the author's text and of Ingmar Bergman's praised 1985 production.
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.
Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology.
