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Author: Alfred Acres
Publisher: Harvey Miller Publishers
ISBN: 9781905375714
Category : Art, European
Languages : en
Pages : 0
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Book Description
Renaissance Invention and the Haunted Infancy examines how and why a vast range of fifteenth- and early sixteenth-century European images of Christ's infancy allude either to his death or to the devil, and sometimes to both. Written as an essay on interpretation, the book addresses the bottomless ingenuity with which artists worked to embody two central yet ultimately elusive ideas: the sacrifice for which the Incarnation was necessary and evil poised to thwart the scheme of salvation. Because both are nominally nonexistent or suppressed in the moment pictured--a death not yet present for the Infant and a menace resisted by his coming--they convey absence or imminence in ways rarely attempted in earlier art. Although both kinds of allusion became pervasive in painting, prints, and sculpture and are widely familiar to modern observers, neither has ever been systematically addressed in art historical scholarship. With this gap as a core question, the study seeks answers among unmapped distances between Renaissance and modern approaches to meaning in religious images. Framed by an opening chapter that examines changing conceptions of subject matter and a concluding one that seeks to account for Renaissance fascination with these themes, the heart of the study is given to close scrutiny of an unusual variety of images (by such central figures as Bosch, Botticelli, Bruegel, Campin, Donatello, Gossaert, Michelangelo, and van der Weyden, among many others) and the means by which they engineer representation to guide singular kinds of thought. New perspectives emerge not only on certain core dynamics of meaning, but also on elementally related aims of a host of major works from the period.
Author: Alfred Acres
Publisher: Harvey Miller Publishers
ISBN: 9781905375714
Category : Art, European
Languages : en
Pages : 0
Get Book Here
Book Description
Renaissance Invention and the Haunted Infancy examines how and why a vast range of fifteenth- and early sixteenth-century European images of Christ's infancy allude either to his death or to the devil, and sometimes to both. Written as an essay on interpretation, the book addresses the bottomless ingenuity with which artists worked to embody two central yet ultimately elusive ideas: the sacrifice for which the Incarnation was necessary and evil poised to thwart the scheme of salvation. Because both are nominally nonexistent or suppressed in the moment pictured--a death not yet present for the Infant and a menace resisted by his coming--they convey absence or imminence in ways rarely attempted in earlier art. Although both kinds of allusion became pervasive in painting, prints, and sculpture and are widely familiar to modern observers, neither has ever been systematically addressed in art historical scholarship. With this gap as a core question, the study seeks answers among unmapped distances between Renaissance and modern approaches to meaning in religious images. Framed by an opening chapter that examines changing conceptions of subject matter and a concluding one that seeks to account for Renaissance fascination with these themes, the heart of the study is given to close scrutiny of an unusual variety of images (by such central figures as Bosch, Botticelli, Bruegel, Campin, Donatello, Gossaert, Michelangelo, and van der Weyden, among many others) and the means by which they engineer representation to guide singular kinds of thought. New perspectives emerge not only on certain core dynamics of meaning, but also on elementally related aims of a host of major works from the period.
Author: Walter Melion
Publisher: BRILL
ISBN: 9004408940
Category : Art
Languages : en
Pages : 692
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Book Description
‘Quid est sacramentum?’ Visual Representation of Sacred Mysteries in Early Modern Europe, 1400–1700 investigates how sacred mysteries (in Latin, sacramenta or mysteria) were visualized in a wide range of media, including illustrated religious literature such as catechisms, prayerbooks, meditative treatises, and emblem books, produced in Italy, France, and the Low Countries between ca. 1500 and 1700. The contributors ask why the mysteries of faith and, in particular, sacramental mysteries were construed as amenable to processes of representation and figuration, and why the resultant images were thought capable of engaging mortal eyes, minds, and hearts. Mysteries by their very nature appeal to the spirit, rather than to sense or reason, since they operate beyond the limitations of the human faculties; and yet, the visual and literary arts served as vehicles for the dissemination of these mysteries and for prompting reflection upon them. Contributors: David Areford, AnnMarie Micikas Bridges, Mette Birkedal Bruun, James Clifton, Anna Dlabačková, Wim François, Robert Kendrick, Aiden Kumler, Noria Litaker, Walter S. Melion, Lars Cyril Nørgaard, Elizabeth Pastan, Donna Sadler, Alexa Sand, Tanya Tiffany, Lee Palmer Wandel, Geert Warner, Bronwen Wilson, and Elliott Wise.
Author: Koenraad Jonckheere
Publisher: Yale University Press
ISBN: 0300267525
Category : Art
Languages : en
Pages : 474
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Book Description
A radical re-examination of 2,500 years of European art, deconstructing and demystifying its long history from ancient to present How has art evolved from the pursuit of the 'ideal' human form to a black square on a white canvas? Why is a banana duct-taped to a wall worth more on the art market than a beautiful seventeenth-century landscape? By taking art for what it actually is -- a piece of stone or wood, a sheet of paper with some lines drawn on it, a painted canvas -- this lively and accessible account shows how seemingly meaningless objects can be transformed into celebrated works of art. Breaking with conventional notions of artistic genius, Koenraad Jonckheere explores how stories and emotions give meaning to objects, and why changing historical circumstances result in such shifting opinions over time. Tracing its story from ancient times to present, A New History of Western Art reframes the evolution of European art and radically reshapes our understanding of art history. Published in association with Hannibal Books
Author: Joost Keizer
Publisher: Reaktion Books
ISBN: 1789141028
Category : Art
Languages : en
Pages : 233
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Book Description
Leonardo da Vinci (1452–1519) was one of the preeminent figures of the Italian Renaissance. He was also one of the most paradoxical. He spent an incredible amount of time writing notebooks, perhaps even more time than he ever held a brush, yet at the same time Leonardo was Renaissance culture’s most fanatical critic of the word. When Leonardo criticized writing he criticized it as an expert on words; when he was painting, writing remained in the back of his brilliant mind. In this book, Joost Keizer argues that the comparison between word and image fueled Leonardo’s thought. The paradoxes at the heart of Leonardo’s ideas and practice also defined some of Renaissance culture’s central assumptions about culture and nature: that there is a look to script, that painting offered a path out of culture and back to nature, that the meaning of images emerged in comparison with words, and that the difference between image-making and writing also amounted to a difference in the experience of time.
Author: Wietse de Boer
Publisher: BRILL
ISBN: 9004236651
Category : History
Languages : en
Pages : 520
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Book Description
Sensation is the subject of a burgeoning field in the humanities. This volume examines its role in the religious changes and transformations of early modern Europe. Sensation was not only central to the doctrinal disputes of the Reformation, but also critical in shaping new or reformed devotional practices. From this vantage point the book explores the intersections between the world of religion and the spheres of art, music, and literature; food and smell; sacred things and spaces; ritual and community; science and medicine. Deployed in varying, often contested ways, the senses were essential pathways to the sacred. They permitted knowledge of the divine and the universe, triggered affective responses, shaped holy environments, and served to heal, guide, or discipline body and soul. Contributors include Alfred Acres, Barbara Baert, Andrew R. Casper, Wietse de Boer, Sven Dupré, Iain Fenlon, Laura Giannetti, Christine Göttler, Jennifer R. Hammerschmidt, Joseph Imorde, Rachel King, Jennifer Rae McDermott, Walter S. Melion, Matthew Milner, Sarah Joan Moran, Yvonne Petry, and Klaus Pietschmann.
Author: Larry Silver
Publisher: BRILL
ISBN: 9004504419
Category : Art
Languages : en
Pages : 417
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Book Description
Dramatic changes during the Reformation era in Northern Europe, such as witchcraft and new global discoveries, are examined through visual culture, both prints and paintings.
Author: Andrea Pearson
Publisher: BRILL
ISBN: 9004393102
Category : Art
Languages : en
Pages : 378
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Book Description
In Gardens of Love and the Limits of Morality in Early Netherlandish Art, Andrea Pearson charts the moralization of human bodies in late medieval and early modern visual culture, through paintings by Jan van Eyck and Hieronymus Bosch, devotional prints and illustrated books, and the celebrated enclosed gardens of Mechelen among other works. Drawing on new archival evidence and innovative visual analysis to reframe familiar religious discourses, she demonstrates that depicted topographies advanced and sometimes resisted bodily critiques expressed in scripture, conduct literature, and even legislation. Governing many of these redemptive greenscapes were the figures of Christ and the Virgin Mary, archetypes of purity whose spiritual authority was impossible to ignore, yet whose mysteries posed innumerable moral challenges. The study reveals that bodily status was the fundamental problem of human salvation, in which artists, patrons, and viewers alike had an interpretive stake.
Author: Stephen J. Campbell
Publisher: University of Chicago Press
ISBN: 022648159X
Category : Art
Languages : en
Pages : 374
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Book Description
While the masterpieces of the Italian Renaissance are usually associated with Italy’s historical seats of power, some of the era’s most characteristic works are to be found in places other than Florence, Rome, and Venice. They are the product of the diversity of regions and cultures that makes up the country. In Endless Periphery, Stephen J. Campbell examines a range of iconic works in order to unlock a rich series of local references in Renaissance art that include regional rulers, patron saints, and miracles, demonstrating, for example, that the works of Titian spoke to beholders differently in Naples, Brescia, or Milan than in his native Venice. More than a series of regional microhistories, Endless Periphery tracks the geographic mobility of Italian Renaissance art and artists, revealing a series of exchanges between artists and their patrons, as well as the power dynamics that fueled these exchanges. A counter history of one of the greatest epochs of art production, this richly illustrated book will bring new insight to our understanding of classic works of Italian art.
Author: Edward J. Olszewski
Publisher: Cambridge Scholars Publishing
ISBN: 1527512843
Category : Art
Languages : en
Pages : 221
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Book Description
This study employs cognitive theory as a heuristic framework to interrogate the agency of female types in select Italian Renaissance paintings, with emphasis on Venus, Medusa, the Amazon, Boccaccio's Lady Fiammetta/Cleopatra, Susanna, the Magdalene, and the Madonna. The study disrupts assumptions about the identity of sitters and readings of paintings as it challenges paradigms of female representation. It interrogates why certain paintings were crafted, by whom and for whom. Works are placed in the context of meta-painting, with stress on the cognitive decisions negotiated between patron and artist. The ludic aspects of several paintings are examined with a fine grain semiotic approach to expand their iconographies. Psychoanalytic readings are unpacked, based on the flawed mythological metaphors and incomplete clinical studies of Sigmund Freud's theorizing. The rubric of female agency is deliberately selected to unify popular but enigmatic master paintings of disparate subjects.
Author: Noa Turel
Publisher: Yale University Press
ISBN: 0300247575
Category : Art
Languages : en
Pages : 201
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Book Description
A significant new interpretation of the emergence of Western pictorial realism When Jan van Eyck (c. 1390–1441) completed the revolutionary Ghent Altarpiece in 1432, it was unprecedented in European visual culture. His novel visual strategies, including lifelike detail, not only helped make painting the defining medium of Western art, they also ushered in new ways of seeing the world. This highly original book explores Van Eyck’s pivotal work, as well as panels by Rogier van der Weyden and their followers, to understand how viewers came to appreciate a world depicted in two dimensions. Through careful examination of primary documents, Noa Turel reveals that paintings were consistently described as au vif: made not “from life” but “into life.” Animation, not representation, drove Van Eyck and his contemporaries. Turel’s interpretation reverses the commonly held belief that these artists were inspired by the era’s burgeoning empiricism, proposing instead that their “living pictures” helped create the conditions for empiricism. Illustrated with exquisite fifteenth-century paintings, this volume asserts these works’ key role in shaping, rather than simply mirroring, the early modern world.
