Companion to Renaissance and Baroque Art

Babette Bohn is Professor of Art History at Texas Christian University. Her publications include two books on Italian prints, Agostino Carracci (1995) and Italian Masters of the Sixteenth Century (1996), and two on the drawings of Ludovico Carracci (2004) and Guido Reni (2008). James M. Saslow is Professor of Art History, Theatre, and Renaissance Studies at Queens College and the Graduate Center, City University of New York. His most recent book, Pictures and Passions: A History of Homosexuality in the Visual Arts (1999), received two awards from the Lambda Literary Foundation.

“The comprehensive collection of essays addresses major aspects of European visual arts produced in 1300-1700. This book offers developments in the sphere of theory and criticism with the changing tastes, attitudes, and goals among patrons and artists.”  (NeoPopRealism Journal, 1 August 2013)"Provides a fuller context for students to understand the confluence of ideas related to art production and allows students an opportunity to examine several examples of methodological principles behind art historical research ... Summing Up: Recommended. Lower-level undergraduates through graduate students." (Choice, 1 September 2013)

• Contributors viiiPreface xvAcknowledgments xviiIntroduction 1Babette Bohn and James M. SaslowPart 1 The Context: Social-Historical Factors in Artistic Production 211 A Taxonomy of Art Patronage in Renaissance Italy 23Sheryl E. Reiss2 Judaism and the Arts in Early Modern Europe: Jewish and Christian Encounters 44Shelley Perlove3 Religion, Politics, and Art in Late Medieval and Renaissance Italy 65Julia I. Miller4 Europe’s Global Vision 85Larry Silver5 Italian Art and the North: Exchanges, Critical Reception, and Identity, 1400–1700 106Amy Golahny6 The Desiring Eye: Gender, Sexuality, and the Visual Arts 127James M. SaslowPart 2 The Artist: Creative Process and Social Status 1497 The Artist as Genius 151William E. Wallace8 Drawing in Renaissance Italy 168Mary Vaccaro9 Self-Portraiture 1400–1700 189H. Perry Chapman10 Recasting the Role of the Italian Sculptor: Sculptors, Patrons, Materials, and Principles for the New Early Modern Age 210Elinor M. Richter11 From Oxymoron to Virile Paintbrush: Women Artists in Early Modern Europe 229Babette BohnPart 3 The Object: Art as Material Culture 25112 The Birth of Mass Media: Printmaking in Early Modern Europe 253Alison G. Stewart13 The Material Culture of Family Life in Italy and Beyond 275Jacqueline Marie Musacchio14 Tapestry: Luxurious Art, Collaborative Industry 295Koenraad Brosens15 The New Sciences and the Visual Arts 316Eileen Reeves16 Seeing Through Renaissance and Baroque Paintings: Case Studies 336Claire BarryPart 4 The Message: Subjects and Meanings 35917 Iconography in Renaissance and Baroque Art 361Mark Zucker18 Renaissance Landscapes: Discovering the World and Human Nature 381Lawrence O. Goedde19 The Nude Figure in Renaissance Art 402Thomas Martin20 Genre Painting in Seventeenth-Century Europe 422Wayne Franits21 The Meaning of the European Painted Portrait, 1400–1650 442Joanna Woods-Marsden22 All the World’s a Stage: The Theater Conceit in Early Modern Italy 463Inge Jackson Reist23 Intensity and Orthodoxy in Iberian and Hispanic Art of the Tridentine Era, 1550–1700 484Marcus B. BurkePart 5 The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse 50524 Historians of Northern European Art: From Johann Neudörfer and Karel van Mander to the Rembrandt Research Project 507Jeffrey Chipps Smith25 Artistic Biography in Italy: Vasari to Malvasia 525David Cast26 With a Critical Eye: Painting and Theory in France, 1600–43 The Case of Simon Vouet and Nicolas Poussin 541Joseph C. Forte27 The Italian Piazza: From Gothic Footnote to Baroque Theater 561Niall Atkinson28 Building in Theory and Practice: Writing about Architecture in the Renaissance 582Carolyn Yerkes Index 602