Fabian Jonietz – författare

The life-like depiction of the body became a central interest and defining characteristic of the European Early Modern period that coincided with the establishment of which images of the body were to be considered 'decent' and representable, and which disapproved, censored, or prohibited. Simultaneously, artists and the public became increasingly interested in the depiction of specific body parts or excretions. This book explores the concept of indecency and its relation to the human body across drawings, prints, paintings, sculptures, and texts. The ten essays investigate questions raised by such objects about practices and social norms regarding the body, and they look at the particular function of those artworks within this discourse. The heterogeneous media, genres, and historical contexts north and south of the Alps studied by the authors demonstrate how the alleged indecency clashed with artistic intentions and challenges traditional paradigms of the historiography of Early Modern visual culture.

The life-like depiction of the body became a central interest and defining characteristic of the European Early Modern period that coincided with the establishment of which images of the body were to be considered 'decent' and representable, and which disapproved, censored, or prohibited. Simultaneously, artists and the public became increasingly interested in the depiction of specific body parts or excretions. This book explores the concept of indecency and its relation to the human body across drawings, prints, paintings, sculptures, and texts. The ten essays investigate questions raised by such objects about practices and social norms regarding the body, and they look at the particular function of those artworks within this discourse. The heterogeneous media, genres, and historical contexts north and south of the Alps studied by the authors demonstrate how the alleged indecency clashed with artistic intentions and challenges traditional paradigms of the historiography of Early Modern visual culture.

The life-like depiction of the body became a central interest and defining characteristic of the European Early Modern period that coincided with the establishment of which images of the body were to be considered ‘decent’ and representable, and which disapproved, censored, or prohibited. Simultaneously, artists and the public became increasingly interested in the depiction of specific body parts or excretions. This book explores the concept of indecency and its relation to the human body across drawings, prints, paintings, sculptures, and texts. The ten essays investigate questions raised by such objects about practices and social norms regarding the body, and they look at the particular function of those artworks within this discourse. The heterogeneous media, genres, and historical contexts north and south of the Alps studied by the authors demonstrate how the alleged indecency clashed with artistic intentions and challenges traditional paradigms of the historiography of Early Modern visual culture.

This book opens up new perspectives on the relationship between art, medicine, and science in late-medieval and early modern Europe. Looking beyond the traditional nexus of art, anatomy, and optics, the volume sheds light on a broader array of connections between artists and physicians: collaborations between painters and doctors on colour charts, handwork skills common to sculptors and surgeons, the transmission of art theory through medical texts long before the emergence of art writing itself as an independent genre, and the kinship of medical diagnosis with early modes of connoisseurship. Reconfiguring the histories of art, medicine, and science, the book also traverses conventional boundaries between physical and mental health, religious and medical modes of healing, menial and exalted forms of knowledge and labour, as well as vernacular and scientific understandings of human difference, including gender, race, and neurodiversity.

Based on the key concepts of ‛pluralization’ and ‛authority’, the series presents studies on early modern literature and culture from the 15th to the 17th century. The early modern period is increasingly recognized in cultural studies as an age whose cultural paradigms still largely depended on medieval norms and traditions but at the same time also created a set of conditions that facilitated Europe’s transition to modernity. As opposed to established historical grand narratives such as modernization or secularization, the volumes in this series attempt to describe the dynamics of the period as a complex interaction of mutually competing world views, knowledge structures and behaviour patterns. The series explores these dynamics from an interdisciplinary perspective, including studies on literature, linguistics, history, philosophy, art, music and legal history.

In den Beiträgen des Sammelbands werden Kulturen des Wettstreitens in bildkünstlerischen und literarischen Darstellungen sowie in sozio-kulturellen Praktiken in der Zeit von 1450 bis 1620 untersucht. Im Zentrum stehen Aspekte, die über den humanistischen ‚Kernbereich‘ lateinischer Textproduktion und über die Paragone-Diskussion in den Bildkünsten hinausgehen. Untersucht werden aemulative Verfahren, die abseits expliziter Ordnungsprogramme das Eigengewicht und die Überlegenheit des jeweiligen Gegenstands in Auseinandersetzung mit den Alten (deutsches, lateinisches und griechisches Altertum) und den Zeitgenossen (europäischer Renaissance-Humanismus) zu profilieren suchen. Aus dieser Perspektive gelingt es, bislang unterforschte Konzepte von Fortschritt und Formen des Neuen, von Tradition und Innovation und von differierenden Möglichkeiten dieser Prozesse in unterschiedlichen Kontexten zu ermitteln und ihre zentrale Funktion für die Ausdifferenzierung humanistischer und vernakularer Kulturen in der Frühen Neuzeit aufzuzeigen. Die ‚Kulturen des Wettstreits‘ erweisen sich als partielle Epochensignatur im Spannungsfeld von Pluralisierung und Autorität in der Frühen Neuzeit.

Die zweite von drei Lieferungen vereint zweiundzwanzig Künstler, die im 15. und beginnenden 16. Jahrhundert wirkten.Enthaltene Künstler: Antonio Filarete, Benozzo Gozzoli, Francesco di Giorgio, Lorenzetto Vecchietta, Paolo Romano, Mino und Chimente Camicia, Mino da Fiesole, Simone Scultore, Ercole Ferrarese, Cecca, Jacopo Indaco, Dello Delli, Parri Spinelli, Lazzaro Vasari, Bellano da Padua, Francesco di Giorgio, Lorenzetto Vecchietta, Lorenzo Costa, Bartolomeo della Gatta, Francesco Francia, Vittore Carpaccio und andere venezianische und lombardische Maler.