Genevieve Warwick – författare

First published in 2000, this is an examination of the collection of art works through an anthropological study of modes of exchange and the social roles of material culture. Focusing on the figure of Sebastiano Resta, Genevieve Warwick brings to light a shadowy, yet crucial chapter in the history of collecting, that of the great migration of art objects out of Italy to northern Europe in the early eighteenth century. Her study pins the history of collecting to broader changes in European economic history and analyzes the epistemological frameworks for viewing that accompanied this transfer of artistic wealth. Warwick also demonstrates how early modern art collecting was shaped by the social mores of elite 'arts of love'.

First published in 2000, this is an examination of the collection of art works through an anthropological study of modes of exchange and the social roles of material culture. Focusing on the figure of Sebastiano Resta, Genevieve Warwick brings to light a shadowy, yet crucial chapter in the history of collecting, that of the great migration of art objects out of Italy to northern Europe in the early eighteenth century. Her study pins the history of collecting to broader changes in European economic history and analyzes the epistemological frameworks for viewing that accompanied this transfer of artistic wealth. Warwick also demonstrates how early modern art collecting was shaped by the social mores of elite 'arts of love'.

Cinderella's Glass Slipper studies Renaissance material cultures through the literary prism of fairy-tale objects. The literary fairy-tale first arose in Renaissance Venice, originating from oral story-telling traditions that would later become the Arabian Nights, and subsequently in the Parisian salons of Louis XIV. Largely written by, for, and in the name of women, these literary fairy-tales took a lightly comic view of life's vicissitudes, especially female fortune in marriage. Connecting literary representations of bridal goods - dress, jewellery, carriages, toiletries, banqueting and confectionary foods - to the craft histories of their making, this Element offers a newly-contextualised socio-economic account of Renaissance luxe, from architectural interiors to sartorial fashioning and design. By coupling Renaissance luxury wares with their fairy-tale representation, it locates the recherché materialities of bridal goods - gold, silver, diamonds and silk - within expanding colonialist markets of a newly-global early modern economy in the age of discovery.

One of the key pictorial developments of Renaissance art was a conceptualisation of painting as a mirror reflection of the visible world. The idea of painting as specular was argued in Renaissance art theory, demonstrated in art practice, and represented in painting itself. Both within the artist's workshop and within pictorial representation, the mirror-image became the instrument, the emblem, and the conceptual definition of what a painting was. In this volume, Genevieve Warwick brings a dual focus to the topic through an exploration of the early modern elision of the picture plane with the mirror - image. She considers the specular configuration of Renaissance painting from various thematic points of view to offer a fully interdisciplinary analysis of the mirror analogy that pervaded not only art theory and art-making, but also the larger cultural spheres of philosophy, letters, and scientific observation. Warwick's volume recasts our understanding of the inter-visual relationships between disciplines, and their consequences for a specular definition of Renaissance painting.

Taking up questions of artists’ materials and technical processes currently at the vanguard of art-historical scholarship, this book studies the contiguity and interchange of workshop methods in the linked fabrication of both ephemeral and preparatory works by Bernini. Genevieve Warwick argues that the ephemeral arts of ritual occasion acted as a locus of artistic experiment for the artist in many respects similar to his use of preparatory models, to suggest that Bernini’s artistry sprang from the fabric of ritual in both material and cultural terms. From processional floats to court stage sets for the ritual occasions of church and state, such ephemeral arts were largely made of wax, clay, papier mâché, wood, stucco and plaster, assembled into scenographic ensembles with textiles, canvas and paint. Similarly, Bernini’s preparatory models for marble or bronze sculpture were of plaster and clay, even mud and straw, or wax and painted wood, as plentiful and affordable materials that were readily available for use and reuse as required. This book will be of interest to scholars working in art history and Renaissance studies.

In 12 essays by a distinguished group of art historians, Art and Technology in Early Modern Europe explores the relationship between artistic and technological advances from the Renaissance to the Industrial Revolution. Provides a broad definition of technology for this period and addresses the influence of technological shifts on the history of early modern artCovers c.1420-1820, the time period between the advent of the printed image and that of the photographically produced imageDiscusses a wide range of early modern artists’ tools, instruments, skills, and techniques and their historical applicationsHighlights a frequently overlooked aspect of research within art history that yields substantial insights into the analysis of the making and viewing of art