Geraldine A Johnson – författare

Botticelli, Holbein, Leonardo, Dürer, Michelangelo: the names are familiar, as are the works, such as the Last Supper fresco, or the monumental marble statue of David. But who were these artists, why did they produce such memorable images, and how would their original beholders have viewed these objects? Was the Renaissance only about great masters and masterpieces, or were "mistresses" also involved, such as women artists and patrons? And what about the 'minor'-pieces that Renaissance men and women would have encountered in homes, churches and civic spaces? This exciting and stimulating volume will answer such questions by considering both famous and lesser-known artists, patrons and works of art within the cultural and historical context of Renaissance Europe.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

This 1997 volume considers pictured and picturing women in Renaissance and Baroque Italy as the subjects, creators, patrons and viewers of art. Art itself is broadly defined to include not only painting, sculpture and architecture, but also popular prints and domestic objects. Women's experiences and needs (as perceived by women themselves and as defined by men on their behalf) are seen as important determinants in the production and consumption of visual culture. How the real and ideal lives of women - nuns, brides, mothers, widows, artists, saints, sinners - are reflected in, and to some extent shaped by, works of art is also explored. Adopting an interdisciplinary approach, this collection seeks to examine the art histories of women in Italy from the fourteenth to the seventeenth centuries.

This volume presents definitive essays by internationally renowned experts and innovative younger scholars on the wide range of approaches used by art historians past and present to analyze images, objects, buildings, and performances.It provides critical considerations of key methodologies, from formalism and iconography to social history and psychoanalytic approaches. It foregrounds fundamental concepts, from the artist, the beholder, and the frame to museums, canons, and periodization. At the same time, it broadens art itself as a category by considering photographs, digital media, performance, architecture, and visual culture more generally. The chapters also explore new approaches and new points of view that have expanded Art History’s remit in exciting ways in recent years by addressing growing interest in race, ethnicity, and the legacies of colonialism; gender identity and sexuality; ecocritical approaches to making and consuming art; materiality and the senses; digitally informed methods; the nascent field of Disability Studies; and scientific research on vision and on the technical analysis of works of art.This comprehensive collection will be indispensable for students and scholars of Art History, as well as for readers coming from other disciplines who are seeking fresh approaches to visual and material culture.

This collection of chapters investigates the effects of mobility and place on a range of photographic archives and explores their potential for cross-disciplinary dialogue.The book explores photographic images used in the study of art, as well as the implications of placing European images of non-European cultures in an archive, album, library, or museum. It also addresses questions of digital space, which renders images more visually accessible, but further complicates issues relating to location. The contributors consider these issues through case studies based on a variety of archives, institutions, and disciplines. Just as photographs are conceived as unstable objects, so conventional borders between disciplines and locations are challenged and opened up with chapters drawing on a range of disciplinary theories and practices. The focus of the individual chapters is global, as seen in contributions not only on Euro-American topics, but also on Orientalizing approaches to photographing the Ancient Near East, photographic archives of Bedouin subjects, and digital photographic archives in an Iranian context.This book will be of interest to scholars of art history, visual and cultural studies, anthropology, and archaeology, as well as those working on the history and theory of photography, and histories and theories of the archive.