Brill's Studies on Art, Art History, and Intellectual History – serie
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2 491 kr
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This study presents the Tondo Doni to the new Florentine republic as a model of the 'great sacrament' of marriage from the New Testament book of Ephesians. Following fifteenth-century theology, Michelangelo portrayed Mary as a humble wife dominated and possessed by a virile guardian Joseph, the couple united as if ‘two in one flesh’. To compensate for their symbolic propinquity, the painter cast her as a paragon of virginity, a muscular mulier fortis. In order to keep this virago in her place, Michelangelo coupled the Virgin in spiritual union with Christ, maenad-Psyche to bacchic Eros, attempting to mystify her social subordination into self-sacrificing love via Ficinian commentary and Saint Paul. Then, firing the Doni infant’s vehemence with a distinctly violent strain of Christian love, the painter turned to Dante’s rime petrose to continue the implied action and authorize a new painterly style, a sculptural stile aspro.Brill's Studies on Art, Art History, and Intellectual History, vol. 1
2 406 kr
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The relationship between medieval animal symbolism and the iconography of animals in the Renaissance has scarcely been studied. Filling a gap in this significant field of Renaissance culture, in general, and its art, in particular, this book demonstrates the continuity and tenacity of medieval animal interpretations and symbolism, disguised under the veil of genre, religious or mythological narrative and scientific naturalism. An extensive introduction, dealing with relevant medieval and early Renaissance sources, is followed by a series of case studies that illustrate ways in which Renaissance artists revived conventional animal imagery in unprecedented contexts, investing them with new meanings, on a social, political, ethical, religious or psychological level, often by applying exegetical methodology in creating multiple semantic and iconographic levels.Brill's Studies on Art, Art History, and Intellectual History, vol. 2
Del 65 - Brill’s Studies on Art, Art History, and Intellectual History
Tombs in Early Modern Rome (1400–1600)
Monuments of Mourning, Memory and Meditation
Inbunden, Engelska, 2022
2 529 kr
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Winner of the 2026 Borghese PrizeIn Tombs in Early Modern Rome (1400–1600), Jan L. de Jong reveals how funerary monuments, far from simply marking a grave, offered an image of the deceased that was carefully crafted to generate a laudable memory and prompt meditative reflections on life, death, and the hereafter. This leads to such questions as: which image of themselves did cardinals create when they commissioned their own tomb monuments? Why were most popes buried in grandiose tomb monuments that they claimed they did not want? Which memory of their mothers did children create, and what do tombs for children tell about mothers? Were certain couples buried together so as to demonstrate their eternal love, expecting an afterlife in each other’s company?
Del 81 - Brill’s Studies on Art, Art History, and Intellectual History
Animals in Eden
The Fall of Man in the Early Modern Art and Literature of Germany and the Low Countries
Inbunden, Engelska, 2025
2 071 kr
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This book looks at early modern representations, both pictorial and literary, of the animals surrounding Adam and Eve in the Garden of Eden at the dramatic moment of the Fall. Beginning with Albrecht Dürer's engraving Adam and Eve (1504) and ending with Rembrandt's etching Adam and Eve (1637), it explores the many manifestations of this theme at the intersection of painting, literature, and natural history. Artists such as Lucas Cranach and Jan Brueghel, and poets such as Guillaume Du Bartas and Joost van den Vondel, as well as many others, mainly from Germany and the Netherlands, are discussed.
Del 61 - Brill’s Studies on Art, Art History, and Intellectual History
Rethinking the Dialogue between the Verbal and the Visual
Methodological Approaches to the Relationship Between Religious Art and Literature (1400–1700)
Inbunden, Engelska, 2022
2 337 kr
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Intermediality, figurability, iconotext, visual exegesis: these are some of the many new ways in which the relationship between text and image has been explored in recent decades. Scholars have benefited from theoretical work in the fields of anthropology, psychoanalysis, and semiotics, alongside more traditional fields such as literature, art history and cultural history. Focusing on religious texts and images between 1400 and 1700, the essays gathered in this volume contribute to these developments by grounding their case studies in methodology. In considering various relations between the visual and the verbal, the editors have adopted the broadest position possible, emphasizing the phenomenological point of view from which the objects under discussion are examined.Contributors to this volume: Ralph Dekoninck, Anna Dlabačová, Grégory Ems, Ingrid Falque, Agnès Guiderdoni, Walter S. Melion, Kees Schepers, Paul J. Smith, and Elliott D. Wise.
Del 63 - Brill’s Studies on Art, Art History, and Intellectual History
Private Salons and the Art World of Enlightenment Paris
Inbunden, Engelska, 2022
2 283 kr
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In Private Salons and the Art World of Enlightenment Paris, Rochelle Ziskin explores in depth two remarkable private gatherings generating significant art criticism during the middle of the eighteenth century. She demonstrates how the sites harboring them came to embody and disseminate their judgments. One politically active group assembled at the house Mme Doublet shared with amateur Petit de Bachaumont; at her “Mondays” for artists, Mme Geoffrin collaborated with the powerful lover of antiquity Caylus and amateurs including Mariette and Watelet. In focusing on official Salons of the Royal Academy of Painting and Sculpture, historians too often overlook the crucial role of these frequent, regular assemblies, where works of art were quite often first assessed and taste shaped.This book will appeal to readers interested in eighteenth-century French artistic culture, journalism, and women’s patronage. The painters discussed include Boucher, Van Loo, Charles Coypel, Cochin, Vien, Pierre, Lagrenée, and Hubert Robert.
2 886 kr
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Although studies of specific time concepts, expressed in Renaissance philosophy and literature, have not been lacking, few art-historians have endeavored to meet the challenge in the visual arts. This book presents a multifaceted picture of the dynamic concepts of time and temporality in medieval and Renaissance art, adopted in speculative, ecclesiastical, socio-political, propagandist, moralistic, and poetic contexts. It has been assumed that time was conceived in a different way by those living in the Renaissance as compared to their medieval predecessors. Changing perceptions of time, an increasingly secular approach, the sense of self-determination rooted in the practical use and control of time, and the perception of time as a threat to human existence and achievements are demonstrated through artistic media. Chapters dealing with time in classical and medieval philosophy and art are followed by studies that focus on innovative aspects of Renaissance iconography.
2 886 kr
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In The Portrait Bust and French Cultural Politics in the Eighteenth Century, Ronit Milano probes the rich and complex aesthetic and intellectual charge of a remarkably concise art form, and explores its role as a powerful agent of epistemological change during one of the most seismic moments in French history. The pre-Revolutionary portrait bust was inextricably tied to the formation of modern selfhood and to the construction of individual identity during the Enlightenment, while positioning both sitters and viewers as part of a collective of individuals who together formed French society. In analyzing the contribution of the portrait bust to the construction of interiority and the formulation of new gender roles and political ideals, this book touches upon a set of concerns that constitute the very core of our modernity.
Del 67 - Brill’s Studies on Art, Art History, and Intellectual History
Rubens and the Dominican Church in Antwerp
Art and Political Economy in an Age of Religious Conflict
Inbunden, Engelska, 2023
3 268 kr
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This book is about the Dominican church in Antwerp (today St Paul’s). It is structured around three works of art, made or procured by Peter Paul Rubens: the Fifteen Mysteries of the Rosary cycle (in situ), Caravaggio’s Rosary Madonna (Vienna) and the Wrath of Christ high altarpiece (Lyon). Within the artist’s lifetime, the church and monastery were completely rebuilt, creating one of the most spectacular sacred spaces in Northern Europe. In this richly illustrated book, Adam Sammut reconceptualises early modern churches as theatres of political economy, advancing an original approach to cultural production in a time of war. Using methodologies at the cutting edge of the humanities, the place of St Paul’s is restored to the crux of Antwerp’s commercial, civic and religious life.
3 078 kr
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Im Fokus der Studie steht eine neue Deutung von Rembrandts Nachtwache aus dem Jahre 1642. Zentral ist dabei die Auseinandersetzung des Malers mit der klassizistischen Kunsttheorie von Franciscus Junius. Dessen Werk "De pictura veterum" war 1637 in lateinischer und 1641 in niederländischer Sprache erschienen. So lautet die These, dass Rembrandts Gruppenporträt auf eine Kritik italienisch-klassizistischer Imitatio-Konzepte zielt und zugleich Werke der Antike und der italienischen Hochrenaissance ironisiert. Der Leidener Maler orientiert sich an Raffaels Schule von Athen, um damit implizit die Frage angemessener und unangemessener Nachahmung zu stellen. Die Studie insgesamt will zeigen, wie differenziert Rembrandt mit Vorbildern umzugehen vermag. Steht auch die Nachtwache im Zentrum der Untersuchung, so werden auch andere Gemälde sowie Radierungen und Zeichnungen interpretiert und nach der ironischen Dimension von Rembrandts Kunst im Ganzen gefragt. The focus of Müller’s study is a new interpretation of Rembrandt’s Night Watch from 1642, which highlights the painter’s engagement with the classical art theory of Franciscus Junius. Junius’s treatise, "De pictura veterum", was published in Latin in 1637 and in Dutch in 1641. Ultimately, Müller argues that Rembrandt’s group portrait was designed to present a critique of the Italianate/classical concepts of Imitatio in addition to offering an ironic commentary on artworks of the Antique and High Renaissance periods. The Dutch artist takes Raphael’s School of Athens as a reference point, thereby implicitly posing questions about appropriate and inappropriate forms of imitation. The study as a whole shows how complex and witty Rembrandt’s approach to his models could be. Although the Night Watch occupies a central place in the inquiry, the author also engages with other paintings, etchings and drawings in order to sketch the contours of Rembrandt’s ironic image making.
Del 64 - Brill’s Studies on Art, Art History, and Intellectual History
Andrea Fulvio’s Illustrium imagines and the Beginnings of Classical Archaeology
Inbunden, Engelska, 2022
1 765 kr
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Andrea Fulvio’s Illustrium imagines and the Beginnings of Classical Archaeology is a study of the book recognized by contemporaries as the first attempt (1517) to publish artifacts from Classical Antiquity in the form of a chronology of portraits appearing on coins. By studying correspondences between the illustrated coins and genuine, ancient coins, Madigan parses Fulvio’s methodology, showing how he attempted to exploit coins as historical documents. Situated within humanist literary and historical studies of ancient Rome, his numismatic project required visual artists closely to study and assimilate the conventions of ancient portraiture. The Illustrium imagines exemplifies the range and complexity of early modern responses to ancient artifacts.
Art and Diplomacy: Seventeenth-Century English Decorated Royal Letters to Russia and the Far East
Inbunden, Engelska, 2015
2 988 kr
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In this study of Art and Diplomacy we see the relationship between renaissance design in decorated borders and the messages conveyed in the texts of royal letters from the English kings to Russia and rulers in the Far East. These are cases of art serving the Crown, with much of the early limning done by Edward Norgate, the English miniaturist. Printed here for the first time from Russian archives, this collection provides a continuum for the study of the limning of royal letters throughout the 17th century. The letters that the decoration enhances reveal the details of privileges and commercial advantages sought by the English, and the cultural interests of the Russians in their requests for English doctors, apothecaries, jewellers, and mineralogists.
4 558 kr
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In this paradigm shifting study, developed through close textual readings and sensitive analysis of artworks, Clare Lapraik Guest re-evaluates the central role of ornament in pre-modern art and literature. Moving from art and thought in antiquity to the Italian Renaissance, she examines the understandings of ornament arising from the Platonic, Aristotelian and Sophistic traditions, and the tensions which emerged from these varied meanings. The book views the Renaissance as a decisive point in the story of ornament, when its subsequent identification with style and historicism are established. It asserts ornament as a fundamental, not an accessory element in art and presents its restoration to theoretical dignity as essential to historical scholarship and aesthetic reflection.
2 964 kr
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Reading Catechisms, Teaching Religion makes two broad arguments. First, the sixteenth century witnessed a fundamental transformation in Christians’, Catholic and Evangelical, conceptualization of the nature of knowledge of Christianity and the media through which that knowledge was articulated and communicated. Christians had shared a sense that knowledge might come through visions, images, liturgy; catechisms taught that knowledge of ‘Christianity’ began with texts printed on a page. Second, codicil catechisms sought not simply to dissolve the material distinction between codex and person, but to teach catechumens to see specific words together as texts. The pages of catechisms were visual—they confound precisely that constructed modern bipolarity, word/image, or, conversely, that modern bipolarity obscures what sixteenth-century catechisms sought to do.
3 154 kr
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In Hospitals and Urbanism in Rome 1200 – 1500, Carla Keyvanian offers a new interpretation of the urban development of Rome during three seminal centuries by focusing on the construction of public hospitals. These monumental charitable institutions were urban expressions of sovereignty. Keyvanian traces the political reasons for their emergence and their architectural type in Europe around 1200. In Rome, hospitals ballasted the corporate image of social elites, aided in settling and garrisoning vital sectors and were the hubs around which strategies aimed at territorial control revolved. When the strategies faltered, the institutions were rapidly abandoned. Hospitals in areas of enduring significance instead still function, bearing testimony to the influence of late medieval urban interventions on modern Rome.
Exuberant Apotheoses: Italian Frescoes in the Holy Roman Empire
Visual Culture and Princely Power in the Age of Enlightenment
Inbunden, Engelska, 2016
3 650 kr
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From the late seventeenth through the mid-eighteenth centuries, large-scale Italian frescoes soared in popularity as nobles in the German principalities of the Holy Roman Empire constructed new palaces at an unprecedented rate. They competed with one another to produce lavish decorative schemes that expressed their claim to princely power and political authority. Whereas previous art historians have primarily focused on iconographic and stylistic issues and generally treated these programs as individual commissions of regional courts, this book places the works of art within their broad cultural and historical contexts during the Enlightenment. This monograph explains how rulers gradually shifted from emphasizing military heroism to stressing their cultivation of the arts and sciences, and addresses how expressing membership in a specifically European civilization emerged as an integral visual theme and a key ambition of the German nobility.
3 920 kr
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Of more than forty churches that fortified Antwerp as the bulwark of the Counter Reformation in the Netherlands, only St. Jacob’s stands now with its art and archives intact. Parish church of the city’s elite, it is filled with masterpieces, including the altarpiece that Rubens painted for his own burial chapel. Works of architecture, painting, sculpture, and hundreds of sacred objects, documented by the archives, enable a reconstruction of the integral role that art played in the transformation of a whole society over the span of two centuries, from 1585 to the 1790s. It is a history of real people and organizations, who used art for religion, politics, and social purpose, joined together in a church that embodied a diverse community.
Michelangelo in the New Millennium
Conversations about Artistic Practice, Patronage and Christianity
Inbunden, Engelska, 2016
2 299 kr
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Michelangelo in the New Millennium presents six paired studies in dialogue with each other that offer new ways of looking at Michelangelo’s art as a series of social, creative, and emotional exchanges where artistic intention remains flexible; probe deeper into the artist’s formal borrowing and how it affects meaning regarding his early religious works; and consider the making and significance of his late papal painting projects commissioned by Paul III and Paul IV for chapels at the Vatican Palace.Contributors are: William E. Wallace, Joost Keizer, Eric R. Hupe, Emily Fenichel, Jonathan Kline, Erin Sutherland Minter, Margaret Kuntz, Tamara Smithers and Marcia B. Hall
3 517 kr
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In Literature and Artistic Practice in the Sixteenth Century Angela Cerasuolo, art historian and restorer, tracks the technical processes of painting through the cross-analysis of literary texts and works of art. Having traced the critical fortunes of the texts of the authors—Leonardo, Vasari, Armenini, Borghini, Lomazzo—she compares the information on drawing and painting, analysing the specific terminology, and identifying the materials and methods. Central themes of the theoretical debate—‘disegno’, ‘invenzione’, the contrast between ‘prestezza’ and ‘diligenza’, the ‘paragone’—are examined in the light of their relationship with the techniques. On the basis of scientific studies on the technical execution of paintings, works from the Capodimonte Museum, Naples are analysed as case studies.
2 134 kr
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Robin Raybould's The Sibyl Series of the Fifteenth Century examines the startling and sudden change that occurred in the representation of the sibyls throughout Europe during the early Renaissance. Raybould describes how and why during this period the number, names, attributes and prophecies of these archaic prophetesses were selected and stabilized thus providing new witness to the Christian message in sharp contrast to earlier representations where the sibyls had played a minor role in the history of classical and Christian divination and prophecy. The book examines all the fifteenth-century instances of these series, as well as the manuscripts which describe them, identifies the origin of the sibylline prophecies and suggests reasons for the widespread popularity of this new artistic phenomenon.
3 014 kr
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Suzanne Karr Schmidt's Interactive and Sculptural Printmaking in the Renaissance tells the story of a hands-on genre of prints: how innovative paper engineering redefined the relationship of early modern viewers to art, humanism, and science.Interactive and sculptural prints pervaded the European reading market of the sixteenth and seventeenth centuries. Single sheets and book illustrations featured movable flaps and dials, and functioned as kits to build three-dimensional scientific instruments. These hybrid constructions—part text, part image, and part sculpture—engaged readers; so did the polemical, satirical, and, occasionally, erotic content. By manipulating dials and flaps, or building and using the instruments, viewers learned to think through images as well as words, interacting visually with desires, social critique, and knowledge itself.
2 073 kr
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In Ornamental Nationalism: Archaeology and Antiquities in Mexico, 1876-1911, Seonaid Valiant examines the Porfirian government’s reworking of indigenous, particularly Aztec, images to create national symbols. She focuses in particular on the career of Mexico's first national archaeologist, Inspector General Leopoldo Batres. He was a controversial figure who was accused of selling artifacts and damaging sites through professional incompetence by his enemies, but who also played a crucial role in establishing Mexican control over the nation's archaeological heritage. Exploring debates between Batres and his rivals such as the anthropologists Zelia Nuttall and Marshall Saville, Valiant reveals how Porfirian politicians reinscribed the political meaning of artifacts while social scientists, both domestic and international, struggled to establish standards for Mexican archaeology that would undermine such endeavors.
Primacy of the Image in Northern European Art, 1400–1700
Essays in Honor of Larry Silver
Inbunden, Engelska, 2017
3 416 kr
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The Primacy of the Image in Northern Art 1400-1700: Essays in Honor of Larry Silver is an anthology of 42 essays written by distinguished scholars on current research and methodology in the art history of Northern Europe of the late medieval and early modern periods. Written in tribute to Larry Silver, Farquhar Professor of the History of Art at the University of Pennsylvania, the topics are inspired by Professor Silver’s renowned scholarship in these areas: Early Netherlandish Painting and Prints; Sixteenth-Century Netherlandish Painting; Manuscripts, Patrons, and Printed Books; Dürer and the Power of Pictures; Prints and Printmaking; and Seventeenth-Century Painting. Studies of specific artists include Hans Memling, Albrecht Dürer, Hans Baldung Grien, Hieronymus Bosch, Pieter Bruegel, Hendrick Goltzius, and Rembrandt.
Invention of the Emblem Book and the Transmission of Knowledge, ca. 1510–1610
Inbunden, Engelska, 2018
3 762 kr
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This study reexamines the invention of the emblem book and discusses the novel textual and pictorial means that applied to the task of transmitting knowledge. It offers a fresh analysis of Alciato’s Emblematum liber, focusing on his poetics of the emblem, and on how he actually construed emblems. It demonstrates that the “father of emblematics” had vernacular forebears, most importantly Johann von Schwarzenberg who composed two illustrated emblem books between 1510 and 1520.The study sheds light on the early development of the Latin emblem book 1531–1610, with special emphasis on the invention of the emblematic commentary, on natural history, and on advanced methods of conveying emblematic knowledge, from Junius to Vaenius.
2 465 kr
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In The Globalization of Renaissance Art: A Critical Review, Daniel Savoy assembles an interdisciplinary group of scholars to evaluate the global discourse on early modern European art. Over the course of eleven chapters and a roundtable, the contributors assess the discourses goal of transcending Eurocentric boundaries, reflecting on the strengths and weaknesses of current terms, methods, theories, and concepts. Although it is clear that the global perspective has exposed the artistic and cultural pluralism of early modern Europe, it is found that more work needs to be done at the epistemological level of art history as a whole. Contributors: Claire Farago, Elizabeth Horodowich, Lauren Jacobi, Thomas DaCosta Kaufmann, Jessica Keating, Stephanie Leitch, Emanuele Lugli, Lia Markey, Sean Roberts, Ananda Cohen-Aponte, and Marie Neil Wolff.
City Views in the Habsburg and Medici Courts
Depictions of Rhetoric and Rule in the Sixteenth Century
Inbunden, Engelska, 2018
3 379 kr
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In City Views in the Habsburg and Medici Courts, Ryan E. Gregg relates how Charles V, Holy Roman Emperor, and Duke Cosimo I of Tuscany employed city view artists such as Anton van den Wyngaerde and Giovanni Stradano to aid in constructing authority. These artists produced a specific style of city view that shared affinity with Renaissance historiographic practice in its use of optical evidence and rhetorical techniques.History has tended to see city views as accurate recordings of built environments. Bringing together ancient and Renaissance texts, archival material, and fieldwork in the depicted locations, Gregg demonstrates that a close-knit school of city view artists instead manipulated settings to help persuade audiences of the truthfulness of their patrons’ official narratives.
Expressionism and Poster Design in Germany 1905–1922
Between Spirit and Commerce
Inbunden, Engelska, 2018
2 759 kr
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In Expressionism and Poster Design in Germany 1905–1925, Kathleen Chapman re-defines Expressionism by situating it in relation to the most common type of picture in public space during the Wilhelmine twentieth century, the commercial poster. Focusing equally on visual material and contemporaneous debates surrounding art, posters, and the image in general, this study reveals that conceptions of a “modern” image were characterized not so much by style or mode of production and distribution, but by a visual rhetoric designed to communicate more directly than words. As instances of such rhetoric, Expressionist art and posters emerge as equally significant examples of this modern image, demonstrating the interconnectedness of the aesthetic, the utilitarian, and the commercial in European modernism.
Lomazzo’s Aesthetic Principles Reflected in the Art of his Time
With a Foreword by Paolo Roberto Ciardi, an Introduction by Jean Julia Chai, and an Afterword by Alexander Marr
Inbunden, Engelska, 2020
2 025 kr
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Lomazzo's Aesthetic Principles Reflected in the Art of his Time explores the work of the Milanese artist-theorist Giovanni Paolo Lomazzo (1538–92) and his influence on the circle of the Accademia della Val di Blenio and beyond. Following reflections on Lomazzo's fortuna critica, the accompanying essays examine his admiration of Gaudenzio Ferrari; Lomazzo’s painted oeuvre; his influence on printmaking with Giovanni Ambrogio Brambilla; on drawing and painting with Aurelio Luini; on the decorative arts and the embroideress Caterina Cantoni; his pupilsGiovanni Ambrogio Figino and Girolamo Ciocca; grotesque sculpture outside Milan; and Lomazzo in England with Richard Haydocke’stranslation of the Trattato. In doing so, this book takes an innovative approach—one which aims to bridge the scholarship, hitherto disjoined, between Lomazzo the artist and Lomazzo the theorist—while expanding our knowledge of a protagonist of Renaissance and early modern art theory. Contributors: Alessia Alberti, Federico Cavalieri, Jean Julia Chai, Roberto Paolo Ciardi, Alexander Marr, Silvia Mausoli, Mauro Pavesi, Rossana Sacchi, Paolo Sanvito, and Lucia Tantardini.
Del 51 - Brill’s Studies on Art, Art History, and Intellectual History
Applied Emblems in the Cathedral of Lugo
European Sources for a Spanish Cycle Addressed to the Virgin Mary
Inbunden, Engelska, 2021
2 716 kr
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In Applied Emblems in the Cathedral of Lugo, Carme López Calderón explores the emblematic programme found in the Chapel of Nuestra Señora de los Ojos Grandes (Galicia, Spain), consisting of fifty-eight emblems painted c. 1735. Making use of a wide range of printed sources, the author delves into the meaning of each emblem and provides an all-encompassing interpretation of this cycle, which can rightly be described as the richest and most complete programme of Marian applied emblematics in the Iberian Peninsula.
Touching the Passion — Seeing Late Medieval Altarpieces through the Eyes of Faith
Inbunden, Engelska, 2018
2 109 kr
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In Touching the Passion — Seeing Late Medieval Altarpieces through the Eyes of Faith, Donna Sadler explores the manner in which worshipers responded to the carved and polychromed retables adorning the altars of their parish churches. Framed by the symbolic death of Christ re-enacted during the Mass, the historical account of the Passion on the retable situated Christ’s suffering and triumph over death in the present. The dramatic gestures, contemporary garb, and wealth of anecdotal detail on the altarpiece, invited the viewer’s absorption in the narrative. As in the Imitatio Christi, the worshiper imaginatively projected himself into the story like a child before a dollhouse. The five senses, the sculptural medium, the small scale, and the rhetoric of memory foster this immersion.