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A Companion to Renaissance and Baroque Art

ISBN: 978-1-4443-3726-6
648 pages
March 2013, Wiley-Blackwell
A Companion to Renaissance and Baroque Art (1444337262) cover image

A Companion to Renaissance and Baroque Art provides a diverse, fresh collection of accessible, comprehensive essays addressing key issues for European art produced between 1300 and 1700, a period that might be termed the beginning of modern history.

  • Presents a collection of original, in-depth essays from art experts that address various aspects of European visual arts produced from circa 1300 to 1700
  • Divided into five broad conceptual headings: Social-Historical Factors in Artistic Production; Creative Process and Social Stature of the Artist; The Object: Art as Material Culture; The Message: Subjects and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse
  • Covers many topics not typically included in collections of this nature, such as Judaism and the arts, architectural treatises, the global Renaissance in arts, the new natural sciences and the arts, art and religion, and gender and sexuality
  • Features essays on the arts of the domestic life, sexuality and gender, and the art and production of tapestries, conservation/technology, and the metaphor of theater
  • Focuses on Western and Central Europe and that territory's interactions with neighboring civilizations and distant discoveries
  • Includes illustrations as well as links to images not included in the book 
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Preface/Acknowledgments

Introduction
Babette Bohn and James M. Saslow, Co-Editors

Part 1.  The Context: Social-Historical Factors in Artistic Production

1. A Taxonomy of Art Patronage in Renaissance Italy
Sheryl Reiss

2. Judaism and the Arts in Early Modern Europe: Jewish and Christian Encounters
Shelley Perlove

3. Religion, Politics and Art in Late Medieval and Renaissance Italy
Julia I. Miller

4. Europe's Global Vision
Larry Silver

5. Italian Art and the North: Exchanges, Critical Reception, and Identity, 1400-1700
Amy Golahny

6. The Desiring Eye: Gender, Sexuality, and Visual Art
James M. Saslow

Part 2.  The Artist: Creative Process and Social Stature

7. The Artist as Genius
William E. Wallace

8. Drawing in Renaissance Italy
Mary Vaccaro

9. Self-portraiture 1400-1700
H. Perry Chapman

10. Recasting the Role of the Italian Sculptor: Sculptors, Patrons, Materials, and Principles for the New Early Modern Age    
Elinor Richter

11. From Oxymoron to Virile Paintbrush: Women Artists in Early Modern Europe
Babette Bohn

Part 3.  The Object: Art as Material Culture

12. The Birth of Mass Media: Printmaking in Early Modern Europe
Alison Stewart

13. The Material Culture of Family Life in Italy and Beyond
Jacqueline Marie Musacchio

14. Tapestry: Luxurious Art, Collaborative Industry
Koenraad Brosens
 
15. The New Sciences and the Visual Arts  
Eileen Reeves

16. Seeing Through Renaissance and Baroque Paintings: Case Studies
Claire Barry

Part 4.  The Message: Subjects and Meanings

17. Iconography in Renaissance and Baroque Art
Mark Zucker

18. Renaissance Landscapes: Discovering the World and Human Nature
Lawrence O. Goedde

19. The Nude Figure in Renaissance Art
Thomas Martin

20. Genre painting in Seventeenth-century Europe
Wayne Franits

21. The Meaning of the European Painted Portrait, 1400-1650
Joanna Woods-Marsden

22. All the World's a Stage: The Theater Conceit in Early Modern Italy
Inge Reist

23. Intensity and Orthodoxy in Iberian and Hispanic Art of the Tridentine Era, 1550-1700   
Marcus Burke

Part 5.  The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse

24. Historians of Northern European Art: from Johann Neudörfer and Karel Van Mander to the Rembrandt Research Project
Jeffrey Chipps Smith

25. Artistic Biography in Italy: Vasari to Malvasia 
David Cast

26. With a Critical Eye: Painting and Theory in France, 1600-1643. The Case of Simon Vouet and Nicolas Poussin
Joseph L. Forte

27. The Double Life of the Italian Piazza: Between Art Historical Monument and Social Phenomenon
Niall Atkinson

28.  Building in Theory and Practice: Writing about Architecture in the Renaissance
Carolyn Yerkes

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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.

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“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)

“An enlightening and enabling companion to the study of Renaissance and Baroque art history from the classic heartland of the discipline to the latest frontiers.”
- Joseph Connors, Harvard University

“Focusing on the Renaissance and Baroque periods, this collection demonstrates for scholars and students alike where art history has been and where it is going.”
- David G. Wilkins, Professor Emeritus of the History of Art and Architecture, University of Pittsburg

“The editors have gathered some of the best-known scholars of Renaissance and Baroque art history to create a vibrant picture of contemporary thinking about Early Modern art, in a collection usefully organized by categories of particular interest today.”
- Mary D. Garrard, Professor Emerita, American University

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