Grand Design


Book Description

Pieter Coecke van Aelst (1502 – 1550) was renowned throughout Renaissance Europe as a draftsman, painter, and publisher of architectural treatises. The magnificent tapestries he designed were acquired by the wealthiest clients of the day, up to and including rulers such as Emperor Charles V, King Francis I of France, King Henry VIII of England, and Grand Duke Cosimo I de’ Medici of Tuscany. At the same time, Coecke was remarkable not only for the complexity and unparalleled quality of his tapestries, but also for his fluency in various media: this lavishly illustrated volume examines the full range of his work, from tapestry and stained-glass window designs to panel paintings, prints, drawings, and architectural treatises. Though only forty-eight when he died, Coecke was one of the greatest Netherlandish artists of the sixteenth century. His paintings and drawings, initially wrought in the style of the Antwerp Mannerists, evolved through his enthusiastic response to Italian Renaissance design, and influenced generations of artists in his wake. This comprehensive study explores Coecke’s stylistic development, as well as his substantial contribution to the body of great Renaissance art in Flanders. Featuring twenty monumental tapestries, along with many of their cartoons and preparatory sketches, plus seven paintings, additional drawings, and printed matter—many of them newly photographed for this volume—Grand Design provides a thorough reappraisal of Coecke’s work, amply justifying the high regard in which Coecke’s work was held and its wide dissemination long after his death.




"Agency, Visuality and Society at the Chartreuse de Champmol "


Book Description

Grounded in archival sources, this interdisciplinary study explores the profound historical significance of the mausoleum of the Valois Dukes of Burgundy - the Chartreuse de Champmol. Although the monument is well known as the site of pivotal works of art by Claus Sluter, Melchior Broederlam, Jean de Beaumetz and others, until now art historians have not considered how these works functioned at the center of a complex social matrix. Sherry Lindquist here considers the sacred subjects of the various sculptures and paintings not merely as devotional tools or theological statements, but as profoundly influential social instruments that negotiated complex interactions of power. Lindquist's sophisticated discussion coordinates analysis of primary sources with the most up-to-date scholarship in the field of art history, not only with respect to late medieval Burgundian art, but also to more theoretical questions pertaining to reception.




Flemish Art and Architecture, 1585-1700


Book Description

02 This beautifully illustrated book provides a complete overview of the art of the Southern Netherlands from 1585 to 1700. The author examines the development of Flemish and specifically Antwerp painting, the work of Rubens and other leading masters, and the Antwerp tradition of specialization among painters as well as the sculpture and architecture of this period. “A major moment of artistic culture has been magisterially sketched by one of its leading authorities.”—Larry Silver, The Art Book“Consistently rewarding . . . a book that is going to transform how Flemish art is understood.”—Jeremy Wood, Apollo Magazine“As well as examining the output and influence of leading figures such as Rubens and Van Dyke, Vlieghe provides the historical, social and cultural context for the development of history painting and other specializations. . . . This book will attract both the informed and general reader.”—Alison Smith, Art Newspaper“Essential for current study of Belgian art.”—ChoiceHans Vlieghe is professor of art history at the Katholieke Universiteit Leuven (Louvain) and research director of the Belgian Nationaal Fonds voor Wetenschappelijk Onderzoek at the Rubenianum, Antwerp. This beautifully illustrated book provides a complete overview of the art of the Southern Netherlands from 1585 to 1700. The author examines the development of Flemish and specifically Antwerp painting, the work of Rubens and other leading masters, and the Antwerp tradition of specialization among painters as well as the sculpture and architecture of this period. “A major moment of artistic culture has been magisterially sketched by one of its leading authorities.”—Larry Silver, The Art Book“Consistently rewarding . . . a book that is going to transform how Flemish art is understood.”—Jeremy Wood, Apollo Magazine“As well as examining the output and influence of leading figures such as Rubens and Van Dyke, Vlieghe provides the historical, social and cultural context for the development of history painting and other specializations. . . . This book will attract both the informed and general reader.”—Alison Smith, Art Newspaper“Essential for current study of Belgian art.”—ChoiceHans Vlieghe is professor of art history at the Katholieke Universiteit Leuven (Louvain) and research director of the Belgian Nationaal Fonds voor Wetenschappelijk Onderzoek at the Rubenianum, Antwerp.





Book Description




Early Modern Visions of Space


Book Description

How writers respond to a cosmology in evolution in the sixteenth century and how literature and space implicate each other are the guiding issues of this volume in which sixteen authors explore the topic of space in its multiform incarnations and representations. The volume's first section features the early modern exploration and codification of urban and rural spaces as well as maritime and industrial expanses: "Space and Territory: Geographies in Texts" thus contributes to a history of spatial consciousness. The construction of local, national, political, public, and private places is highlighted in "Space and Politics: Literary Geographies"; the contributors in this segment show how built forms as architectural or literary constructions and spatial orientation are intertwined. "Space and Gender: Geopoetical Approaches" traces the experience of gender as political, territorial, and communicative exploration; the essays in this division deal with social organization and its symbolic analysis, resulting in literary texts featuring what could be called psychological production theories. The development of ethical approaches adapted to or critical of colonial expansion is analyzed in "Space and Ethics: Geocritical Ventures"; here we encounter early modern globalization where locals, explorers, immigrants, adventurers, and intellectuals remake themselves in new places, engage in or meet with resistance, or attempt to rework local sociopolitical systems while reassessing those they are familiar with. "The Space of the Book, the Book as Space: Printing, Reading, Publishing" analyzes the tactile object of the book as an arena for commerce, politics, and authorial experimentation.




A Savage Mirror


Book Description

A Savage Mirror is about the New World, royal ritual, and the sensibilities that defined a new class of elites. It takes as its starting point the royal entry of Henri II into Rouen in 1550. By all accounts, this ritual was among the most spectacular ever staged. It included an "exact" replica of a Brazilian village, with fifty "savages" kidnapped from the New World. The book aims to understand what the French made of these Brazilian cannibals, and the significance of putting them in a festival honoring the king. The resulting analysis provides an investigation of France's changing social structure, its religious beliefs, its humanist culture, and its complicated commercial and symbolic relations with the New World. The book will appeal not only to scholars of early modern history, but to those interested in cross-cultural contact, cultural studies, civic ritual, museography, and history of literature, science, religion, art, and anthropology.




Representing Belief


Book Description

Representing Belief provides a detailed discussion and analysis of the forms and meanings in religious art of nineteenth-century France. This genre, usually assigned minimal importance by writers on the period, turns out to occupy a central place in the cultural history of the era, touching the core of the century's conflict between tradition and modernity, science and faith, ultramontanism and naturalism. Although it was generally assumed that this kind of art was of little importance in the evolution of modern painting, Driskel demonstrates that in reality it played a crucial role. Many of the artists discussed are firmly installed in the present canon (Delacroix, Ingres, Manet, Gauguin), while others (Flandrin, Orsel, Gleyre, Cazin) were major figures in their own time, though largely forgotten today. Writing from an interdisciplinary perspective and employing concepts derived from structuralist and poststructuralist theory, Driskel moves beyond simple formalism to restore a category of once-important works to a meaningful context, thereby offering others a model by which to discuss and interpret these paintings. Carefully charting the genealogies of hieraticism and naturalism, he demonstrates that a dramatic shift occurred in the 1860s and 1870s as naturalism gained acceptance among ultramontanes and the hieratic mode began to attract the interest of adherents to the belief system of modernism. Representing Belief is the first book to situate this art in its social and historical contexts and to approach it from this point of view.




Fragonard


Book Description




The Brothers Le Nain


Book Description

A beautiful volume that brings to light the forgotten Le Nain brothers, a trio of 17th-century French master painters who specialized in portraiture, religious subjects, and scenes of everyday peasant life In France in the 17th century, the brothers Antoine (c. 1598-1648), Louis (c. 1600/1605-1648), and Mathieu (1607-1677) Le Nain painted images of everyday life for which they became posthumously famous. They are celebrated for their depictions of middle-class leisure activities, and particularly for their representations of peasant families, who gaze out at the viewer. The uncompromising naturalism of these compositions, along with their oddly suspended action, imparts a sense of dignity to their subjects. Featuring more than sixty paintings highlighting the artists' full range of production, including altarpieces, private devotional paintings, portraits, and the poignant images of peasants for which the brothers are best known, this generously illustrated volume presents new research concerning the authorship, dating, and meaning of the works by well-known scholars in the field. Also groundbreaking are the results of a technical study of the paintings, which constitutes a major contribution to the scholarship on the Le Nain brothers.