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.




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.




The Modern World-System I


Book Description

Immanuel Wallerstein’s highly influential, multi-volume opus, The Modern World-System, is one of this century’s greatest works of social science. An innovative, panoramic reinterpretation of global history, it traces the emergence and development of the modern world from the sixteenth to the twentieth century.










The Dictionary of Art


Book Description




The Art of the Poor


Book Description

The history of art in the late Middle Ages and the Renaissance has generally been written as a story of elites: bankers, noblemen, kings, cardinals, and popes and their artistic interests and commissions. Recent decades have seen attempts to recast the story in terms of material culture, but the focus seems to remain on the upper strata of society. In his inclusive analysis of art from 1300 to 1600, Rembrandt Duits rectifies this. Bringing together thought-provoking ideas from art historians, historians, anthropologists and museum curators, The Art of the Poor examines the role of art in the lower social classes of Europe and explores how this influences our understanding of medieval and early modern society. Introducing new themes and raising innovative research questions through a series of thematically grouped short case studies, this book gives impetus to a new field on the cusp of art history, social history, urban archaeology, and historical anthropology. In doing so, this important study helps us re-assess the very concept of 'art' and its function in society.




The Destruction of Art


Book Description

Last winter, a man tried to break Marcel Duchamp’s Fountain sculpture. The sculpted foot of Michelangelo’s David was damaged in 1991 by a purportedly mentally ill artist. With each incident, intellectuals must confront the unsettling dynamic between destruction and art. Renowned art historian Dario Gamboni is the first to tackle this weighty issue in depth, exploring specters of censorship, iconoclasm, and vandalism that surround such acts. Gamboni uncovers here a disquieting phenomenon that still thrives today worldwide. As he demonstrates through analyses of incidents occurring in nineteenth- and twentieth-century America and Europe, a complex relationship exists among the evolution of modern art, destruction of artworks, and the long history of iconoclasm. From the controversial removal of Richard Serra’s Tilted Arc from New York City’s Federal Plaza to suffragette protests at London’s National Gallery, Gamboni probes the concept of artist’s rights, the power of political protest and how iconoclasm sheds light on society’s relationship to art and material culture. Compelling and thought-provoking, The Destruction of Art forces us to rethink the ways that we interact with art and react to its power to shock or subdue.




The Luminous Image


Book Description

Published in conjunction with a 1995 exhibit at The Metropolitan Museum of Art in New York, this catalog features extensive explication of a relatively unknown art, focusing on problems of style, workshop techniques, the dissemination of designs, iconographic variety, the functions of the diversity of drawings, details of specific patrons and commissions, and the leading centers of Lowlands stained-glass production--Ghent, Bruges, and Leiden. Includes 455 bandw and 22 color illustrations. Annotation copyright by Book News, Inc., Portland, OR