Browse all new Harvey Miller Titles
Gardens in Revolution
Landscapes & Political Culture in France, 1760-1792
By Gabriel Wick
Gardens in Revolution offers an incisive look into how aristocratic and royal landscapes were used to represent dissent, undermine, and then ultimately recast and reinvent absolutism in the pivotal decades preceding the French Revolution.
Medical Theory and Practice in Early Modern Italy
Edited by Sandra Cavallo and John Henderson
This book sheds new light on the intricate relationship between theory and practice in early modern medicine through a series of themes: bodies and disease, medical treatment, pharmacy and public health.
Raffaele Riario, Jacopo Galli, and Michelangelo’s Bacchus, 1471–157
By Kathleen W. Christian
Through a comprehensive analysis of overlooked and previously-unpublished sources, this study sheds new light on the Sleeping Cupid, the Bacchus, and a fascinating period in the history of Renaissance Rome when the careers of Riario, Galli, and Michelangelo were closely intertwined.
More Info
Also in Open Access
Deleuze’s Modern Baroque
The Fold, Leibniz, the Formless, and the Objectile
By Lorenzo Pericolo
Focusing also on Deleuze and Guattari’s What is Philosophy? (1991), this book discusses theoretical questions crucial to artistic debates in the period 1950–1980: art as philosophy; artistic thinking as opposed or germane to philosophical (and scientific) thinking; painting and sculpture as metaphysical operations; the ground as both the origin and negation of art; color as the degree zero of painting; authorless art; and art as infinity.
Years of News
Event and Narration in Early Modern Times
Edited by Brendan Dooley and Paola Molino
In the early modern springtime of regular news production and consumption, what was the news? Where did it come from? Where did it go? Years of News surveys the world of early modern news, in script and print, in a variety of languages, from a unique vantage point: namely, the news productivity across Europe in a series of carefully chosen years. Contributors, applying a wide variety of innovative approaches and methodologies to original material from archives and libraries far and wide, have explored the stories and the tellers, the networks and the vectors, the effects and reactions. Diving deeply into the data without losing sight of the wider perspective, they seek to illustrate the relation between event and narration, and between narration and impact, while conveying the flavor of the times as experienced by the actors through the medium of news.
Virtue in the Garden
Writing about Designed Landscape in Britain
By Joseph Manca
Fine gardening flourished in Britain from Elizabethan times to the Victorian era and beyond. Along with the built accomplishments, an abundance of writing throws light on what designers, patrons, and visitors over the years thought about the moral meaning of gardens. Virtue in the Garden focuses on original, primary texts that expressed period aesthetic, moral, and political ideas. Throughout the centuries, spirited arguments took place about the meaning and value of gardens. Gardens are the only art form that one cannot move, and they remain part of a national geography. The British often expressed patriotic pride in their gardening, especially after the innovative establishment in the eighteenth-century of naturalistic landscape gardens by designers such as Capability Brown and William Kent. By the nineteenth century, landscape gardening itself faced opposition from a number of designers and writers who favored more traditional and formal ideas. While the chronological focus of Virtue in the Garden is on the late sixteenth to the early twentieth century, opening pages glance back at writings and gardens of Greco-Roman antiquity and the Middle Ages, and an epilogue looks briefly at some more recent moral trends in British gardens and public parks, with observations on the role of institutions such as the National Trust and English Heritage.
Shipping Sculptures from Early Modern Italy
The Mechanics, Costs, Risks, and Rewards
By Kelley Helmstutler Di Dio
This book focuses on enormous amounts of sculptures moved from Italy to Spain from ca. 1500-1750. An analysis of an important body of unpublished archival documentation regarding the practical issues involved in making and transporting sculpture, provide the basis for this study of the development of technologies, infrastructure, and labor organization necessary to make such challenging transports of moving sculptures by land and sea possible. Artists, patrons, and agents had the eventual movement to a destination at the center of decision making when new sculptures were commissioned to send. Sending antiquities or second-hand works required even more planning and care. Divided into a series of case studies of major sculptures, Shipping Sculptures offers a new approach to the study of cross-cultural artistic exchange, state gifts, collecting and patronage, by examining the practical details of object movement over challenging geographies.
Taddeo di Bartolo
Siena’s Painter in the Early Quattrocento
By Gail E. Solberg
Taddeo di Bartolo, Siena’s premier painter in the years around 1400, is the focus of a cultural history of a great Italian school in an understudied period. His patrons commissioned important fresco cycles and the most impressive polyptychs of the age. In part a travelogue, the text follows Taddeo (ca 1362-1422) from training in straitened times at Siena across central and northern Italy. Ten years of itinerancy drew him to various Tuscan centers, along the Ligurian coast from Genoa to Provence, probably to Padua, and into Umbria. About 1399 he resettled at Siena to rapidly become the preferred painter of his commune. His mural cycles made a greater imprint on Siena’s civic iconography than has been acknowledged while his efficient Sienese shop produced outstanding panel paintings for, among others, the most dynamic religious orders. Until his last years he received grand commissions in and from beyond Siena. He drew a pope’s portrait and was employed by a cardinal at Rome. Attention to his production methods shows how his busy shop ensured variety in numerous paintings for mid-level clients by a flexible design system. Taddeo’s works, including rediscovered and reconstructed paintings, come alive in beautiful illustrations. This chronicle of an indefatigable and successful late medieval career positions the painter, his colleagues, and his patrons in their political, economic, and social circumstances. It provides new insights on Siena’s artistic culture at the start of the Renaissance.
Corpus Rubenianum Ludwig Burchard, vol. 27.2
Works in Collaboration
Frans Snijders and Other Masters
By Anne T. Woollett, Nils Büttner, Elizabeth McGrath, Alexandra N. Bauer
The present is devoted to Rubens’s fruitful partnership with Frans Snijders, as well as to his collaborations with Paul de Vos and Cornelis Saftleven. It thus contributes not only to the documentation of Rubens’s oeuvre, but also to the understanding of workshop practices and the lives and social networks of painters in the city of Antwerp.
Taste and the Antique
The Lure of Classical Sculpture: 1500-1900
Revised and Amplified Edition
FRANCIS HASKELL † & NICHOLAS PENNY
Revised and Amplified Edition by ADRIANO AYMONINO AND ELOISA DODERO
Since its original publication in 1981, Taste and The Antique has rightfully earned its status as a seminal work in art history. The book vividly traces how ancient sculpture shaped artistic tastes, inspired collectors, and left an indelible mark on art from the Renaissance to the present day.
Now, in this newly revised and expanded edition of three volumes, readers are offered an even richer selection of examples and images, bringing the enduring influence of classical art to life more vividly than ever before.
Architecture of Knowledge
Hawksmoor and Oxford
By Eleonora Pistis
This book discloses the meaning of Nicholas Hawksmoor’s extraordinary designs and urban plans for Oxford University (1708-1736), providing a new multi-layered picture of the creation, collection, and dissemination of architectural knowledge across different media in one of the most important centers of learning in Western culture.
The Ponte Vecchio
Architecture, Politics, and Civic Identity in Late Medieval Florence
By Theresa Flanigan
Famous today for the shops lining its sloped street, the Ponte Vecchio is the last premodern bridge spanning the Arno River at Florence and one of the few remaining examples of the once more prevalent urbanized bridge type. Drawing from early Florentine chronicles and previously unpublished archival documents, this book traces the history of the Ponte Vecchio, focusing on the current bridge’s construction after the flood of 1333. Much of the Ponte Vecchio’s original fourteenth-century appearance is now obscured beneath later accretions, often mistakenly interpreted as original to its medieval character. To the contrary, as argued in this book and illustrated by new reconstruction drawings, the mid-trecento Ponte Vecchio’s vaulted substructure was technically advanced, its urban superstructure was designed in accordance with contemporary Florentine urban planning strategies, and its “beautiful and honorable” appearance was maintained by government regulations. The documents also reveal new information about the commission and rental of its famous shops. Relying on these sources, this study offers a more complete history of the Ponte Vecchio, adding significantly to what is currently known about the bridge’s patronage and construction, as well as the aims of civic architecture and urban planning in late medieval Florence.
Ingenious Italians, Immigrant Artists in Eighteenth-century Britain
By Katherine McHale
This book fills a significant gap in the literature on eighteenth-century art in Britain. Although immigrant Italian artists played a crucial role in the development of Britain’s expanding art world over the course of that century, they have been largely overlooked in books on both British and Italian art. When mentioned in works on eighteenth-century British art, Italian artists are regarded as bit players who were tangential to the art world. Ingenious Italians seeks to correct this view, demonstrating the critical role played by immigrants who brought their skills and talents to a new country. In Britain, they established networks of Italian and British colleagues, cultivated new patrons and created innovative works for a growing market. In doing so, they influenced the development of art in British society. This little-explored facet of art history in Britain presents readers with a new perspective from which to consider the art of the era, highlighting the important work contributed by Italian artists in Britain. The book also contains an appendix of biographical information on the Italian artists working in Britain throughout the eighteenth century.
Painting Architecture in Early Renaissance Italy
Innovation and Persuasion at the Intersection of Artistic and Architectural Practice
By Livia Lupi
Why did artists include prominent architectural settings in their narrative paintings? Why did they labour over specific, highly innovative structural solutions? Why did they endeavour to design original ornamental motifs which brought together sculptural, painterly and architectural approaches, as well as showcasing their understanding of materiality? Painting Architecture in Early Renaissance Italy addresses these questions in order to shed light on the early exchanges between artistic and architectural practice in Italy, arguing that architecture in painting provided a unique platform for architectural experimentation.
Rather than interpreting architectural settings as purely spatial devices and as lesser counterparts of their built cognates, this book emphasises their intrinsic value as designs as well as communicative tools, contending that the architectural imagination of artists was instrumental in redefining the status of architectural forms as a kind of cultural currency. Exploring the nexus between innovation and persuasion, Livia Lupi highlights an early form of little-discussed paragone between painting and architecture which relied on a shared understanding of architectural invention as a symbol of prestige.
This approach offers a precious insight into how architectural forms were perceived and deployed, be they two or three-dimensional, at the same time clarifying the intersection of architecture and the figural arts in the work of later, influential figures like Giuliano da Sangallo, Raphael, Michelangelo and Baldassarre Peruzzi, whose work would not have been possible without the architectural experimentation of early fifteenth-century artists.
Pisanello and the Grounds of Invention
By C. Jean Campbell
The work of the fifteenth-century Italian painter Pisanello has long proven resistant the interpretative procedures of art history, in ways that point to the limits of those procedures as they evolved in the period after the Second World War. Taking Pisanello’s art as an example of a larger theoretical issue, the book proposes a model of interpretation that addresses the realm of imitative practice. Using Cennino Cennini’s Il Libro del’ Arte as a primer,the author argues for an approach that confronts the evidence of the artist’s self-tempering work, and then tests that model through an examination of Pisanello’s drawings and medals. She exposes the drawings as primary evidence of the ontological groundwork within which the painter finds his own habits of invention, and also demonstrates the value of looking for the groundwork in a selection of Pisanello’s official works, including the surviving wall paintings in Veronese churches. In the end, the author contends that the self-reflexive recognition of creative agency is a prerequisite for the apprehension of Pisanello’s art, especially the agonistic scenario staged in his panel of The Virgin and Child with Saints George and Anthony and its enigmatic signature.
Titian’s Poetics
Selected Essays by David Rosand
Edited by Diane H. Bodart and Cleo Nisse
The present volume offers an extensive compendium of the late Professor David Rosand’s writings on Titian through a collection of essays published between 1971 and 2014. Throughout his illustrious career at Columbia University, Rosand indefatigably investigated the Venetian artist’s pictorial intelligence, and much as the continuous conversation of an enduring friendship creates ever new levels of intimacy and understanding, this lifelong engagement resulted in some of the most convincing interpretations of Titian’s artworks penned to date. While his scholarship has been extremely influential on Titian studies, Rosand’s most significant texts on the artist are chapters in books with a broader subject or papers disseminated in journals and collective volumes. Through a careful selection of essays, curated around Rosand’s primary concerns with “Titian the painter and on the affective structures of his art, his technique and mimetic power, on its poetry,” this book reconstitutes the many facets of his vision of the artist. The reader is invited to enjoy this volume both as a means to gain deeper insight into the art of Renaissance Venice, and also the shifting priorities in the field of art history in the second half of the twentieth century, which Rosand himself did much to mold. His ground-breaking interrogation of the relationship between making and meaning in Titian’s art remains remarkably fresh and will doubtless continue to offer prompts to future generations of scholars. At the same time, his lively and inimitable style means his essays will engage any individual curious about art, its creation, and its connection to literature and society.
The Medici Series
By Nils Büttner
The decoration of the Luxembourg Palace galleries was the largest commission Rubens ever received. On Saturday 26 February 1622, the artist signed two contracts at the Louvre with the agreement ‘to make and paint with his own hand each and every one of the figures’ of the paintings which would decorate the two parallel galleries of the palace that the Queen Mother, Maria de’ Medici (1573–1642), had begun to have built on the left bank of the Seine. According to the first contract, the western gallery was now ready and Rubens ‘will be bound and obliged to design and to paint with his own hand twenty-four paintings depicting the history of the very illustrious life and heroic exploits’ of the Queen Mother, conforming to an incomplete memoir, of which he had received a copy. Rubens arrived in Paris to put the final touches to the finished canvases celebrating the life of Maria de’ Medici at the beginning of February 1625. But at this time the eastern gallery, planned to display the ‘battles… and triumphs’ of King Henri IV (1553–1610), Maria’s late husband, was still under construction. The Henri IV Gallery was to be an unfinished masterpiece: after a temporary suspension of the work in 1630, the project was definitively abandoned in 1631. Alexis Merle du Bourg’s in-depth study of the Henri IV Series was published as Part XIV.2 of the Corpus Rubenianum Ludwig Burchard in 2017. The present volume charts the earlier part of the Medici commission, which happily survives, splendidly completed. It presents Maria in her relationship with Henri, her public role after her husband’s death and, not least, her difficulties and then reconciliation with Louis XIII, her son. Here Rubens invoked the gods of ancient myth and a whole company of personified abstractions to help mask problematic episodes, dignify banal events and create a glorious commemoration of the life and aims of the Queen Mother.
The Paper Museum of Cassiano dal Pozzo. Series A: Antiquities and Architecture, vol. 4
Statues and Busts
By Amanda Claridge, Eloisa Dodero
This volume comprises 207 drawings, about half of which are in the Royal Library at Windsor Castle and the rest in the Department of Greece and Rome in the British Museum and numerous public or private collections in the UK and abroad. They depict a wide variety of ancient statues of gods and humans, standing, seated or supine, large and small, whole and fragmentary, mainly of marble but also of bronze, as well as statuettes in marble and alabaster, figurines in bronze and terracotta, both Roman and Etruscan, military trophy groups and phallic sculptures. Also represented are herms, a sizeable series of portrait busts and heads, miniature busts in semi-precious stones and figurative appliqués. Some are wellknown pieces, from the Barberini, Giustiniani, Medici and Pamphilj collections in Rome, but many are unusual and otherwise unrecorded.
The drawings were largely commissioned in the 1630s and 1640s from artists such as Pietro Testa and Vincenzo Leonardi, with smaller groups thereafter, the last in the mid-1680s. The assemblage was probably initially intended by Cassiano for publication as a series of prints for the benefit of antiquarian scholars and artists, complementing the larger quantity of drawings of bas-reliefs which Cassiano had begun to assemble from the early 1620s onwards (published in Part A.III) and constituting the core of the Paper Museum in Cassiano’s narrower definition of it in 1654 as ‘everything good in marbles and bronze which can provide some information about antiquity’.
Thinking through Rubens
Selected Studies by Arnout Balis
Edited by Elizabeth McGrath and Paul van Calster
Over the course of his life, Arnout Balis (d. 2021) did a lot of thinking about and around Rubens. A principal beneficiary of this was the Corpus Rubenianum, that multi-volume catalogue of the work of the artist to which he devoted so much of his scholarly endeavour – as author, and, still more, as the most generous of editors. But he also produced wide-ranging, as well as more closely detailed, studies on the artist that were written for a variety of contexts. Arnout Balis was an artist before he was an art historian, and the question of how Rubens channelled his ideas into visual form constantly attracted and intrigued him. He was fascinated, too, by the practicalities of the artist’s method of production, given the enormous output of Rubens’s studio. Not only did he rigorously assemble and analyse every scrap of information about pupils or associates of the master, but he made himself an expert in the work of each of Rubens’s artistic contemporaries. In all his investigations, whether involving the attribution of a painting, an iconographic puzzle or the solution to a historical problem, he took nothing for granted, treating any received idea or initial intuition with due scepticism until it could be shown to stand the test of the evidence, documentary and visual. The present volume shows the Balis method in action. It includes several studies already acclaimed as exemplary, and others which deserve to be more widely known. Five of them are made available here for the first time in English translation.
Staging the Ruler’s Body in Medieval Cultures
A Comparative Perspective
Edited by Michele Bacci, Gohar Grigoryan and Manuela Studer-Karlen
This book explores the viewing and sensorial contexts in which the bodies of kings and queens were involved in the premodern societies of Europe, Asia, and Africa, relying on a methodology that aims to overcoming the traditional boundaries between material studies, art history, political theory, and Repräsentationsgeschichte. More specifically, it investigates the multiple ways in which the ruler’s physical appearance was apprehended and invested with visual, metaphorical, and emotional associations, as well as the dynamics whereby such mise-en-scène devices either were inspired by or worked as sources of inspiration for textual and pictorial representations of royalty. The outcome is a multifaced analysis of the multiple, imaginative, and terribly ambiguous ways in which, in past societies, the notion of a God-driven, eternal, and transpersonal royal power came to be associated with the material bodies of kings and queens, and of the impressive efforts made, in different cultures, to elude the conundrum of the latter’s weakness, transitoriness, and individual distinctiveness.
Also Available in Open Access
The Villa Barbaro at Maser
Science, Philosophy, and the Family in Venetian Renaissance Art
By Denis Ribouillault
Through a careful description of its architecture, paintings and sculptures, this book offers the first comprehensive analysis of the Villa Barbaro at Maser, one of the most famous masterpieces of the Italian Renaissance. Commissioned and designed by Daniele Barbaro, a leading humanist of the Venetian Renaissance, and his brother Marc’Antonio, an important politician of the Republic of Venice and a talented amateur artist, the villa’s architecture and painted decoration were created by two canonical figures of Renaissance art: the architect Andrea Palladio and the painter Paolo Veronese. By offering a new and holistic reading of the iconographic program of Villa Barbaro, the study highlights in particular the importance of women, childbirth and motherhood. With a strong multidisciplinary approach, the book is also a contribution to the history of astronomy, philosophy and domesticity in sixteenth-century Venice.
Trecento Pictoriality: Diagrammatic Painting in Late Medieval Italy
By Karl Whittington
In dozens of monumental examples across central and northern Italy, late-medieval artists created complex diagrammatic paintings whose content was conveyed not through proto-perspectival spaces but rather through complex circles, trees, hierarchical stemmata, and winding pathways. Trecento Pictoriality is the first comprehensive study of the practice of monumental diagrammatic painting in late-medieval Italy, moving the study of diagrams from the manuscript page to the frescoed wall and tempera panel. Often placed alongside narrative, devotional, and allegorical paintings, the diagrammatic mode was one of a number of pictorial modes available to artists, patrons, and planners, with a unique ability to present complex content to viewers. While monumental diagrams may have sparked some of the experiences usually associated with diagrams in manuscripts, acting as machines for thought, scaffolds for memory, or tools for the visualization of complex concepts, their reception was also shaped by their presence in public spaces, their scale and aura as richly decorated works of monumental visual art, and their insertion into larger pictorial programs. Closely examining the visual and communicative strategies of these paintings expands the horizon of trecento art history beyond narrative and devotional painting, and shifts our understanding of all of the arts of the trecento, calling attention to issues of scale, visual rhetoric, pictorial ingenuity, and reception.
The Architectural Drawings of Antonio da Sangallo the Younger and His Circle
Vol. III: Antiquity and Theory
Edited by Christoph Frommel and Georg Schelbert
These volumes complete the catalogue of the Sangallo workshop drawings collection housed at the Uffizi Gallery in Florence. Antonio da Sangallo the Younger (1484-1546) and his workshop were involved in St. Peter’s Basilica, the Palazzo Farnese, and Villa Madama in Rome; vast fortification projects in Castro, Florence, Perugia, and Rome; and dozens of other secular and religious buildings throughout Italy. After Bramante, it was the Sangallo workshop that most strongly influenced sixteenth- and seventeenth-century Italian architecture. Andrea Palladio, Giacomo della Porta, Carlo Maderno, Francesco Borromini and Gianlorenzo Bernini are among those indebted to him. In all of the projects touched by the Sangallo workshop one senses an intense laboratory in action. This volume focuses on the study of ancient architecture, as well as the drawings for palaces and the Vatican. An international team of scholars has written entries for the drawings. The volume also includes essays by Christoph L. Frommel and Pier Nicola Pagliara, as well as a translation of the Codex Stosch-Rothstein by Ian Campbell.
Corpus Rubenianum Ludwig Burchard XI.2
Mythological Subjects
Hercules to Olympus
By Elizabeth McGrath, Bert Schepers, Nils Büttner, Gerlinde Gruber, Fiona Healy, Eveliina Juntunen, Gregory Martin, Jeremy Wood
ISBN 978-1-912554-86-7
One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time a secular space was created in art for the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is happy accident of history that these splendid paintings are now widely visible in the great museums of the world.
Corpus Rubenianum Ludwig Burchard XXII.2
Rubens’s House
By Nora De Poorter, Frans Baudouin
ISBN 978-1-912554-64-5
The house that Rubens built a few years after his return to Antwerp from Italy, and where he lived to the end of his life, was for the most part lost during the course of alterations carried out over the years. Two original parts survive, and they attest to the grandeur of the artist’s house: the portico and garden pavilion. When the house came to be reconstructed in 1938–1946 a great many unsolved questions had to be tackled, but eventually the difficult project was concluded successfully, although the result sometimes departs from what is historically correct. The reconstructed house became a popular museum.
Undoubtedly the house, which included the family’s living quarters and contained Rubens’s much admired art collection as well as his famous studio, was built according to the master’s own ideas. It is thus part of Rubens’s oeuvre and forms the subject of this catalogue raisonné. Regrettably almost nothing survives of Rubens’s designs, which certainly must have existed.
The present volume is the result of a quest to gather together and critically assess all authentic architectural elements and written, pictorial, and archaeological sources. This allows us to form an impression of the appearance of Rubens’s unique house as well as the functions of its various parts. In addition, the sources that the pictor doctus Rubens used for inspiration in his design are discussed at length: architectural treatises, ancient art as well as the Renaissance architecture he had come to know during his stay in Italy.
Baroque Sculpture in Germany and Central Europe (1600-1770)
By Marjorie Trusted
ISBN 978-1-909400-95-5
Around 1600, a new style of sculpture started to evolve and flourish in Central Europe and in the German-speaking lands. Dramatic wood and stone figures peopled the palaces, gardens and churches of Munich, Berlin, Dresden, Düsseldorf, Vienna and Prague. These great works of art are little known outside Germany and Austria, partly because their colour and vivacity are so astoundingly different from the sculpture that was being produced in Italy, France and elsewhere in Northern Europe at that time. They are overpowering, and amongst the greatest works of art produced in Europe in the seventeenth century. This groundbreaking book explores their history and conveys their visual power.
Late Gothic Sculpture in Northern Italy:
Andrea da Giona and I Maestri Caronesi
An Addition to the Pantheon of Venetian Sculptors
By Anne Markham Schulz
ISBN 978-1-912554-80-5
This book explores the sculpture dispersed throughout Northern Italy in the second quarter of the fifteenth century by masters from the shores of Lake Lugano and identifies Andrea da Giona as the elusive author of Venice’s preeminent sculpture at the intersection of Gothic and Renaissance art, the Mascoli Altarpiece in San Marco.
Bringing the Holy Land Home
The Crusades, Chertsey Abbey, and the Reconstruction of a Medieval Masterpiece
Edited by Amanda Luyster
ISBN 978-1-912554-94-2
A carefully-integrated group of studies begins with the so-called “Chertsey” ceramic tiles, depicting combat between King Richard the Lionheart and Saladin. Found at Chertsey Abbey not far outside London and admired since the nineteenth century, we present here a new reconstruction of both the tiles and their previously-undeciphered Latin texts. The reconstruction demonstrates not only that the theme of the entire mosaic is the Crusades, but also that the overall appearance of the tiles, when laid as a floor, draws from the composition and iconography of imported Islamic and Byzantine silks. Essays illuminate specific material contexts that similarly witness western Europe’s, and particularly England’s, engagement with the material culture of the eastern Mediterranean, including ceramics, textiles, relics and reliquaries, metalwork, coins, sculpture, and ivories.
Pontormo at San Lorenzo
The Making and Meaning of a Lost Renaissance Masterpiece
By Elizabeth Pilliod
ISBN 978-1-909400-94-8
Pontormo’s frescoes in San Lorenzo were the most important cycle of the sixteenth century after Michelangelo’s Sistine frescoes. They had an enormous impact on artists until their destruction in the eighteenth century, and their interpretation has also had a significant bearing not only on the reception of this artist, but also of late Renaissance art in Florence. Based on archival and historical research, this book determines a new date for the inception of the fresco cycle and reconstructs the day-by-day activity in the church that had an impact on Pontormo’s project. It reveals Pontormo’s painstaking working method.
Alabaster Sculpture in Europe (1300-1650)
Edited by Marjan Debaene
ISBN 978-1-912554-92-8
Alabaster was a popular material in European sculpture, especially from the fourteenth to the seventeenth century. Its relative availability and easy to sculpt characteristic made it a highly suitable material for both large monuments and small objects, for mass production and individual works, from England to Spain and France to the Netherlands, Germany and Poland. This material has been the subject of multidisciplinary research in various European countries for several decades. The research combines material analyses with historical and art-historical approaches. This publication, made for the occasion of the large exhibition on the theme at M Leuven opening on October 14th, brings together all renown specialists on the material and sheds light on the many facets of alabaster, such as its physical and chemical properties as well as its translucency, its whiteness, its softness, and its beautiful sheen, all of which made it a popular material used in different types of sculpture from the middle ages to the baroque, all throughout Europe, ranging from bespoke tombs, funerary monuments and commissioned sculptures and altarpieces to commercially interesting formulas such as English or Mechelen alabaster reliefs.
A Survey of Manuscripts Illuminated in France, vol. 2
Frankish Manuscripts: The Seventh to the Tenth Century
Lawrence Nees
2 volumes, ISBN 978-1-872501-25-3
Frankish Manuscripts covers the earliest period in this series devoted to manuscripts illuminated in France. The two volumes explore those manuscripts that originate in the period before the kingdom of France emerged at the end of the tenth century. From the seventh to the tenth century most of modern France was ruled by kings of the Franks, from dynasties known as Merovingian and Carolingian, whose territories also included significant portions of other modern nations, especially the Low Countries, Germany, Switzerland and Austria.
The Paper Museum of Cassiano dal Pozzo. Series A: Antiquities and Architecture, Part III
Sarcophagi and Other Reliefs
By Amanda Claridge, Eloisa Dodero
4 Volumes, ISBN 978-1-912554-56-0
The 1,055 drawings catalogued in these four volumes are mainly divided between the Royal Library at Windsor Castle and the Department of Greece and Rome of the British Museum, but are also scattered in other public and private collections across the world. They correspond most closely to Cassiano’s definition of the Paper Museum as his attempt to have ‘skilled young draughtsmen’ draw ‘everything good in marbles and bronze which can provide some information about antiquity’. He focused in the first instance on the ancient figurative reliefs which are especially abundant in the city of Rome, carved on marble sarcophagi, tombstones, altars, bases and a wide range of other monuments. The drawings depict both the public reliefs of the city – such as those on the Arch of Constantine or the Column of Marcus Aurelius – and those from the major Roman private collections of the period, including the Aldobrandini, Borghese, Medici, Farnese, Barberini and Giustiniani collections.
Four introductory essays explore the context in which the project evolved and discuss the collecting history of the Paper Museum as attested by the mounts and numbering found on many of the drawings. The range of different hands at work are identified, and a detailed survey is provided of the existing albums or the past configurations of others now dismembered.
Revisiting Raphael’s Vatican Stanze
Edited by Edited by Kim Butler Wingfield and Tracy Cosgriff
ISBN 978-1-912554-03-4
This volume revisits Raphael’s famous Vatican ‘Rooms’ on the occasion of the quincentennial of the artist’s death. It introduces new scholarship that addresses questions of meaning and invention, artistic process and design, patronage and ritual, and workshop collaborations. With all rooms and details published in color, including ceilings and basamenti, it constitutes an essential resource for further study of these important Renaissance artworks.
Carlo Cesare Malvasia‘s
Felsina Pittrice:
The Lives of the Bolognese Painters
The Lives of Francesco Francia and Lorenzo Costa
Edited by Elizabeth Cropper and Lorenzo Pericolo
ISBN 978-1-912554-79-9
Illustrated with numerous color images (many of them taken expressly for this publication), this volume provides a critical edition and annotated translation of Malvasia’s lives of Francia and his disciples, among them prominently Costa. The integral transcription (for the first time) in this volume of Malvasia’s preparatory notes (Scritti originali) to the lives of Francia, Costa, and Chiodarolo presents important material that could foster the study of Bolognese painting in the age of humanism under the rulership of the Bentivoglio.
The Allure of Glazed Terracotta in Renaissance Italy
By Zuzanna Sarnecka
ISBN 978-1-912554-78-2
Also Available in Open Access
In her richly illustrated study Sarnecka brings together devotional glazed terracotta produced in Italy by the Della Robbia family and by unidentified contemporaries working in the same medium to propose a new way of thinking about the religious art in Renaissance Italy.
Italy by Way of India
Translating Art and Devotion in the Early Modern World
By Erin Benay
ISBN 978-1-912554-77-5
Italy by Way of India recovers peripheral narratives of image-making from the margins of cultural exchange between India and Italy during early modernity and promotes indigenous artists as central to the construction of Christian art in India and to the representation of India in Europe.
Reading Dante with Images
A Visual Lectura Dantis
Edited by Matthew Collins
ISBN 978-1-912554-50-8
Many Antwerp Hands
Collaborations in Netherlandish Art
Edited by Abigail D. Newman and Lieneke Nijkamp
ISBN 978-1-912554-73-7
Artists everywhere and across all time periods have collaborated with one another. Yet in the early modern Low Countries, collaboration was particularly widespread, resulting in a number of distinctive visual forms that have become strongly associated with artistic – and especially painterly – practice in this region. While art historians long glossed over this phenomenon, which appeared to discomfitingly counter nineteenth-century notions of authorship and artistic genius that have long shaped the field, the past few decades have seen increased attention to this rich and complicated subject. The essays in this book together constitute a current state of the question, while at once pointing the way forward.
From Kairos to Occasio through Fortuna. Text / Image / Afterlife
On the Antique Critical Moment, a Grisaille in Mantua (School of Mantegna, 1495-1510), and the Fortunes of Aby Warburg (1866-1929)
By Barbara Baert
ISBN 978-1-912554-62-1
The author discusses the Mantuan fresco’s key position in the iconographic Nachleben of the Kairos/Occasio figure, and the way the theme was accustomed in the Quattrocento and the transition from the Middle Ages to the Renaissance.
Santa Maria Antiqua
The Sistine Chapel of the Early Middle Ages
Edited by Eileen Rubery, Giulia Bordi, John Osborne
ISBN 978-1-909400-53-5
Lavishly illustrated and containing the most recent images and research on this unique church, this is an essential resource for early medieval historians and archeologists working on Rome, the medieval West and Byzantium.
Murillo
Persuasion and Aura
By Benito Navarrete Prieto
ISBN 978-1-912554-40-9
Awarded with the 2022 Eleanor Tufts Award of the Society for Iberian Global Art.
This book examines how Murillo constructed his paintings and the devices he employed to provoke responses in the viewer, both then and now.