This is the first book to address the long art history of dynastic marriage exchange between Denmark and Britain between 1600 and 1900. It explores an intersection of three themes trending in early modern studies: portraiture, gender and the court as a centre of cultural exchange. This work re-evaluates the construction and staging of gender in Northern consort portraiture over a span of three hundred years, examining the development of the scientific and social paradigms inflecting consort portraiture and representation, with a view to excavating portrait images' agency at the early modern moment of their conception and making. The consort's liminal position between royal houses, territories, languages and sometimes religion, has often been equated with political weakness, but this new work argues that this position endowed the consort with a unique space for innovation in the representation of elite identity. As such, consort imagery drew upon gender as a generative resource of motifs and ideas. Each chapter is informed by new archival research and introduces the reader to little known, yet astonishing works of art. Collectively, they seek to trace a shift in practices of identity formation over time; the transition from an emphasis on rank to an increasingly binary emphasis on gender.

Winner of the Best Books on Devon's History: Academic Award from the Devon History Society A richly illustrated exploration of the national and international importance of the early modern Exeter cloth trade. This book reproduces a newly discovered manuscript detailing the exports of Claude Passavant, a Swiss emigre merchant. Passavant's dispatch book comprises the most extensive surviving collection of Devon cloth with 2,475 surviving cloth samples. Thirteen chapters discuss the local and wider contexts of eighteenth-century cloth making. This study explores the quality, range, and vibrancy of cloth that lead to Exeter becoming an internationally renowned centre for the manufacture and trade of woollen cloth.

Woodland Imagery in Northern Art reconnects us with the woodland scenery that abounds in Western painting, from Albrecht Durer's intense studies of verdant trees, to the works of many other Northern European artists who captured 'the truth of vegetation' in their work. These incidents of remarkable scenery in the visual arts have received little attention in the history of art, until now. Prosperetti brings together a set of essays which are devoted to the poetics of the woodlands in the work of the great masters, including Claude Lorrain, Jan van Eyck, Jacob van Ruisdael, Peter Paul Rubens, Rembrandt and Leonardo da Vinci, amongst others. Through an examination of aesthetics and eco-poetics, this book draws attention to the idea of lyrical naturalism as a conceptual bridge that unites the power of poetry with the allurement of the natural world. Engagingly written and beautifully illustrated throughout, Woodland Imagery in Northern Art strives to stimulate the return of the woodlands to the places where they belong - in people's minds and close to home.

Through both longer essays and shorter case studies, this book examines the relationship of European women from various countries and backgrounds to collecting, in order to explore the social practices and material and visual cultures of collecting in eighteenth-century Europe. It recovers their lives and examines their interests, their methodologies, and their collections and objects-some of which have rarely been studied before. The book also considers women's role as producers, that is, creators of objects that were collected. Detailed examination of the artefacts-both visually, and in relation to their historical contexts-exposes new ways of thinking about collecting in relation to the arts and sciences in eighteenth-century Europe. The book is interdisciplinary in its makeup and brings together scholars from a wide range of fields. It will be of interest to those working in art history, material and visual culture, history of collecting, history of science, literary studies, women's studies, gender studies, and art conservation.

The major topics painted and sculpted during the 17th century are featured here. Baroque artists chose stories not only from the Bible but also from mythology; these are not included in art history texts. In this volume, one finds the primary sources: The Golden Legend, the Bible, Ovid, and Plutarch, to name a few. Each entry concludes with an example of a work depicting the topic under examination (Diana Hunting, Lot and His Daughters, for instance) along with a readily available source where the work is pictured. The only reference of its type for art students, this is a companion piece for the author's earlier (Greenwood, 1987). The turbulent 17th century resulted in two main artistic styles: an expressionistic, sensual kind of emotional outpouring and a silent, classical mode of the highest possible decorum. These styles focused on topics that were mostly mythological or religious: maenads, satyrs, and nymphs pouring wine, carrying baskets of flowers, and lounging at a mythological event; angels shown in the heavens or with the characters on earth. Art students until now have not had a single source that attempts to describe the topics of this intensely artistic age with artists as different in approach as Bernini and Rembrandt. Direct quotes from primary sources including the ^IBible^R and Ovid enrich the descriptive material. Extensive cross-referencing adds to the user-friendly aspect of the dictionary.

Europe Views the World examines the wide diversity of images that Europeans produced to represent the wide variety of peoples and places around the globe during and after the so-called 'Age of Exploration'. Beginning with the medieval imagery of Europe's imagined alien races, and with an emphasis on the artists of Northern Europe, Larry Silver takes the reader on a tour across continents, from the Americas to Africa and Asia. Encompassing works such as prints, paintings, maps, tapestries and sculptural objects, this book addresses the overall question of an emerging European self-definition through the evidence of visual culture, however biased, about the wider world in its component parts. Unique to this book, each chapter concludes with an 'in response', analysing representations of Europeans by indigenous peoples of each continent to give a deeper and more multi-faceted account of the impact of Europe's view of the world.

In early modern Europe, the visual image began to move, not only as it traveled across great distances but also due to the introduction of innovative visual formats that produced animation within the image itself. This book traces the arduous journeys of visual images through evidence of their use and reproduction along missionary routes from Europe to India, Japan, China, Brazil and Chile. It argues that missionary world travel was crucial to the early modern re-animation of the image through devices such as the reflection of the mirror, the multiple registers of vision of the anthropomorphic image, the imaginative and disorienting possibilities of the utopic image, and even the reconstitution of the sacred image with memories of the relation of travel to life and death. Within the journeys traced in the book, the visual image forged new connections between different locations and across different cultures, accumulating increasingly entangled histories. Even more intriguingly, these images frequently returned to Europe, changed but still recognisable, there to be used again with an awareness of their earlier travels. -- .

As queen consort and dowager, Hedwig Eleonora (1636-1715) held a unique position in Sweden for more than half a century. As the dominant collector and patron of art and architecture in the realm, she left a strong mark on Swedish court culture. Her dynastic network among the Northern European courts was extensive, and this helped to make Sweden a major cultural center in Northern Europe in the later seventeenth century. This book represents the first major scholarly publication on the full range of Hedwig Eleonora's endeavours, from the financing of her court to her place within a larger princely network, to her engagements with various cultural pursuits, to her public image. As the contributors show, despite her high profile, political position, and conspicuous patronage, Hedwig Eleonora experienced little of the animosity directed at many other foreign queens and regents, such as the Medici in France and Henrietta Maria in England. In this way, she provides a model for a different and more successful way of negotiating the difficulties of joining a foreign court; the analysis of her circumstances thus adds a substantial dimension to the study of early modern queenship. Presenting much new scholarship, this volume highlights one extremely significant early modern woman and her imprint on Northern European history, and fosters international awareness of the importance of early modern Scandinavia for European cultural history.

The Rococo emerged in France around 1700 as a playful revolt against the grandeur of the Baroque and the solemnity of Classicism. It flourished during the reign of Louis XV and began to go out of fashion in the second half of the 18th century. During this brief period of less than a century, it spread throughout the courts and cities of Europe, with significant regional variations on the style developing in Bavaria, Potsdam, Venice, and Great Britain. The period produced an extraordinary number of artistic innovators, who challenged received conventions, developed novel subject categories, and eroded hierarchical distinctions between the arts. The Historical Dictionary of Rococo Art covers all aspects of Rococo art history through a chronology, an introductory essay, a review of the literature, an extensive bibliography, and over 350 cross-referenced dictionary entries on prominent Rococo painters, sculptors, decorative artists, architects, patrons, theorists, and critics, as well as major centers of artistic production. This book is an excellent access point for students, researchers, and anyone wanting to know more about Rococo art.

This beautifully designed and illustrated publication is the first comprehensive biography of the portrait painter Johan Zoffany (1733–1810), one of the leading figures of eighteenth-century British art. The German-born artist shot to fame with his charming conversation pieces and portraits of London celebrities, including actor David Garrick. He soon became the painter of choice of King George III, depicting the royal family with rare informality, and subsequently a founder-member of the Royal Academy of Arts. His pictures have earned him the right to stand alongside Hogarth, Gainsborough and Reynolds as one of the most important founding artists of the British School.

Peter Paul Rubens and the Crisis of the Beati Moderni takes up the question of the issues involved in the formation of recent saints - or Beati moderni (modern Blesseds) as they were called - by the Jesuits and Oratorians in the new environment of increased strictures and censorship that developed after the Council of Trent with respect to legal canonization procedures and cultic devotion to the saints. Ruth Noyes focuses particularly on how the new regulations pertained to the creation of emerging cults of those not yet canonized, the so-called Beati moderni, such as Jesuit founders Francis Xavier and Ignatius Loyola, and Filippo Neri, founder of the Oratorians. Centrally involved in the book is the question of the fate and meaning of the two altarpiece paintings commissioned by the Oratorians from Peter Paul Rubens. The Congregation rejected his first altarpiece because it too specifically identified Filippo Neri as a cult figure to be venerated (before his actual canonization) and thus was caught up in the politics of cult formation and the papacy's desire to control such pre-canonization cults. The book demonstrates that Rubens' second altarpiece, although less overtly depicting Neri as a saint, was if anything more radical in the claims it made for him. Peter Paul Rubens and the Crisis of the Beati Moderni offers the first comparative study of Jesuit and Oratorian images of their respective would-be saints, and the controversy they ignited across Church hierarchies. It is also the first work to examine provocative Philippine imagery and demonstrate how its bold promotion specifically triggered the first wave of curial censure in 1602.

Searing disputes over caricature have recently sparked flames across the world"the culmination, not the beginning, of the story of one of modernity's definitive artistic practices. Modern visual satire erupts during a period marked by reform and revolution, by cohering nationalisms and expanding empires, and by the emerging discipline of art history. This has long been recognized as its Golden Age. It is time to look anew. In The Efflorescence of Caricature, 1759-1838, an international, interdisciplinary, and intergenerational team of scholars reconfigures the geography of modern visual satire, as the expansive narrative reaches from North America to Europe, to China and the Ottoman Empire. Caricature's specific visual cultures are also laid bare, its iconographic means and material support, as well as the diverse milieu of its making"the military, the art academy, diplomacy, politics, art criticism, and popular entertainment. Some of its greatest practitioners"James Gillray and Honore Daumier"are seen in a new light, alongside some of their far flung and opportunistic pastichers. Most trenchantly, assumptions about the consequences of caricature's rise come under intense scrutiny, interrogated for its cherished and long-vaunted civilizational claims on individual character, artistic supremacy, political liberty, and global domination.

This title was first published in 2000: In their stunning simplicity, George Romney's portraits of eighteenth-century gentry and their children are among the most widely recognised creations of his age. A rival to Reynolds and Gainsborough, Romney was born in 1734 on the edge of the Lake District, the landscape of which never ceased to influence his eye for composition and colour. He moved in 1762 to London where there was an insatiable market for portraits of the landed gentry to fill the elegant picture galleries of their country houses. Romney's sitters included William Beckford and Emma Hart, later Lady Hamilton. An influential figure, one of the founding fathers of neo-classicism and a harbinger of romanticism, Romney yearned to develop his talents as a history painter. Countless drawings bear witness to ambitious projects on elemental themes which were rarely executed on canvas. Richly illustrated, this is the first biography of Romney to explore the full diversity of his oeuvre. David A. Cross portays a complex personality, prone to melancholy, who held himself aloof from London's Establishment and from the Royal Academy, of which Sir Joshua Reynolds was President, and chose instead to find his friends among that city's radical intelligentsia.

Wallpaper's spread across trades, class and gender is charted in this first full-length study of the material's use in Britain during the long eighteenth century. It examines the types of wallpaper that were designed and produced and the interior spaces it occupied, from the country house to the homes of prosperous townsfolk and gentry, showing that wallpaper was hung by Earls and merchants as well as by aristocratic women. Drawing on a wide range of little known examples of interior schemes and surviving wallpapers, together with unpublished evidence from archives including letters and bills, it charts wallpaper's evolution across the century from cheap textile imitation to innovative new decorative material. Wallpaper's growth is considered not in terms of chronology, but rather alongside the categories used by eighteenth-century tradesmen and consumers, from plains to flocks, from China papers to papier mache and from stucco papers to materials for creating print rooms. It ends by assessing the ways in which eighteenth-century wallpaper was used to create historicist interiors in the twentieth century. Including a wide range of illustrations, many in colour, the book will be of interest to historians of material culture and design, scholars of art and architectural history as well as practicing designers and those interested in the historic interior.

Prolific and successful in his own lifetime, and ""Picture drawer"" to Charles I, Cornelius Johnson (1593-1661) is now the forgotten man of seventeenth-century British art. This is the first book ever to address his life and work. Johnson's surviving works, all portraits, are found in most public collections in Britain and in many private collections seen on the walls of British country houses, in the possession of descendants of the original sitters. Working on every scale from the miniature to the full-length and big group portrait, Johnson faithfully rendered the rich textiles and intricate lace collars worn by his sitters. While always recognisably by him, his works reveal his exceptional flexibility and underline his response to successive influences. When four of Johnson's portraits in the Tate's collection were recently conserved, the author Karen Hearn commissioned investigations into his working methods and techniques. This previously unpublished material will make a significant contribution to the literature on this little-known artist as well as to the technical literature on 17th-century painting. Johnson's career coincided with one of the most dramatic periods in 17th-century history, and he painted many of the leading figures of the era. In 1632 he was appointed Charles I's Picture drawer and, as well as portraying the king, he produced exquisite small images of the royal children. In 1643, following the outbreak of Civil War, Johnson emigrated to the northern Netherlands. There he continued to work successfully, in Middelburg, Amsterdam, The Hague and, finally, in Utrecht, where he died a prosperous man. Johnson's portraits are not elaborate Baroque construts on the contrary, they have a delicacy, a dignity and a humanity that speak directly to present-day viewers. Their quality and diversity will be a revelation.

This beautiful publication accompanies an exhibition at the Morgan Library & Museum of the work of Giovanni Battista Piranesi (1720–1778). It is the most important study of Piranesi’s drawings to appear in more than a generation. In a letter written near the end of his life, Giovanni Battista Piranesi explained to his sister that he had lived away from his native Venice because he could find no patrons there willing to support “the sublimity of my ideas.” He resided instead in Rome, where he became internationally famous working as a printmaker, designer, architect, archaeologist, theorist, dealer, and polemicist. While Piranesi’s lasting fame is based above all on his etchings, he was also an intense, accomplished, and versatile draftsman, and much of his work was first developed in vigorous drawings. The Morgan Library& Museum holds what is arguably the largest and most important collection of these works, more than 100 drawings that include early architectural caprices, studies for prints, measured design drawings, sketches for a range of decorative objects, a variety of figural drawings, and views of Rome and Pompeii. These works form the core of the book, which will be published on the occasion of the Morgan’s Spring 2023 exhibition of Piranesi drawings. More than merely an exhibition catalogue or a study of the Morgan’s Piranesi holdings, however, this publication is a monograph that offers a complete survey of Piranesi’s work as a draftsman. It includes discussion of Piranesi’s drawings in public and private collections worldwide, with particular attention paid to the large surviving groups of drawings in New York, Berlin, Hamburg, and London; it also puts the large newly discovered cache of Piranesi material in Karlsruhe in context. The most comprehensive study of Piranesi’s drawings to appear in more than a generation, the book includes more than 200 illustrations, and while focused on the drawings it offers insights on Piranesi’s print publications, his church of Santa Maria del Priorato, and his work as a designer and dealer. In sum, the present work offers a new account of Piranesi’s life and work, based on the evidence of his drawings.

Baroquemania explores the intersections of art, architecture and criticism to show how reimagining the Baroque helped craft a distinctively Italian approach to modern art. Offering a bold reassessment of post-unification visual culture, the book examines a wide variety of media and ideologically charged discourses on the Baroque, both inside and outside the academy. Key episodes in the modern afterlife of the Baroque are addressed, notably the Decadentist interpretation of Gianlorenzo Bernini, the 1911 universal fairs in Turin and Rome, Roberto Longhi's historically grounded view of Futurism, architectural projects in Fascist Rome and the interwar reception of Adolfo Wildt and Lucio Fontana's sculpture. Featuring a wealth of visual materials, Baroquemania offers a fresh look at a central aspect of Italy's modern art. -- .

Renaissance master Andrea Palladio's architectural DNA can be seen on modern-day icons from Buckingham Palace to the White House, from numerous English stately homes to Virginian plantation houses. In THE PERFECT HOUSE Witold Rybczynski travels along the Brenta River in north-eastern Italy to experience the surviving original Palladian villas for himself. He sets out to discover how a rustic sixteenth-century stonemason, born Andrea di Pietro, first had to become 'cultured' before he could be one of the most respected architects of all time, and how Palladio managed to bring the elegance of Ancient Rome to the Venetian countryside. Out of the chaos of hired cars and cheap flights, towns packed with 'Ristoranti Palladio' and herds of tourists, Rybczynski savours moments of epiphany as he contemplates Palladio's perfect houses. Part travelogue, part historical biography, part architectural guide, THE PERFECT HOUSE is a delightful and enlightening exploration of the birth of domestic architecture and the man who spawned it.

This title was first published in 2000: In their stunning simplicity, George Romney's portraits of eighteenth-century gentry and their children are among the most widely recognised creations of his age. A rival to Reynolds and Gainsborough, Romney was born in 1734 on the edge of the Lake District, the landscape of which never ceased to influence his eye for composition and colour. He moved in 1762 to London where there was an insatiable market for portraits of the landed gentry to fill the elegant picture galleries of their country houses. Romney's sitters included William Beckford and Emma Hart, later Lady Hamilton. An influential figure, one of the founding fathers of neo-classicism and a harbinger of romanticism, Romney yearned to develop his talents as a history painter. Countless drawings bear witness to ambitious projects on elemental themes which were rarely executed on canvas. Richly illustrated, this is the first biography of Romney to explore the full diversity of his oeuvre.

In a critical reassessment of chinoiserie, a style both praised and derided for its triviality, prettiness and ornamental excesses, Stacey Sloboda argues that chinoiserie was no mute participant in eighteenth-century global consumer culture, but was instead a critical commentator on that culture. Analysing ceramics, wallpaper, furniture, garden architecture and other significant examples of British and Chinese design, this book takes an object-focused approach to studying the cultural phenomenon of the 'Chinese taste' in eighteenth-century Britain. It is essential reading for anyone interested in the critical history of design and the decorative arts in the period, and students and scholars of art history, material culture, eighteenth-century studies and British history will find a novel approach to studying the decorative arts and a forceful argument for their critical capacities. -- .

This volume brings together the papers presented at a conference entitled 'Experiencing the Garden in the Eighteenth Century', held at the Institute of Romance Studies, Senate House, University of London on 13 March 2004. Speakers came from Europe, the United States and New Zealand, and each gave a very different perspective on the eighteenth-century landscape garden in England, France and elsewhere in Europe. The papers focused on the theme of experience, an especially important aspect of eighteenth-century garden design. Landscape gardens were created for visitors to move through on a journey from one place to the next: the garden would not be seen all at once, but would be experienced as a story unfolding. The visitor would follow a circuit around the garden, moving from light to shade, being given suggestive prompts with statues, temples and viewpoints, as if on a sensory, emotional and intellectual journey.

The World Created in the Image of Man investigates the development of the third dimension in painting from the dramatic moment when spatial construction becomes charged with an external force antagonistic to the effort of forms, or human figures, to preserve their permanence. The competitive contact between the external and internal worlds represented in the picture brings a vital element to the unfolding of art as it occurs in both the West and the East. As the analysis of masterpieces from different historical periods and cultures demonstrates here, this vital impulse becomes a necessary part of pictorial composition and the measure of the quality of the work of art. It can reveal itself in a limitless and disparate variety of subject matter: a scene from Japanese court life, as depicted in the illustrations of the early twelfth century to the novel The Tale of Genji; a representation of the maternal feeling of the Virgin anticipating the fate of her child in Byzantine icon painting; Raphael's "universal interior" in The School of Athens; Rembrandt's allegory of historic continuity in Aristotle with the Bust of Homer. The progression of this dynamic eventually leads to the surrender of form to space with the Impressionists; and to the conclusion of the book, which considers Postmodern art in the form of the installation, where the emphasis is put on the unprecedented role of the viewer as a component of the work, and which suggests an environment that is totally alien, or even hostile to him. Art historians, students of art history and the educated general reader with an interest in painting will find this book a rewarding and stimulating read.