Fully illustrated in colour, here is the first introduction in English to one of Korea's outstanding cultural assets - the banchado ('painting of the order of guests at a royal event') - relating to all those taking part (1800 people) in the eight-day royal procession to Hwaseong (Gyeonggi Province) organized by King Jeongjo in 1795 for the dual purpose of visiting his father's tomb and celebrating his mother's sixtieth birthday. The banchado is a fine example of the meticulous record-keeping of the period (known as uigwe - the subject-matter of this book being known as the Wonhaeng eulmyo jeongni uigwe) and the skills of the court artists at that time. In addition to the banchado illustrations, the Wonhaeng eulmyo jeongni uigwe contains extensive lists of all the participants in the procession, details of the workers and technicians involved, including their duties and wages. It even includes the different foods offered at meal-times, the quantity of ingredients and the costs. The author provides a full analysis of the context, planning, execution and significance of the event.

This book examines a range of visual images of military recruitment to explore changing notions of glory, or of gloire, during the French Revolution. It raises questions about how this event re-orientated notions of 'citizenship' and of service to 'la Patrie'. The opening lines of the Marseillaise are grandly declamatory: Allons enfants de la Patrie/le jour de gloire est arrive! or, in English: Arise, children of the Homeland/The day of glory has arrived! What do these words mean in their later eighteenth-century French context? What was gloire and how was it changed by the revolutionary process? This military song, later adopted as the national anthem, represents a deceptively unifying moment of collective engagement in the making of the modern French nation. Valerie Mainz questions this through a close study of visual imagery dealing with the issue of military recruitment. From neoclassical painting to popular prints, such images typically dealt with the shift from civilian to soldier, focusing on how men, and not women, were called to serve the Homeland.

The Dutch Republic was a cultural powerhouse in the modern era, producing lasting masterpieces in painting and publishing, and in the process transforming those fields from modest trades to booming industries. This book asks the question of how such a small nation could become such a major player in those fields. Claartje Rasterhoff shows how industrial organisations played a role in shaping patterns of growth and innovations. As early modern Dutch cultural industries were concentrated geographically, highly networked, and institutionally embedded, they were able to reduce uncertainty in the marketplace and stimulate the commercial and creative potential of painters and publishers-though those successes eventually came up against the limits of a saturated domestic market and an aversion to risk on the part of producers that ultimately brought an end to the boom.

A social history of reception, this study focuses on sacred art and Catholicism in Rome during the late sixteenth and seventeenth centuries. The five altarpieces examined here were painted by artists who are admired today - Caravaggio, Guercino, and Guido Reni - and by the less renowned but once influential Tommaso Laureti and Andrea Commodi. By shifting attention from artistic intentionality to reception, Pamela Jones reintegrates these altarpieces into the urban fabric of early modern Rome, allowing us to see the five paintings anew through the eyes of their original audiences, both women and men, rich and poor, pious and impious. Because Italian churchmen relied, after the Council of Trent, on public altarpieces more than any other type of contemporary painting in their attempts to reform and inspire Catholic society, it is on altarpieces that Pamela Jones centers her inquiry. Through detailed study of evidence in many genres - including not only painting, prints, and art criticism, but also cheap pamphlets, drama, sermons, devotional tracts, rules of religious orders, pilgrimages, rituals, diaries, and letters - Jones shows how various beholders made meaning of the altarpieces in their aesthetic, devotional, social, and charitable dimensions. This study presents early modern Catholicism and its art in an entirely new light by addressing the responses of members of all social classes - not just elites - to art created for the public. It also provides a more accurate view of the range of religious ideas that circulated in early modern Rome by bringing to bear both officially sanctioned religious art and literature and unauthorized but widely disseminated cheap pamphlets and prints that were published without the mandatory religious permission. On this basis, Jones helps to illuminate further the insurmountable problems churchmen faced when attempting to channel the power of sacred art to elicit orthodox responses.

Offering a corrective to the common scholarly characterization of seventeenth-century Dutch landscape painting as modern, realistic and secularized, Boudewijn Bakker here explores the long history and purpose of landscape in Netherlandish painting. In Bakker's view, early Netherlandish as well as seventeenth-century Dutch painting can be understood only in the context of the intellectual climate of the day. Concentrating on landscape painting as the careful depiction of the visible world, Bakker's analysis takes in the thought of figures seldom consulted by traditional art historians, such as the fifteenth-century philosopher Dionysius the Carthusian, the sixteenth-century religious reformer John Calvin, the geographer Abraham Ortelius and the seventeenth-century poet Constantijn Huygens. Probing their conception of nature as 'the first Book of God' and art as its representation, Bakker identifies a world view that has its roots in the traditional Christian perceptions of God and creation. Landscape and Religion from Van Eyck to Rembrandt imposes a new layer of interpretation on the richly varied landscapes of the great masters. In so doing it adds a new dimension to the insights offered by modern art-historical research. Further, Bakker's explorations of early modern art and literature provide essential background for any student of European intellectual history.

The Artist and the State, 1777-1855: The Politics of Universal History in British & French Painting is the first book-length study to examine political uses of 'universal history', or the philosophy of history, in European art from 1777 to 1855. Daniel R. Guernsey discusses a range of mural paintings and sculptural works produced in England and France between the American Revolution and the Universal Exposition of 1855, comparing the ways artists such as James Barry, Eugene Delacroix, Paul Chenavard, David d'Angers, and Gustave Courbet expressed linear or cyclical histories of progress and decline. By considering the work of these important European artists together, he reveals not only the rich artistic interaction that took place between England and France - as well as Germany - at this time, but also how the notion of 'universal history' was to become a major preoccupation in the work of these individual artists, each one participating in shaping a highly significant mode of eighteenth- and nineteenth-century political art.

The Visual Culture of Violence after the French Revolution traces four sites of spectatorship that exemplified the visual culture of violence in the late eighteenth and early nineteenth centuries, offering a new account of the significance of violent spectacle to the birth of modernity. Considerations of the execution scaffold, salon painting, print culture and the fait divers, and waxworks displays establish the centrality of spectatorial violence to experiences of selfhood in the wake of the French Revolution. Shedding critical light on previously neglected aspects of art and visual culture of the post-Revolutionary period, The Visual Culture of Violence after the French Revolution demonstrates how violent spectacle at this moment was profoundly shaped by shifting social attitudes, contemporary political practices, and rapidly accelerated technological developments. By attending to the formal and historical specificity of violent spectacle after the Revolution, Graybill affirms the historical contingency through which the visual culture of violence in the modern era has emerged. The Visual Culture of Violence after the French Revolution will be broadly relevant to scholars of art, media and visual studies, and particularly to historians of the French Revolution and eighteenth- and early nineteenth-century Europe. The book's concern with the representation of violence makes it of interest to scholars working in a variety of fields beyond its historical period, especially in art, literature, history, media and culture studies.

From conception onwards, Stuart offspring were presented to their subjects through texts, images and public celebrations. Audiences were exhorted to share in their development, establishing affective bonds with the royal family and its latest additions. Yet inviting the public into Stuart domestic affairs exposed them to intense scrutiny and private interactions were endowed with public dimensions. Images of royal children had the potential both to support and to undermine dynastic messages. In Imaging Stuart Family Politics, Catriona Murray explores the promotion of Stuart familial propaganda through the figure of the royal child. Bringing together royal ritual, court portraiture and popular prints, she offers a distinctive perspective on this crucial dimension of seventeenth-century political culture, exploring the fashioning and dismantling of reproductive imagery, as well as the vital role of visual display within these dialogues. This wide-ranging study will appeal to scholars of Stuart cultural, political and social history.

While the connected, international character of today's art world is well known, the eighteenth century too had a global art world. Eighteenth-Century Art Worlds is the first book to attempt a map of the global art world of the eighteenth century. Fourteen essays from a distinguished group of scholars explore both cross-cultural connections and local specificities of art production and consumption in Africa, the Americas, Asia, and Europe. The result is an account of a series of interconnected and asymmetrical art worlds that were well developed in the eighteenth century. Capturing the full material diversity of eighteenth-century art, this book considers painting and sculpture alongside far more numerous prints and decorative objects. Analyzing the role of place in the history of eighteenth-century art, it bridges the disciplines of art history and cultural geography, and draws attention away from any one place as a privileged art-historical site, while highlighting places such as Manila, Beijing, Mexico City, and London as significant points on globalized map of the eighteenth-century art world. Eighteenth-Century Art Worlds combines a broad global perspective on the history of art with careful attention to how global artistic concerns intersect with local ones, offering a framework for future studies in global art history.

Before Modernism, narrative painting was one of the most acclaimed and challenging modes of picture-making in Western art, yet by the early twentieth century storytelling had all but disappeared from ambitious art. France was a key player in both the dramatic rise and the controversial demise of narrative art. This is the first book to analyse French painting in relation to narrative, from Poussin in the early seventeenth to Gauguin in the late nineteenth century. Thirteen original essays shed light on key moments and aspects of narrative and French painting through the study of artists such as Nicolas Poussin, Charles Le Brun, Jacques-Louis David, Paul Delaroche, Gustave Moreau, and Paul Gauguin. Using a range of theoretical perspectives, the authors study key issues such as temporality, theatricality, word-and-image relations, the narrative function of inanimate objects, the role played by viewers, and the ways in which visual narrative has been bound up with history painting. The book offers a fresh look at familiar material, as well as studying some little-known works of art, and reveals the centrality and complexity of narrative in French painting over the course of three centuries.

Art history has enriched the study of material culture as a scholarly field. This interdisciplinary volume enhances this literature through the contributors' engagement with gender as the conceptual locus of analysis in terms of femininity, masculinity, and the spaces in between. Collectively, these essays by art historians and museum professionals argue for a more complex understanding of the relationship between objects and subjects in gendered terms. The objects under consideration range from the quotidian to the exotic, including beds, guns, fans, needle paintings, prints, drawings, mantillas, almanacs, reticules, silver punch bowls, and collage. These material goods may have been intended to enforce and affirm gendered norms, however as the essays demonstrate, their use by subjects frequently put normative formations of gender into question, revealing the impossibility of permanently fixing gender in relation to material goods, concepts, or bodies. This book will appeal to art historians, museum professionals, women's and gender studies specialists, students, and all those interested in the history of objects in everyday life.

Animals were everywhere in the early modern period and they impacted, at least in some way, the lives of every kind of early modern person, from the humblest peasant to the greatest prince. Artists made careers based on depicting them. English gentry impoverished themselves spending money on them. Humanists exercised their scholarship writing about them. Pastors saved souls delivering sermons on them. Nobles forged alliances competing with them. Foreigners and indigenes negotiated with one another through trading them. The nexus between animal-human relationships and early modern identity is illuminated in this volume by the latest research of international scholars working on the history of art, literature, and of sixteenth- and seventeenth-century Germany, France, England, Spain, and South Africa. Collectively, these essays investigate how animals - horses, dogs, pigs, hogs, fish, cattle, sheep, birds, rhinoceroses, even sea-monsters and other creatures - served people in Europe, England, the Americas, and Africa to defend, contest or transcend the boundaries of early modern identities. Developments in the methodologies employed by scholars to interrogate the past have opened up an intellectual and discursive space for - and a concomitant recognition of - the study of animals as a topic that significantly elucidates past and present histories. Relevant to a considerable array of disciplines, the study of animals also provides a means to surmount traditional disciplinary boundaries through processes of dynamic interchange and cross-fertilization.

From its establishment in 1648 until its disbanding in 1793 after the French Revolution, the Academie Royale de Peinture et de Sculpture was the centre of the Parisian art world. Taking the reader behind the scenes of this elite bastion of French art theory, education, and practice, this engaging study uncovers the fascinating histories - official and unofficial - of that artistic community. Through an innovative approach to portraits - their values, functions, and lives as objects - this book explores two faces of the Academie. Official portraits grant us insider access to institutional hierarchies, ideologies, rituals, customs, and everyday experiences in the Academie's Louvre apartments. Unofficial portraits in turn reveal hidden histories of artists' personal relationships: family networks, intimate friendships, and bitter rivalries. Drawing on both art-historical and anthropological frames of analysis, this book offers insightful interpretations of portraits read through and against documentary evidence from the archives to create a rich story of people, places, and objects. Theoretically informed, rigorously researched, and historically grounded, this book sheds new light on the inner workings of the Academie. Its discoveries and compelling narrative make an invaluable and accessible contribution to our understanding of this pre-eminent European institution and the social lives of artists in early modern Paris.

This study provides a new analysis of the pictorial ensemble of the Torre de la Parada, the hunting lodge of King Philip IV of Spain. Created in the late 1630s by a group of artists led by Peter Paul Rubens, this cycle of mythological imagery and hunting scenes was completed by Diego Velazquez. Despite the lack of a written program, surviving works provide eloquent testimony of several basic themes that embody neo-Stoic ideals of self-restraint and prudent governance. While Rubens set the moral tone through his serio-comic Ovidian narratives, Velazquez added an important grace note with his portraits of ancient philosophers, and royals and fools of the court. This study is the first to consider in depth their joint artistic contributions and shared ambition. Through analysis of individual works, the authors situate these pictorial inventions within broader intellectual currents in both Spanish Flanders and Spain, especially in the advice literature and drama presented to the Spanish king. Moreover, they point to the lasting resonance of Torre de la Parada for Velazquez, especially within his late masterworks, Las Meninas and The Spinners. Ultimately, this study illuminates the dialogical nature of this ensemble in which Rubens and Velazquez offer a set of complementary views on subjects ranging from the nature of classical gods to the role of art as a mirror of the prince."

Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions maps some of the many complex and vivid connections between art, theatre, and opera in a period of dramatic and challenging historical change, thereby deepening an understanding of familiar (and less familiar) artworks, practices, and critical strategies in the eighteenth and nineteenth centuries. Throughout this period, new types of subject matter were shared, fostering both creative connections and reflection on matters of decorum, legibility, pictorial, and dramatic structure. Correspondances were at work on several levels: conception, design, and critical judgement. In a time of vigorous social, political, and cultural contestation, the status and role of the arts and their interrelation came to be a matter of passionate public scrutiny. Scholars from art history, French theatre studies, and musicology trace some of those connections and clashes, making visible the intimately interwoven and entangled world of the arts. Protagonists include Diderot, Sedaine, Jacques-Louis David, Ignace-Eugene-Marie Degotti, Marie Malibran, Paul Delaroche, Casimir Delavigne, Marie Dorval, the 'Bleeding Nun' from Lewis's The Monk, the Comedie-Francaise and Etienne-Jean Delecluze.

Emphasizing on the one hand the reconstruction of the material culture of specific residences, and on the other, the way in which particular domestic objects reflect, shape, and mediate family values and relationships within the home, this volume offers a distinct contribution to research on the early modern Italian domestic interior. Though the essays mainly take an art historical approach, the book is interdisciplinary in that it considers the social implications of domestic objects for family members of different genders, age, and rank, as well as for visitors to the home. By adopting a broad chronological framework that encompasses both Renaissance and Baroque Italy, and by expanding the regional scope beyond Florence and Venice to include domestic interiors from less studied centers such as Urbino, Ferrara, and Bologna, this collection offers genuinely new perspectives on the home in early modern Italy.

The popularity of the comic performers of late-Georgian and Regency England and their frequent depiction in portraits, caricatures and prints is beyond dispute, yet until now little has been written on the subject. In this unique study Jim Davis considers the representation of English low comic actors, such as Joseph Munden, John Liston, Charles Mathews and John Emery, in the visual arts of the period, the ways in which such representations became part of the visual culture of their time, and the impact of visual representation and art theory on prose descriptions of comic actors. Davis reveals how many of the actors discussed also exhibited or collected paintings and used painterly techniques to evoke the world around them. Drawing particularly on the influence of Hogarth and Wilkie, he goes on to examine portraiture as critique and what the actors themselves represented in terms of notions of national and regional identity.

This collection of essays seeks to challenge the notion of the supremacy of the brain as the key organ of the Enlightenment, by focusing on the workings of the bowels and viscera that so obsessed writers and thinkers during the long eighteenth-century. These inner organs and the digestive process acted as counterpoints to politeness and other modes of refined sociability, drawing attention to the deeper workings of the self. Moving beyond recent studies of luxury and conspicuous consumption, where dysfunctional bowels have been represented as a symptom of excess, this book seeks to explore other manifestations of the visceral and to explain how the bowels played a crucial part in eighteenth-century emotions and perceptions of the self. The collection offers an interdisciplinary and cross-cultural perspective on entrails and digestion by addressing urban history, visual studies, literature, medical history, religious history, and material culture in England, France and Germany. -- .

Samuel van Hoogstraten was not only one of Rembrandt's most succesful pupils and a versatile painter. His experiments in optical illusion also attracted the interest of the natural scientists of his time. Furthermore, he wrote some of the first Dutch novels, plays, and a treatise on painting. After travelling to Rome, Vienna, and London he introduced European courtiers' manners in the Low Countries.[-] In this book, a collective of specialists with different backgrounds sheds light on the facets of Van Hoogstraten's work that demonstrates in a unique manner how art, literature, and science were interrelated in the Dutch Golden Age. The contributors devote special attention to his theory of art and his literary writings, the role of paintings in his social network, his contacts in Italy and Britain, and finally the art of his master, Rembrandt. Bringing to the fore hitherto unknown works and highlighting new connections between word and image, the book is an important contribution to our understanding of Van Hoogstraten's universal art and its implications for Early Modern cultural history.

Despite the importance of Chen Hongshou (1599-1652) as an artist and scholar of the Ming period, until now no full length study in English has focused on his work. Author Tamara H. Bentley takes a broadly interdisciplinary approach, treating Chen's oeuvre in relation to literary themes and economic changes, and linking these larger concerns to visual analyses. Considering Chen's paintings and prints alongside Chen's romance drama commentaries and prefaces and his collected writings (particularly poetry), Bentley sheds new light not only on Chen, but also on an important cultural moment in the first half of the seventeenth century. Through analysis of Chen's figure paintings and print designs, Bentley examines the artist's engagement with the values of "authenticity" and "emotion," which were part of a larger discourse stressing idiosyncrasy, the individual voice, and vernacular literature. She contrasts these values with the commercial aspects of his production, geared at an expanding art market of well-to-do buyers, excavating the apparent contradiction inherent in the two pursuits. In the end, she suggests, the emphasis on the "authentic" voice was marketed to a broad field of anonymous buyers. Though her primary focus is on Chen Hongshou, Bentley's investigation ultimately concerns not only this individual artist, but also the effect of early modern changes on an artist's mode of working and his self-image, in the West as well as the East. The study touches upon expanding international trade and the rise of middle class art markets (including print markets), not only in China but also in the Dutch Republic in circa 1630-1650. Bentley investigates the specific rhetoric of different categories of images, including Chen's non-literal figurative works; literal commemorative portraits; his printed romance-drama illustrations; and his printed playing cards. Bentley's investigation takes in issues of studio practice (including various types of image replicati

The painters of the Dutch Golden Age have a reputation for favoring a dark, serious aesthetic and subdued, everyday scenes over the bravado of their Catholic counterparts. But in fact, Dutch paintings of this period often contain witty visual puns and a fierce vibrancy in their choice of color and subjects. No one more exemplifies this lushness and vividness more than Frans Hals.This richly illustrated volume considers Hals's lively brush strokes and distinctive handling of paint within the context of Dutch Golden Age painting as a whole, and itprovides powerful insight into his influence during his own time and for generations afterward. Christopher D. M. Atkins looks at the world in which Hals lived, mining the Dutch economy, as well as Hals's relationships with clients, pupils, and assistants, in order to gain a fuller grasp of the evolution of Hals's instantly recognizable style. A thoughtful study of the commercial and artistic concerns that shaped Hals's work, this book reflects on ideas of authorship, consumption, and subjectivity in early modern Europe. Combining smart historical analysis and a deep understanding of Dutch consumer culture with a strong sense of Hals as an artist, "The Signature Style of Frans Hals "offers a wholly new understanding of both the painter and his world.With discussions of two of Hals's most famous paintings, "The Laughing Cavalier "and "The Gypsy Girl," this book is required reading for scholars of economic history, art historians, and anyone interested in gaining a deeper insight into life and times of this Dutch master.

In the early 1650s Ferdinand Bol produced a series of wall-covering paintings. This 'painted chamber' is a unique example of a branch of the art of painting which was extremely popular in the seventeenth century, although hardly any of it now remains. Bol's ensemble has always been surrounded by mysteries. Who was the initial owner, what was the reason for its commission and how were the ceiling-high canvases originally placed? Through a combination of material-technical research and archival, stylistic, iconographic and cultural-historical investigation these questions have for the first time been given convincing answers. This book, with Bol's unique ensemble in the lead role, is the account of an exciting (art) historical quest. The journey begins with apparently insignificant damage to the canvases and small remnants of old paint and varnish, passing via Biblical, classical and contemporary history to its eventual destination in the remarkable life of a particularly ambitious Utrecht widow. The reader becomes familiar with the religious beliefs, ideals and social ambitions of a remarkable woman, and sees close-up how, through Bol's paintings, she was able to give literal expression to her endeavours in the turbulent Utrecht in the middle of the Golden Age.

By examining their production practices in a variety of genres"including manuscript illustration, glass painting and staining, tapestry manufacture, portrait painting, and engraving"this book explores how Netherlandish artists migrating to England in the early modern period overcame difficulties raised by their outsider status. This study examines, for the first time in this context, the challenges of alien status to artistic production and the effectiveness of cooperation as a countermeasure. The author demonstrates that collaboration was chief among the strategies that these foreigners chose to secure a position in London's changing art market. Curd's exploration of these collaborations primarily follows Pierre Bourdieu's model of "establishment and challenger" in which dominance in a field of cultural production depends upon how much cultural, political, and economic capital can be accumulated and the effectiveness of the strategies used to confront competition. The analysis presented here challenges received opinion that a collaborative work is only a joint effort of artists working together on a single monument by demonstrating that the participation of patrons and middlemen can also shape the final appearance of a work of art. Furthermore, this book shows that the strategic use of collaboration served the goal of competition by helping to establish foreign artists in the London art market and suggests that their coping strategies have implications for the study of immigrant behaviors today.

Printed images were ubiquitous in early modern Britain, and they often convey powerful messages which are all the more important for having circulated widely at the time. Yet, by comparison with printed texts, these images have been neglected, particularly by historians to whom they ought to be of the greatest interest. This volume helps remedy this state of affairs. Complementing the online digital library of British Printed Images to 1700 (www.bpi1700.org.uk), it offers a series of essays which exemplify the many ways in which such visual material can throw light on the history of the period. Ranging from religion to politics, polemic to satire, natural science to consumer culture, the collection explores how printed images need to be read in terms of the visual syntax understood by contemporaries, their full meaning often only becoming clear when they are located in the context in which they were produced and deployed. The result is not only to illustrate the sheer richness of material of this kind, but also to underline the importance of the messages which it conveys, which often come across more strongly in visual form than through textual commentaries. With contributions from many leading exponents of the cultural history of early modern Britain, including experts on religion, politics, science and art, the book's appeal will be equally wide, demonstrating how every facet of British culture in the period can be illuminated through the study of printed images.

John Constable is one of the greatest painters of the English weather. His depictions of the sky are essential components of all his landscape paintings, from famous works such as The Hay Wain and Salisbury Cathedral from the Meadows to his numerous cloud studies painted on Hampstead Heath, culminating in paintings in which the landscape beneath the ever-changing sky is completely absent. Constable kept a weather diary and was endlessly fascinated by the sky. In a letter written in 1821 to friend John Fisher, Bishop of Salisbury, Constable commented, 'That landscape painter who does not make his skies a very material part of his composition, neglects to avail himself of one of his greatest aids ... It will be difficult to name a class of landscape in which the sky is not the key note, the standard of scale, and the chief organ of sentiment.' Written by Mark Evans, a leading authority on the work of John Constable, Constable's Skies captures the artist's fascination with the sky and brings together his depictions of the English weather from throughout his career. It will appeal to a broad readership of museum visitors and art lovers, as well as practising landscape painters keen to learn new skills by studying the work of one of the most enduringly popular English artists of all time.