Painting and Politics in Northern Europe offers a chronological account of political engagement in works by the early modern Northern European painters Jan van Eyck, Pieter Bruegel the Elder, Peter Paul Rubens, and Frans Snyders. Offering fresh interpretations of canonical paintings, Margaret Carroll illustrates how these artists registered their pictorial responses to the political events and debates of their day. The imagery of gender and power was often intertwined with these debates. Considering a range of works, including Van Eyck's Arnolfini Portrait, Bruegel's Netherlandish Proverbs, and Rubens's Life of Marie de Medicis series, Carroll examines the ways in which these Netherlandish painters seized on that imagery and creatively transformed it into the materials of art.

The narrative follows the way painters responded to the emergence of "modern" theories of politics and natural law from the classical and medieval tradition. Carroll begins by addressing paintings that identify the natural order with consensual social relations in a stable political hierarchy, then turns to paintings that stress the struggle for mastery in a perilous and unstable world. These paintings may be valued not merely as historical artifacts of a bygone era but as interventions in a cultural discourse that continues to this day.

For nearly three centuries Leonardo da Vinci's work was known primarily through the abridged version of his Treatise on Painting, first published in Paris in 1651 and soon translated into all the major European languages. Here for the first time is a study that examines the historical reception of this vastly influential text. This collection charts the varied interpretations of Leonardo's ideas in French, Italian, Spanish, English, German, Dutch, Flemish, Greek, and Polish speaking environments where the Trattato was an important resource for the academic instruction of artists, one of the key sources drawn upon by art theorists, and widely read by a diverse network of artists, architects, biographers, natural philosophers, translators, astronomers, publishers, engineers, theologians, aristocrats, lawyers, politicians, entrepreneurs, and collectors. The cross-cultural approach employed here demonstrates that Leonardo's Treatise on Painting is an ideal case study through which to chart the institutionalization of art in Europe and beyond for 400 years. The volume includes original essays by scholars studying a wide variety of national and institutional settings. The coherence of the volume is established by the shared subject matter and interpretative aim: to understand how Leonardo's ideas were used. With its focus on the active reception of an important text overlooked in studies of the artist's solitary genius, the collection takes Leonardo studies to a new level of historical inquiry. Leonardo da Vinci's most significant contribution to Western art was his interpretation of painting as a science grounded in geometry and direct observation of nature. One of the most important questions to emerge from this study is, what enabled the same text to produce so many different styles of painting?

In Dosso Dossi: Paintings of Myth, Magic, and the Antique, Giancarlo Fiorenza draws on a wealth of rarely studied primary source material to present the work of the Ferrarese court artist Dosso Dossi in a new light. The artist, who worked mainly for Duke Alfonso I d'Este of Ferrara, is celebrated for his mythological paintings that spoke to the courtly imagination. Fiorenza focuses on Dosso's highly allusive and eloquent portrayal of ancient and vernacular subjects found in such well-known works as Jupiter Painting Butterflies, Myth of Pan, Enchantress, and his frescoes of Aesop's fables.

Dosso's art challenges conventional iconographic analysis, and Fiorenza considers how the poetics governing his imagery recasts literary sources, including Ludovico Ariosto's Orlando Furioso, by magnifying their most pictorial components. Perhaps more compellingly than any of his contemporaries, Dosso's paintings transformed courtly ideals and princely identity into a new sensual spirit.

Peter Paul Rubens (1577-1640) proudly described his monumental painting Prometheus Bound as first among "the flower of my stock." This singular work demonstrates how Rubens engaged with and responded to his predecessors Michelangelo and Titian, with whom he shared an interest in depictions of physical torment. The Wrath of the Gods offers an in-depth case study of the Flemish artist's creative process and aesthetic, while also demonstrating why this particular painting has appealed to viewers over time. Many scholars have elaborated on Rubens's affinity for Titian, but his connection to Michelangelo has received far less attention. This study presents a new interpretation of Prometheus Bound, showing how Rubens created parallels between the pagan hero Prometheus and Michelangelo's Risen Christ from the Sistine Chapel's Last Judgment. Christopher D. M. Atkins expands our understanding of artistic transmission by elucidating how Rubens synthesized the works he saw in Italy, Spain, and his native Antwerp, and how Prometheus Bound in turn influenced Dutch, Flemish, and Italian artists. By emulating Rubens's composition, these artists circulated it throughout Europe, broadening its influence from his day to ours. Published in association with the Philadelphia Museum of Art Exhibition Schedule: Philadelphia Museum of Art (09/12/15-12/06/15)

The Swiss scholar Jacob Burckhardt (1818-1897) was one of the first great historians of culture and art. In his manuscript on the genres of Italian Renaissance painting - still unpublished in the original German and published here in English for the first time - Burckhardt assayed a transformative approach to the study of art history. Rather than undertaking a biographical or a chronological reading of artistic development, Burckhardt chose to read the source materials and extant works of the Italian Renaissance synchronically, by genre. Probably written between 1885 and 1893, this manuscript takes up twelve different categories of paintings, ranging from the allegorical to the historical, from the biblical to the mythological, from the glorification of saints to the denunciation of sinners. Maurizio Ghelardi's introductory essay analyses Burckhardt's innovative treatment of his subject, establishing the importance of this text not only within Burckhardt's oeuvre but also within the continuum of art historical research.

Expanding interdisciplinary investigations into gender and material culture, Katherine A. McIver here adds a new dimension to Renaissance patronage studies by considering domestic art - the decoration of the domestic interior - as opposed to patronage of the fine arts (painting, sculpture and architecture). Taking a multidimensional approach, McIver looks at women as collectors of precious material goods, as organizers of the early modern home, and as decorators of its interior. By analyzing the inventories of women's possessions, McIver considers the wide range of domestic objects that women owned, such as painted and inlaid chests, painted wall panels, tapestries, fine fabrics for wall and bed hangings, and elaborate jewelry (pendant earrings, brooches, garlands for the hair, necklaces and rings) as well as personal devotional objects. Considering all forms of patronage opportunities open to women, she evaluates their role in commissioning and utilizing works of art and architecture as a means of negotiating power in the court setting, in the process offering fresh insights into their lives, limitations, and the possibilities open to them as patrons. Using her subjects' financial records to track their sources of income and the circumstances under which it was spent, McIver thereby also provides insights into issues of Renaissance women's economic rights and responsibilities. The primary focus on the lives and patronage patterns of three relatively unknown women, Laura Pallavicina-Sanvitale, Giacoma Pallavicina and Camilla Pallavicina, provides a new model for understanding what women bought, displayed, collected and commissioned. By moving beyond the traditional artistic centers of Florence, Venice and Rome, analyzing instead women's artistic patronage in the feudal courts around Parma and Piacenza during the sixteenth century, McIver nuances our understanding of women's position and power both in and out of the home. Carefully integrating extensive archival

The immense effect that Michelangelo had on many artists working in the sixteenth century is widely acknowledged by historians of Italian Renaissance art. Yet until recently greater stress has been placed on the individuality of these artists' styles and interpretation rather than on the elucidation of their debts to others. There has been little direct focus on the ways in which later sixteenth-century artists actually confronted Michelangelo, or how those areas or aspects of their artistic production that are most closely related to his reveal their attitudes and responses to Michelangelo's work. Reactions to the Master presents the first coherent study of the influence exerted by Michelangelo's work in painting and sculpture on artists of the late-Renaissance period including Alessandro Allori, Agnolo Bronzino, Battista Franco, Francesco Parmigianino, Jacopo Pontormo, Francesco Salviati, Raphael, Giorgio Vasari, Marcello Venusti, and Alessandro Vittoria. The essays focus on the direct relations, such as copies and borrowings, previously underrated by art historians, but which here form significant keys to understanding the aesthetic attitudes and broader issues of theory advanced at the time.

Der Basler Druckerverleger Pietro Perna legte mit seiner zwischen 1575 und 1578 gedruckten Neuausgabe der Schriften des italienischen Historikers Paolo Giovio ein fur die Entwicklung des fruhneuzeitlichen Portratbuchs paradigmatisches Werk vor. Mehr als 200 Portratkopien - gerissen vom oberrheinischen Kunstler Tobias Stimmer - zieren die Bande der aufwendigen Schmuckedition. Mit ihnen verband sich das Versprechen einer 'UEbersetzung' von Giovios beruhmter Sammlung in das gedruckte Buch. Die Studie untersucht Stimmers Bildnisse im Zusammenhang mit zeitgenoessischen Portrattheorien und Authentizitatskonzepten sowie mit verlegerischen Vermarktungs- und Inszenierungsstrategien. Dabei wird die Spur der Portrats als kulturhistorische Sammlungsobjekte und Kopiervorlagen bis in die Neuzeit hinein verfolgt.

Die Studie verbindet einen monographischen mit einem systematischen Ansatz: Ausgehend von einer umfassenden Analyse des Werks des Florentiner Kunstlers Lodovico Cigoli (1559-1613) untersucht sie die Bedingungen kunstlerischen Schaffens um 1600 - einer Zeit, die durch die Gegenreformation, aber auch durch den Wandel traditioneller Naturauffassungen gepragt war. Cigolis Fresko des durchkraterten "Galileo-Monds" in der roemischen Kirche Santa Maria Maggiore ist nur ein Beispiel fur sein Bestreben, konkurrierende Wahrheitsanspruche von Seiten der Theologen, Historiker, Naturforscher, Philosophen und Kunsttheoretiker auszubalancieren und neue Darstellungsformen zu erproben. Zentral ist dabei das Konzept der veritas historica, die haufig in Konflikt mit anderen Anspruchen an Bilder geriet. Gedruckt mit Unterstutzung der VG Wort und der Gerda Henkel Stiftung.

1936 stellte der Kunsthistoriker und Philosoph Edgar Wind sein Manuskript zu Michelangelos Deckenfresken der Sixtinischen Kapelle fertig. Wind begriff den christlichen Erloesungsgedanken als fundamentales Thema des gesamten Raumes und erkannte ein polares Beziehungsgeflecht, welches ihm das Bildprogramm vollstandig erschloss. Methodische Ansatze Aby Warburgs aufnehmend, dessen Mitarbeiter Wind in Hamburg war, analysierte er die Themenwahl Michelangelos. Obwohl fertiggestellt, wurde das Werk nie veroeffentlicht. Es liegt nun erstmals in gedruckter Fassung vor, begleitet von einem ausfuhrlichen Nachwort des Herausgebers.

"Roman Charity" investigates the iconography of the breastfeeding daughter from the perspective of queer sexuality and erotic maternity. The volume explores the popularity of a topic that appealed to early modern observers for its eroticizing shock value, its ironic take on the concept of Catholic "charity", and its implied critique of patriarchal power structures. It analyses why early modern viewers found an incestuous, adult breastfeeding scene "good to think with" and aims at expanding and queering our notions of early modern sexuality. Jutta Gisela Sperling discusses the different visual contexts in which "Roman Charity" flourished and reconstructs contemporary horizons of expectation by reference to literary sources, medical practice, and legal culture.

The National Gallery of Art introduces a new journal presenting the latest conservation research on works in its collection. Named for "the manner in which things are made," Facture addresses aspects of conservation from treatment and technical art history to scientific research. The inaugural volume focuses on great works of the Renaissance, studying sculpture, painting, and drawing from various points of view. With the publication of this biennial journal, the National Gallery maintains a tradition of fostering dialogue among art historians, scientists, and conservators working in the international museum community. Facture presents articles by highly respected authorities aimed at the specialist as well as the general reader with a passion for art. Future issues will concentrate on other themes in the materiality and history of art, addressing all aspects of the discipline from conservation treatment and history to technical art history and fundamental scientific research. Published by the National Gallery of Art, Washington / Distributed by Yale University Press

Richly illustrated, and featuring detailed descriptions of works by pivotal figures in the Italian Renaissance, this enlightening volume traces the development of art and architecture throughout the Italian peninsula in the fifteenth and sixteenth centuries. * A smart, elegant, and jargon-free analysis of the Italian Renaissance what it was, what it means, and why we should study it * Provides a sustained discussion of many great works of Renaissance art that will significantly enhance readers understanding of the period * Focuses on Renaissance art and architecture as it developed throughout the Italian peninsula, from Venice to Sicily * Situates the Italian Renaissance in the wider context of the history of art * Includes detailed interpretation of works by a host of pivotal Renaissance artists, both well and lesser known

The Kunstkammer in Dresden's Royal Palace houses a fascinating variety of collected objects from the late Renaissance and early Baroque periods. It owes its unique collection of plain and ornate tools, for example, to the founder of the Kunstkammer, Elector August (1526-1586). They range from gardening equipment to goldsmithing, carpentry and ironworking tools and even to so-called Brechzeugen (tools for prising or breaking things open). In addition, the museum guide presents elaborately decorated art-room cabinets, two richly embellished Augsburg cabinets, tables inlaid with iridescent mother-of-pearl, precious board games, and musical instruments alongside filigree woodturned pieces, items of decorative art, and objects from distant cultures. Numerous previously unpublished masterpieces from the Kunstkammer in Dresden's Royal Palace

This exhibition, being held at the musee du Louvre in Paris, and its catalogue follow those dedicated to Florentine sculpture in the early Renaissance, 1400-1460, that took place in 2013-14 (Le Printemps de la Renaissance). The period scrutinised is 1460-1520 but the geographical coordinates are widened to include Northern Italy (Venice, Milan, Pavia, Padua, Bologna) and Rome as the artistic landscape of Italy becomes more complex. Some of the great sculptors, in fact, travelled and their style and their ideas influenced pre-existing local tradition. These new artistic languages share a common characteristic: the relationship to Greco-Roman Antiquity, especially in the representation of grace and passion: the expression of pathos and the theatrical quality of religious works, the symbolic richness of profane works and finally the development of a new and refined style which will find its highest expression in Roman classicism and in the work of Michelangelo. The catalogue includes the works of, among others, Donatello, Antonio Pollaiolo, Bertoldo di Giovanni, Giovanfrancesco Rustici, Francesco di Giorgio Martini, Guido Mazzoni, Bartolomeo Bellano, Cristoforo Solari, Tullio Lombardo, Andrea Riccio, and Bambaia, Sansovino, and Michelangelo. Text in Italian.

Petrarch intensively examined the visual arts of his time. He possessed a Madonna painting by Giotto and commissioned Simone Martini to create the unique frontispiece of his codex on Vergil. His works are key texts with respect to the discovery of the landscape and humanistic villa culture as well as the female portrait and the triumphant iconography of the Renaissance and the Baroque. The myth of the poet-prince associated with Petrarch has continued to offer a productive projection screen for both literati and artists up to modern times. The texts in the book open up new perspectives on central aspects of Petrarch's life and work and his importance as a charismatic phenomenon in the history of European art in a dialogue between literary studies and art history.

Peter Paul Rubens (1577-1640) brought the quality of coloring in copperplate engraving and the woodcut to new levels. Print interpretations of paintings made under his direction were a watershed in the development of printmaking as a medium. Relying on a range of carefully selected examples, this book presents an analysis of each step in the printmaking production technique Rubens used in making prints based on his paintings. In addition to woodcuts and copperplate engravings, the specimens examined include oil sketches, paintings, drawings, modellos, and corrected test prints. Like the editions on French and Italian printmaking, the book also includes a complete section on sources organized by topic.

Zar Peter der Grosse legte 1714 nahe St. Petersburg den Grundstein zu Schloss Peterhof, dem "russischen Versailles", das zwei Jahrhunderte lang als Sommerresidenz der Zaren diente. Wahrend die Schlossbauten im Zweiten Weltkrieg beinahe vollstandig zerstoert wurden und bis heute aufwendig rekonstruiert werden, gelang es, viele der Kunst- und Ausstattungsgegenstande des Palastkomplexes zu evakuieren. Der Katalog stellt mit zahlreichen Abbildungen und Textbeitragen die im Augsburger Schaezlerpalais erstmals in Deutschland gezeigte Auswahl von weit uber 100 original erhaltenen Objekten russischer und westeuropaischer Provenienz aus Schloss Peterhof vor. Sie umfasst samtliche Gattungen der Kunst und des Kunsthandwerks und spiegelt damit die hoefische Kunst und Wohnkultur des 18. Jahrhunderts.

Aktuelle Perspektive auf Palladio Weltweit werden Architekturen darauf getrimmt, mediale Aufmerksamkeit auf sich zu ziehen. Palladio, der bedeutendste Architekt der Renaissance, steht am Anfang dieses Trends: Seine Architekturbilder basieren auf dem Vorrang der orthogonalen Projektion. Das Entwerfen und das Darstellen sind davon durchdrungen - dies wird nicht nur im Falle der Abbildungen seiner Vier Bucher, sondern auch bei seinen realisierten Gebauden selbst anschaulich. Aus dieser Perspektive lassen sich viele, stark diskutierte Arbeiten Palladios neu verstehen. Der Autor analysiert das gebaute Werk in diesem Sinne und zeigt: Sowohl im Inneren wie im AEusseren pragt die Frontalitat des Betrachterstandpunkts massgeblich den architektonischen Entwurf und in der Folge auch die Raumwirkung. Palladios grosse Wirkung ist unbestritten, er wird weltweit rezipiert. Gebaude erzeugen Bilder: Palladio steht als Bildermacher am Anfang eines aktuellen Trends. Die Aspekte der Bildlichkeit sowie der Raumlichkeit sind hochaktuell.

Katalog zur Ausstellung der Staatlichen Graphischen Sammlung Munchen in der Pinakothek der Moderne vom 13. Oktober 2018 bis 6. Januar 2019 Die italienische Kunst fand in der Monumentalmalerei der Renaissance und des Barock zu faszinierenden, oft uberwaltigenden Loesungen. Michelangelos "Sixtinische Decke", das "Jungste Gericht", Fresken Raffaels und Annibale Carraccis zahlen zu den eindrucksvollsten Schoepfungen der Kunstgeschichte. UEber Jahrhunderte hinweg pragten Holzschnitte, Kupferstiche und Radierungen die Vorstellung von diesen Meisterwerken massgeblich mit. Welche Strategien wurden entwickelt, die Dekorationen druckgraphisch zu inszenieren? Wie gelang es, Kuppelmalereien in die ebene Flache des Papiers zu ubertragen? Antwort auf diese Fragen geben hochkaratige Blatter und Montagen von Mantegna bis Tiepolo, von Andrea Andreani, Giulio Bonasone bis Carlo Cesio. Die Staatliche Graphische Sammlung Munchen stellt in einer UEberschau herausragende Beispiele dieses bisher wenig beachteten Zweiges der Druckgraphik in den Mittelpunkt. Der Ausstellungskatalog zeigt, wie sich Kunst in neue Kunst verwandelt, wie Komplexes und Grosses ins leicht Lesbare und Handliche der Graphik ubersetzt wurde. Neben ausgewahlten Hauptwerken erfasst der Katalog den Gesamtbestand von fast 1.000 Blattern nach Wand- und Deckenbildern, unter anderem aufgeschlusselt nach Druckgraphikern, erfi ndenden Malern und Orten.

Der Vesuvausbruch im Jahre 1631 war die heftigste Eruption des Vulkans seit dem Untergang des antiken Pompeji. Naturphilosophen und Literaten aus ganz Europa richteten ihre Aufmerksamkeit auf die spektakulare Naturkatastrophe, die als Geburtsstunde der modernen Vulkanologie gilt. Kunstler schufen bemerkenswert vielfaltige und innovative Bilder, die nachhaltig die Darstellung von Katastrophen pragten. Vorliegende Studie erschliesst das umfangreiche Bildmaterial zum Vesuvausbruch, zeichnet ikonographische Traditionen nach und verortet die Werke in ihren sozialen, politischen und religioesen Kontexten. Zudem werden Parallelen zu einem gelehrten Katastrophendiskurs gezogen, der zeitgleich einsetzte. Es zeigt sich, dass Katastrophen zunehmend profan und fern heilsgeschichtlicher Deutungen geschildert wurden. Diese veranderte Katastrophenikonographie zeugt auch von einem sich wandelnden Geschichtsbild - all dies lange vor dem Erdbeben von Lissabon 1755.

Der kulturelle Austausch zwischen den Niederlanden und Italien ist als Thema der Kunstgeschichte nach wie vor aktuell. Diese Publikation liefert einen umfassenden UEberblick uber die Italienrezeption niederlandischer Kunstler des 16. Jahrhunderts und zeigt an Fallbeispielen detailliert und facettenreich auf, wie die Maler mit der Kultur der roemischen Antike und italienischen Renaissance in Beziehung traten. Die Italienreise stellte eine Moeglichkeit dar, aber einen Eindruck vermittelten auch in den Niederlanden kursierende Drucke, importierte Kunstwerke sowie reisende Italiener. Der Band untersucht die Rezeptionswege und -bedingungen sowie die vielfaltigen kunstlerischen und kunsttheoretischen Reaktionen niederlandischer Kunstler.

Die asthetische Bedeutung der "Kraft" mit ihren semantischen Nachbarn "Intensitat" und "Energie" wird seit einigen Jahren verstarkt in der Literaturwissenschaft untersucht und findet innerhalb der philosophischen AEsthetik zunehmend Beachtung. Eine historische und interdisziplinare Auseinandersetzung mit diesen zentralen Begriffen kunstlerischer Produktion und Wirkung steht aber noch aus. Der vorliegende Band erkundet dieses kaum vermessene und reich profilierte Gelande. Die Beitrage gehen von der Annahme aus, dass die Beziehungen zwischen asthetischen und naturphilosophischen Wissensfeldern, zwischen kunstlerischen und naturwissenschaftlichen Modellierungen im Zeichen der Kraft enger sind, als bisher vermutet wurde.

Trotz Miasmen-Angst und Sittenstrenge war das Bad stets ein fester Bestandteil der fruhneuzeitlichen Hofkultur, der bislang nicht umfassend untersucht wurde. Die Beitrage widmen sich Architektur, Ausstattung und Funktion von Schlossbadern seit der italienischen Renaissance bis zur Franzoesischen Revolution. Komplexe ikonographische Deutungen und vielfaltige Antikenbezuge in Architektur und Ausstattung veranschaulichen den hohen Anspruch des hoefischen Bades. Neben noch bestehenden oder rekonstruierbaren Raumen geht es ebenso um Badedarstellungen in den Bildkunsten, wie etwa in den Gemalden der Dames au bain. Im Fokus steht die Rolle des Bades hinsichtlich eines bestimmten Verstandnisses von Herrschaft oder hoefischen und adeligen Lebens, eines Machtanspruchs und dessen Legitimierung.

Mit diesem Band liegt erstmalig eine vollstandige und kommentierte UEbersetzung des schriftstellerischen Hauptwerks Bernard Palissys (1510-1590) in deutscher Sprache vor, und damit einer der bedeutendsten altfranzoesischen Texte der Fruhen Neuzeit. Der Keramikkunstler, fur seine Abformungen von Tieren und Pflanzen im "Stil rustique" bekannt, behandelt in den Discours hydrologische, mineralogische und palaontologische Themenfelder der Geowissenschaften. Er pladiert fur eine induktive, fur seine Zeit fortschrittliche Naturforschung und verschrankt diese mit seiner Keramikkunst. Der Kommentarteil der Publikation analysiert zentrale Begriffe wie Naturnachahmung, Experiment, Modell und Sammlungswesen und deckt so die Bedeutungszusammenhange von Palissys Erkenntnis- und Wissensbildung auf.