In The Dark Side of Genius, Laurinda Dixon examines “melancholia” as a philosophical, medical, and social phenomenon in early modern art. Once considered to have a physical and psychic disorder, the melancholic combined positive aspects of genius and breeding with the negative qualities of depression and obsession. By focusing on four exemplary archetypes—the hermit, lover, scholar, and artist—this study reveals that, despite advances in art and science, the idea of the dispirited intellectual continues to function metaphorically as a locus for society’s fears and tensions. The Dark Side of Genius uniquely identifies allusions to melancholia in works of art that have never before been interpreted in this way. It is also the first book to integrate visual imagery, music, and literature within the social contexts inhabited by the melancholic personality. By labeling themselves as melancholic, artists created and defined a new elite identity; their self-worth did not depend on noble blood or material wealth, but rather on talent and intellect. By manipulating stylistic elements and iconography, artists from Dürer to Rembrandt appealed to an early modern audience whose gaze was trained to discern the invisible internal self by means of external appearances and allusions. Today the melancholic persona, crafted in response to the alienating and depersonalizing forces of the modern world, persists as an embodiment of withdrawn, introverted genius.

The historic textile collections belonging to the Diocese of Novara and preserved within the ancient sacristies of its many churches, have inspired the volume Caravaggio: Fashion and Fabrics. Caravaggio's ability to capture in paint such precious garments, with their shimmering weaves, arabesque-like patterns and decorative motifs informs a new narrative, exploring how clothing may indicate much more than a mere fashion choice. Using Caravaggio's The Cardsharps as the focus, we may understand how the three figures depicted are set in contrast: by social class, age and appearance. These differences are underpinned by the clothing that they wear, and on closer examination, it is apparent that the fabrics described in paint are directly comparable to those of the historic collections of Novara. In their insightful and detailed analysis, the authors of this volume present a comprehensive overview of the development of fashion and fabrics, from the sixteenth to the seventeenth century, when Italy's textile industry was at its peak. Text in English and Italian.

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)

Opening Doors is the first book of its kind: a comprehensive study of the emergence and evolution of the Netherlandish triptych from the early fifteenth through the early seventeenth centuries. The modern term “triptych” did not exist during the period Lynn Jacobs discusses. Rather, contemporary French, Dutch, and Latin documents employ a very telling description—they call the triptych a “painting with doors.” Using this term as her springboard, Jacobs considers its implications for the structure and meaning of the triptych. The fundamental nature of the format created doors that established thresholds, boundaries, and interconnections between physical parts of the triptych—the center and wings, the interior and the exterior—and between types of meaning, the sacred and the earthly, different narrative moments, different spaces, different levels of status, and, ultimately, different worlds. Moving chronologically from early triptychs such as Campin’s Mérode Triptych and Van Eyck’s Dresden Triptych to sixteenth-century works by Bosch, and closing with a discussion of Rubens, Jacobs considers how artists negotiated the idea of the threshold. From her analysis of Campin’s ambiguous divisions between the space represented across the panels, to Van der Weyden’s invention of the “arch motif” that organized relations between the viewer and the painting, to Van der Goes’s complex hierarchical structures, to Bosch’s unprecedentedly unified spaces, Jacobs shows us how Netherlandish artists’ approach to the format changed and evolved, culminating in the early seventeenth century with Rubens’s great Antwerp altarpieces.