Structured around in-depth and interconnected case studies and
driven by a methodology of material, contextual, and iconographic
analysis, this book argues that early European single-sheet prints,
in both the north and south, are best understood as highly
accessible objects shaped and framed by individual viewers. Author
David Areford offers a synthetic historical narrative of early
prints that stresses their unusual material nature, as well as
their accessibility to a variety of viewers, both lay and monastic.
This volume represents a shift in the study of the early printed
image, one that mirrors the widespread movement in art history away
from issues of production, style, and the artist toward issues of
reception, function, and the viewer. Areford's approach is
intensely grounded in the object, especially the unacknowledged
material complexity of the print as a portable, malleable, and
accessible image that depended on a response that was not only
visual but often physical, emotional, and psychological.
Recognizing that early prints were not primarily designed for
aesthetic appreciation, the author analyzes how their meanings
stemmed from specific functions involving private devotion,
protection, indulgences, the cult of saints, pilgrimage, exorcism,
the art of memory, and anti-Semitic propaganda. Although the
medium's first century was clearly transitional and experimental,
Areford explores how its potential to impact viewers in new
ways"both positive and negative"was quickly realized.
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