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Early Modern Merchants as Collectors encourages the rethinking of
collecting not as an elite, often aristocratic pursuit, but rather
as a vital activity that has engaged many different groups within
society. The essays included in this volume consider merchants not
only as important collectors in their own right, as opposed to
merely agents or middlemen, but also as innovators who determined
taste. Through bringing together contributions on merchant
collectors across a wide geographical spread, including England,
The Netherlands, Venice, Moghul India, China and Japan, among other
locations, it aims to challenge the often Eurocentric view of the
study of collecting that has shaped the discipline to date. The
early modern period and its Wunderkammern formed the subject of
some of the earliest, foundational texts on collecting. This volume
expands on such previous scholarship, taking a more in-depth look
at a particular class of collectors and investigating their
motivations, social and economic circumstances, and the
intellectual ideas and purposes that informed their collecting. It
offers a fresh approach to the understanding of the role of
merchants in early modern societies and will serve as a resource to
historians of art, science, museums, culture and economics, as well
as to scholars of transcultural studies.
Early Modern Merchants as Collectors encourages the rethinking of
collecting not as an elite, often aristocratic pursuit, but rather
as a vital activity that has engaged many different groups within
society. The essays included in this volume consider merchants not
only as important collectors in their own right, as opposed to
merely agents or middlemen, but also as innovators who determined
taste. Through bringing together contributions on merchant
collectors across a wide geographical spread, including England,
The Netherlands, Venice, Moghul India, China and Japan, among other
locations, it aims to challenge the often Eurocentric view of the
study of collecting that has shaped the discipline to date. The
early modern period and its Wunderkammern formed the subject of
some of the earliest, foundational texts on collecting. This volume
expands on such previous scholarship, taking a more in-depth look
at a particular class of collectors and investigating their
motivations, social and economic circumstances, and the
intellectual ideas and purposes that informed their collecting. It
offers a fresh approach to the understanding of the role of
merchants in early modern societies and will serve as a resource to
historians of art, science, museums, culture and economics, as well
as to scholars of transcultural studies.
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Connoisseurship
Christina M. Anderson, Peter Stewart
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R2,133
Discovery Miles 21 330
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Ships in 12 - 17 working days
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Despite the central importance of connoisseurship in the rarefied
world of art collecting, it occupies an uncomfortable position in
modern scholarship. On the one hand, the concept retains a
significant role in the study of art and the care of public and
private collections when it is linked with art appreciation,
qualities visible to the attuned eye, or the processes of
attribution and authentication. On the other hand, the last century
has seen connoisseurship marginalized in academic discourse: it is
often associated with amateurism, social elitism, status-display,
and intellectual mystification. The present collection of essays
enters this breach and—by adopting a broad, interdisciplinary
approach—considers connoisseurship afresh, investigating its
practice in both familiar and unexpected places. Essays on the role
of connoisseurship in Western art history appear alongside
innovative, global perspectives on Chinese numismatics and walnut
collecting, wine and coffee expertise, the market for geological
specimens, and the parallels between Morellian connoisseurship and
modern forensics. These essays resonate with one another in
surprising ways and create new dialogues about connoisseurship's
meaning and application, demonstrating that its practice can be
both intuitive and scientific.
Furniture is an artifact so what can it tell us about culture? What
social, religious, political and economic factors have shaped its
form and functions? How does furniture demonstrate the
transformations in private and public life across time and
cultures? In a work that spans 4,500 years, 70 experts chart across
six volumes the changing cultural framework within which furniture
was designed, produced, and used in Western Europe. Individual
volume editors ensure the cohesion of the whole and, to make it as
easy as possible to use, chapter titles are identical across each
of the volumes. This gives the choice of reading about a specific
period in one of the volumes, or following a theme across history
by reading the relevant chapter in each of the six. The six volumes
cover: 1 - Antiquity (2500 BCE - 500 CE); 2 - Middle Ages and
Renaissance (500 - 1500); 3 - Age of Exploration (1500 - 1700); 4 -
Age of Enlightenment (1700 - 1800); 5 - Age of Empire and Industry
(1800 - 1900); 6 - Modern Age (1900 - present). Themes (and chapter
titles) are: Design and Motifs; Makers, Making, and Materials;
Types and Uses; The Domestic Setting; The Public Setting;
Exhibition and Display; Furniture and Architecture; Visual
Representations; and Verbal Representations. The total extent of
the pack is approximately 1,824 pages. Each volume opens with a
Series Preface, an Introduction, and Notes on Contributors and
concludes with Notes, Bibliography, and an Index. The Cultural
Histories Series A Cultural History of Furniture is part of the
Cultural Histories Series. Titles are available both as printed
hardcover sets for libraries needing just one subject or preferring
a one-off purchase and tangible reference for their shelves, or as
part of a fully searchable digital library available to
institutions by annual subscription or on perpetual access (see
www.bloomsburyculturalhistory.com).
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