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This collection of essays explores hybridity in early modern art
through two primary lenses: hybrid media and hybrid time. The
varied approaches in the volume to theories of hybridity reflect
the increased presence in art historical scholarship of
interdisciplinary frameworks that extend art historical inquiry
beyond the single time or material. The essays engage with what
happens when an object is considered beyond the point of origin or
as a legend of information, the implications of the juxtaposition
of disparate media, how the meaning of an object alters over time,
and what the conspicuous use of out-of-date styles means for the
patron, artist, and/or viewer. Essays examine both canonical and
lesser-known works produced by European artists in Italy, northern
Europe, and colonial Peru, ca. 1400–1600. The book will be of
interest to art historians, visual culture historians, and early
modern historians.
This collection of essays explores hybridity in early modern art
through two primary lenses: hybrid media and hybrid time. The
varied approaches in the volume to theories of hybridity reflect
the increased presence in art historical scholarship of
interdisciplinary frameworks that extend art historical inquiry
beyond the single time or material. The essays engage with what
happens when an object is considered beyond the point of origin or
as a legend of information, the implications of the juxtaposition
of disparate media, how the meaning of an object alters over time,
and what the conspicuous use of out-of-date styles means for the
patron, artist, and/or viewer. Essays examine both canonical and
lesser-known works produced by European artists in Italy, northern
Europe, and colonial Peru, ca. 1400-1600. The book will be of
interest to art historians, visual culture historians, and early
modern historians.
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