By Babette Bohn, James M. Saslow
A spouse to Renaissance and Baroque artwork presents a various, clean selection of available, finished essays addressing key matters for ecu artwork produced among 1300 and 1700, a interval that will be termed the start of recent history.
• provides a suite of unique, in-depth essays from artwork specialists that tackle a variety of features of eu visible arts made out of circa 1300 to 1700
• Divided into 5 extensive conceptual headings: Social-Historical elements in inventive creation; artistic strategy and Social Stature of the Artist; the thing: paintings as fabric tradition; The Message: matters and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse
• Covers many subject matters now not commonly incorporated in collections of this nature, similar to Judaism and the humanities, architectural treatises, the worldwide Renaissance in arts, the recent typical sciences and the humanities, artwork and faith, and gender and sexuality
• positive factors essays at the arts of the family existence, sexuality and gender, and the artwork and construction of tapestries, conservation/technology, and the metaphor of theater
• specializes in Western and vital Europe and that territory's interactions with neighboring civilizations and far-off discoveries
• comprises illustrations in addition to hyperlinks to photographs now not incorporated within the book
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Additional info for A Companion to Renaissance and Baroque Art
28 The idea of 26 Peter Burke ‘estrangement’ seems to be even more applicable to this second moment than it is to the first. However, it is surely significant that it was around 1800, in the course of the second moment of distancing, that philosophers and historians became aware of the Renaissance sense of distance from the past. 29 There were doubtless good reasons for the rise of this consciousness of consciousness in the nineteenth century, especially in the German-speaking world. 31 However, the idea of anachronism was studied with most precision by German historians of art, notably by Aby Warburg before 1914 and by his followers Fritz Saxl and Erwin Panofsky after the First World War.
40. Golo Mann, Deutsche Geschichte des neunzehnten und zwanzigsten Jahrhunderts (Frankfurt: Suhrkampf, 1958). 41. Edward P. Thompson, ‘The Moral Economy of the English Crowd in the Eighteenth Century’, Past and Present 50, no. 1 (1971), 76–136. 42. For a brief survey, see Karl Appuhn, ‘Microhistory’, in Encyclopaedia of European Social History from 1350 to 2000, Volume I, ed. Peter Stearns (New York: Scribner, 2001), pp. 105–12; for a personal comment, see Carlo Ginzburg, ‘Microhistory: Two or Three Things That I Know about It’, trans.
473, 480. 27. Chateaubriand, quoted in François Hartog, Régimes d’historicité: présentisme et expériences du temps (Paris: Seuil, 2003). 28. Georg Lukács, The Historical Novel, trans. Hannah and Stanley Mitchell (1937; London: Merlin Press, 1962). 29. Georg W. F. Hegel, Vorlesungen über die Philosophie der Geschichte (1837; reprint, Stuttgart: Reclam, 1975). 30. Karl Lamprecht, Deutsche Geschichte, Part 2, Volume II (Freiburg: Heyfelder, 1904), pp. 3–56. 31. Erich Auerbach, Mimesis: The Representation of Reality in Western Literature, trans.
A Companion to Renaissance and Baroque Art by Babette Bohn, James M. Saslow