Early Modern Art

In 1663 Mary Beale recorded her thoughts on how to paint apricots. Beale’s statement, ‘Observations by MB in her painting of Apricots in August 1663’, is the first known text in English about the act of painting written by a female artist. It is all the more remarkable for having been written at a time when convention expected married gentlewomen to be deferential, modest and virtually silent. This monogrammed manifesto is anything but modest: it is an authoritative exemplar for others to follow, and it represents Mary’s implicit acceptance of her place in a shared artistic inheritance and a stake in her own legacy for the future. Observations - here taken together with Beale’s other texts and with self-portraits spanning the years 1659 to 1681 - forms part of an oblique autobiography and is read as an statement of intent encoded in what appears to be innocuous technical information.

Contents

Ingenium et labor – o Antonim Ziembie

Ingenium et labor – on Antoni Ziemba

Dorota Sutkowska · Ad Illustrissimum et Magnificum Dominum

Krzysztof Skwierczyński · Bose, nagie, udręczone – ciało w duchowości jedenastowiecznych eremitów

Matthias Weniger · Some Additional Notes on Crucifixi Dolorosi and 14th-Century Pietàs: Works in Nonnberg, Fulpmes, Freising, and Zürich

Jakub Adamski · O podobieństwie chórów gotyckich kościołów farnych w Stargardzie i Nysie. Przyczynek do badań nad interregionalnym transferem form w architekturze Europy Środkowej przełomu XIV i XV wieku

Till-Holger Borchert · Pictor Hubertus eeyck maior quo nemo repertus – Neue Gedanken zu einem alten Problem

Zoltán Gyalókay · Kilka uwag o transgranicznej działalności malarza Jakuba z Sącza

Julien Chapuis · An Almost-Impossible Acquisition: Michel Erhart’s Virgin and Child at the Bode Museum

Katarzyna Płonka-Bałus · „Surge [...] et transfer me ultra flumen...” Święty Julian w Godzinkach 3025 I z Biblioteki Książąt Czartoryskich w Krakowie

Zofia Herman-Templewicz · Obraz Maria Służebnica w Świątyni z Galerii Sztuki Średniowiecznej Muzeum Narodowego w Warszawie. Dewocja obrazowa a tajemnica Wcielenia

Zuzanna Sarnecka · Dewocja i sprawczość. Interakcje z rzeźbami we włoskim domu 1450–1550

Bernard Aikema · Giorgione’s Vecchia: The Northern Connection

Dobrosława Horzela · Marek Walczak, Nieznane dzieła z kręgu Jacoba Beinharta? Glosa do badań nad śląską rzeźbą drewnianą w początku XVI wieku

Przemysław Mrozowski · Tablica fundacyjna zamku w Szamotułach i pierwsze ślady „renesansu” w Wielkopolsce

Erwin Pokorny · „Vnnd ain Trumytarj sol das ziehen“. Zur Bedeutung der ungewöhnlichen Zugtiere im Triumphzug Kaiser Maximilians I.

Peter van den Brink · A Tale of Two Drawings: Albrecht Dürer and Gossart’s Lost Middelburg Altarpiece

Grażyna Jurkowlaniec, Maciej Ptaszyński · Ptaki reformatorów

Barbara Kamińska · “But for the Voice, the Likeness is Alive”: Portraits of Erasmus of Rotterdam and Their Reception Among Renaissance Humanists

Aleksandra Lipińska · Między kontestacją a nowym początkiem – ołtarz niderlandzki około 1530–1600

Justyna Guze · Beccafumi, czy nie Beccafumi? Rysunek w zbiorach Muzeum Narodowego w Warszawie

Joanna A. Tomicka · Catalepton – drobiazgi. Między Boschem a Brueglem

Joanna Sikorska · Nicolò Nelli i (przewrotne?) wybory szesnastowiecznego wydawcy rycin

Andrzej Borowski · Książka o dworzaninie Baltazara Castiglionego po niderlandzku i po polsku

Marek Płuciniczak · Między imitacją a interpretacją. Rysunkowe i malarskie powtórzenia miedziorytu Adam i Ewa Albrechta Dürera

Renata Sulewska · Kamienne zawieszenie. O zaskakującej recepcji wzorów w Bejscach?

Grażyna Bastek · Caravaggio i iluzja realizmu

Joanna Kilian · Ukarana lekkomyślność. Gra w karty Caravaggia

Artur Badach · Późnorenesansowa plakieta ze sceną sądu nad św. Szczepanem na tle ikonografii męczennika

Piotr Oszczanowski · Mistrz Ambony Bolkowskiej, domniemany uczeń Gerharda Hendrika z Amsterdamu. Przyczynek do historii rzeźby manierystycznej na Śląsku

Christian Tico Seiffert · A Rediscovered Italianate Landscape by Pieter Lastman

Aleksandra Janiszewska · Il Contento Adriaena van Stalbemta ze zbiorów Muzeum Narodowego w Warszawie

Ernst van de Wetering · Rembrandt’s demonstration of the genera dicendi

Jeroen Giltaij · The Painting by Rembrandt and Studio, Portrait of Marten Soolmans, of 1634, in the National Museum in Warsaw, Reconsidered

Jacek Tylicki · Nieznana martwa natura Florisa van Schooten w zbiorach prywatnych

Piotr Borusowski · Nowe spojrzenie na rysunkowe œuvre Jana Miense Molenaera

Gero Seelig · Quizzing The Sentry: Cues, Clues, and Connotations in Carel Fabritius

Jolanta Talbierska · Rysunki niderlandzkie z kolekcji Józefa Sierakowskiego w Gabinecie Rycin Biblioteki Uniwersyteckiej w Warszawie

Piotr Oczko · Frisia non cantat? O dawnej sztuce i kulturze Fryzji niderlandzkiej

Michał Wardzyński · Uczeń Polikleta znad Amstel w Wilanowie? O holenderskich korzeniach twórczości rzeźbiarskiej Stephana (?) Schwanera

Charles Dumas · 18th-Century Dutch Drawings in the 17th-Century Manner: Examples by Paulus Constantijn la Fargue

Jan K. Ostrowski · „Wniebowzięcie Matki Boskiej na wozie tryumfalnym”. Przyczynek do ikonografii maryjnej i dziejów historii sztuki

Dorota Juszczak · Obrazy Norblina dla Stanisława Augusta w świetle źródeł

Małgorzata Omilanowska · Łańcuckie drzwi z dekoracjami Franciszka Smuglewicza

Wojciech Szymański · Powrót do Strawberry Hill. Księżna Izabela Czartoryska w gościnie u Horace’a Walpole’a?

Andrzej Pieńkos · Malarze w poszukiwaniu pracy? Nadal nierozpoznane narodziny profesji muzealnika

Aleksandra Sulikowska-Bełczowska · Święte miasto – góra, krzyż i ogień. Przyczynek do ikonografii Jerozolimy

Anna Kozak · Stosunek nazareńczyków do dawnych mistrzów

Stefan Mieleszkiewicz · Biurko księdza Antoniego Kanteckiego – pamiątka „wojny kulturalnej” i przykład poznańskiego meblarstwa doby historyzmu

Ryszard Kasperowicz · Rembrandt Juliusa Langbehna – fantazmat postaci

Agnieszka Rosales Rodríguez · Miłość, śmierć, sztuka – modernistyczny Narcyz Ludwiga von Hofmanna

Dariusz Kacprzak · Spełnione marzenie Heinricha Dohrna – kolekcja antyczna dla Muzeum Miejskiego w Szczecinie. Współczesne wyzwania badawcze

Agnieszka Patała · „Stary śląski mistrz w nowym blasku” – manipulacje i konteksty konserwacji Poliptyku Zwiastowania z Jednorożcem w latach trzydziestych XX wieku

Marek Czapelski · Nowoczesne budownictwo Holandii w oczach polskiego środowiska architektonicznego dwudziestolecia międzywojennego

Jacek Friedrich · Van Eyck, Vermeer i inni. Późnośredniowieczne i nowożytne inspiracje w twórczości ilustratorskiej Wiesława Majchrzaka

Tadeusz Cegielski · Cenniejsze niż Sokół maltański. Zabytki, historycy sztuki i muzealnicy w powieści i filmie kryminalnym PRL

Beata Lejman-Torbus · Tim’s Vermeer – kilka śmiałych słów o filmie, malarzu oraz polityce, nauce i sztuce

Paweł Majewski · Blizna po Antinousie

Magdalena Anna Nowak · Andachtsbilder a potęga empatii. Sztuka dewocyjna XV wieku w północnej Europie i współczesne do niej nawiązania

Maria Poprzęcka · „...Podobała się nam jako przedmiot...”

Krzysztof Pomian · Museums’ art exhibitions between aesthetics and history

Nawojka Cieślińska-Lobkowicz · Wystawa, której nie było

Gerdien Verschoor · Oda do szala

The book introduces the reader to the Estonian memorial and funeral culture of the Middle Ages and Early Modern era, which was examined by the exhibition of the same name at the Niguliste Museum from 2 November 2012 to 2 June 2013. Visitors to the exhibition were provided with the opportunity to see how Christian death culture is reflected in early ecclesiastical art in Estonia and to learn about the funeral and commemorative customs of the period. The exhibition catalogue explores these topics and presents the works of art and items that were on display.
The text of the richly illustrated book provides interpretations of the tombstones, epitaphs, coat-of-arms epitaphs and other works of sacral art exhibited at the Niguliste Museum. Artefacts of cultural history from collections of Estonian museums and churches, the majority of which are being introduced to the reader for the first time, provide additional information about the funeral ritual customs, and the ways they were conducted. These objects and works of art, most of which are from town churches, primarily represent the funeral and commemorative traditions of the upper class and wealthy middle class. The historical framework of both the exhibition and catalogue starts with the Middle Ages and ends with the 18th century, and includes visual material from both the Catholic and Lutheran periods.

Witches’ Sabbath offers an overload of the emblematic characteristics which were attributed to witches during the early modern period, underpinned by the complete nudity of the witches. Naked witches were not often depicted in the illustrations of respectable, cautionary literary works concerning witches, hence this artistic choice on Baldung's part is a rather innovatory. Interestingly only a year after the unveiling of Witches' Sabbath in 1510, Die Emeis - which preocuppied itself with the Lenten sermons of Johann Geiler von Kaysersberg - was published in Strasbourg similarly depicting naked witches. Although we cannot say whether the inclusion of naked witches in Die Emeis was solely the result of Baldung’s depiction, it is very likely that Geiler would have been familiar with Baldung's work due to its popularity and this woodcut could have indeed influenced his own opinions and artistic choices. Whether Baldung intended his woodcut to not only reflect a “real-life” representation of witches but, more importantly, influence how they would be depicted by their persecutors in the future is debatable. Much of the debate surrounding this piece centres on this point: was it Baldung's intention to realistically depict witches or should Baldung’s work be viewed as satirical. Either way, there is much that this woodcut can tell us about what those who genuinely believed in the existence of witches and the way fear of witchcraft was constructed for public consumption.

Paper geschreven in het kader van de lessen Visuele Cultuur in de Vroegmoderne tijd aan de Vrije Universiteit Brussel.
Opmerkelijk is dat op vroegmoderne schilderijen vingerringen aan bepaalde vingers veel meer voorkomen, aan sommige vingers ontbreken ze zelfs systematisch. Welke verklaring kan hiervoor gegeven worden?

IT/ENG
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Al ritorno di Ottaviano da Milano, nel 1447, Federico ‒ succeduto al titolo di Conte ‒ conferì all’Ubaldini il controllo su diverse zone del Montefeltro, concedendogli il dominio di Apecchio, Sassocorvaro, Mercatello e Gubbio, che rivestivano nel ducato un’importanza strategica, militare e artistica.
Ottaviano si prodigò molto per queste terre, facendovi edificare palazzi, roccaforti, e promuovendo opere di fortificazione e riassetto urbanistico.
Nel 1474 papa Sisto IV investì ufficialmente l’Ubaldini del titolo di Comes Mercatelli, annettendo la Nobile Terra di Mercatello ai possedimenti della Carda, ereditati dall’antica famiglia.
Nel Borgo Ottaviano si prodigò nella riqualificazione di Mercatello, anche grazie all'aiuto di un'importante famiglia mercatellese: gli Stefani, che possedevano un palazzo nel cuore del paese, dove sono stati rinvenuti degli affreschi quasi totalmente inediti.
Entrando all’interno del palazzo, salendo al piano mezzanino, ci si trova di fronte a un ciclo di decorazioni ad affresco di stampo quattrocentesco, alternato a tondi con rappresentazioni in costume rinascimentale, accompagnati da citazioni tratte da testi e motti classici.
La scoperta di questi affreschi ha aperto la strada a nuove indagini, volte a ricostruire la storia dell'ornato e a darne una possibile lettura stilistico-iconografica, riconducibile al Mito di Ercole.
Grazie al ritrovamento di un documento inedito, è stato possibile ricondurre il palazzo ad Ottaviano Ubaldini della Carda, confermando il suo ruolo di mecenate nel ducato di Urbino.

ENG.
Starting from 1447, the date of his succession as Count of Urbino, Federico granted Ubaldini control over various parts of the Montefeltro, according him rule over Apecchio, Sassocorvaro, Mercatello and Gubbio, towns with an important strategic, military and artistic role in the duchy. Ottaviano worked extremely hard on these lands, building houses and strongholds and promoting works of fortification and urban reorganization, thanks to an important family of Mercatello: the Stefani family, chiefly responsible for a great deal of enlargement and decoration work designed to foster the town’s growth in the latter half of the 15th century.
It was to Ludovico degli Stefani that Ottaviano leased a palazzo in Mercatello sul Metauro on 19th December 1470 in emphyteusis
An analysis of the emphyteusis document has enabled the palazzo granted by Ottaviano to Ludovico Stefani to be identified as the very same modern-day Palazzo Stefani in which portions of previously unseen 15th-century frescoes have been found which, according to my own studies, depict the myth of Hercules.

The article deals with the circumstances of ordering in 1632 a painting “The Battle of Lepanto” with Tomasso Dolabella. This work has so far received numerous references in literature, but the proposed manifold interpretations have aroused discussion among researchers. The painting was originally exposed in the Rosary chapel next to the former Dominican church in Poznań, as part of an ideological program, referring to the cult of Our Lady of the Snows and Saint Jack. [e Foundation of the Rosary Brotherhood was part of the tradition of commemorating the Battle of Lepanto, which was considered a victory gained through the intercession of the Mother of God.

Giovanni Santi, nella sua Cronaca Rimata, descrive uno dei personaggi più influenti e meno conosciuti della Urbino del Quattrocento: Ottaviano Ubaldini della Carda (1423-1498). Appassionato di materie umanistiche e con uno spiccato interesse per l’astrologia, egli fu protettore emerito di artisti e fratello del duca Federico (anche se per anni la loro parentela è stata oggetto di dibattito). È possibile che il Santi abbia conosciuto Ottaviano durante la decorazione degli appartamenti dell'Ubaldini, al piano terra del Palazzo Ducale, dove il pittore fu impegnato nella realizzazione delle celeberrime Muse.

From the seventeenth century through the first decades of the eighteenth century, a wave of millenarianism swept Europe. A range of authors across the religious spectrum discussed the coming „Final Judgement“ and offered competing scriptural interpretations about the „end of times.“ Some of the most popular books were those of so-called Philadelphians, who wanted to build a community of brotherly love in anticipation of the New Jerusalem. The frontispieces of certain Philadelphian books made visual arguments that seemed to prove the interpretations presented in the books. This article presents some of these frontispieces and focuses in particular on the large copperplate engraving in Johanna Eleonora Petersen’s opulent „Anleitung zu gründlicher Verständniß der Heiligen Offenbahrung“ of 1696. In one image, this artwork expresses all of the central Philadelphian tenets, including the fall of Babylon, a coming 1000-year reign of Christ, the union of righteous Jews and Christians and the doctrine of a female person in the godhead.

Le Liber Insularum Archipelagi de Cristoforo Buondelmonti (1420) : la cartographie comme outil de propagande et de légitimation territoriale

Le terme isolario décrit un ouvrage rassemblant des représentations cartographiques d’îles et de villes côtières. Considéré comme le pionnier du genre, Buondelmonti débuta une tradition qui, pendant plus de trois siècles, donna une importance particulière à la représentation de l’espace grec méditerranéen. Face à l’avancée de l’Empire ottoman, qui convoitait ces territoires autant pour des raisons stratégiques et économiques qu’idéologiques et politiques, il devenait impératif pour les nations occidentales chrétiennes de conserver et légitimer leurs possessions territoriales en Méditerranée orientale.

L’isolario de Buondelmonti joue un rôle significatif dans cet effort de réappropriation du territoire. S’inscrivant dans les débuts de l’humanisme, l’ouvrage tente aussi de faire revivre les voyages racontés par Homère et Virgile et rappelle l’importance de la Méditerranée pour l’héritage antique dont se réclament les Latins. L’étude cet objet nous permettra de voir par quelles stratégies formelles et symboliques l’image cartographique véhicule les intérêts et les impératifs de la société dont elle est issue, et de considérer le Liber Insularum Archipelagi comme une expression de la complexité des relations entre Ottomans et Chrétiens dans la Méditerranée orientale de la fin du Moyen-Âge.

Diplomacy played a key role during the troubled period of the Thirty Years’ War. Diplomats were chosen for their vital missions from among the social and intellectual elites because of their training and their capability to manage with ease in a hostile environment such as a Prince’s Court. This research focuses on the figure of Peter Paul Rubens, who developed a crucial role in the European political scene even though he was not the archetypal ambassador. This aspect of his career has not been entirely overlooked by historiography, but due its political importance it deserves a deeper review. This essay does not intend to analyze the figure of the painter and diplomat in depth, but to outline –from an updated scholarly approach, based on archival and printed contemporary sources, as well as supplementary bibliography– not only the course of events but also the circumstances in which he conducted his work, the reasons that led him to it and the role his personality played in it.

En el turbulento periodo de la Guerra de los Treinta Años la diplomacia fue un elemento clave. El estudio de las Relaciones Internacionales siempre ha estado vinculado a grandes nombres pertenecientes a la élite social e intelectual. Algunos motivos por los cuales eran designados para tan importantes misiones eran su formación y su desenvoltura en un ambiente hostil como era la Corte de un Príncipe. El presente estudio está centrado en un personaje, Pedro Pablo Rubens, que si bien no es el prototipo de embajador, desarrolló un papel crucial en el escenario político europeo. La historiografía no ha pasado por alto esta faceta de Pedro Pablo Rubens aunque ciertamente lo ha hecho de una forma somera. No pretendemos aquí analizar profundamente la figura del pintor diplomático sino realizar un esbozo desde un punto de vista más actual, empleando fuentes de archivo, impresas y bibliografía complementaria que nos ayuden no sólo a exponer el desarrollo de los acontecimientos sino a investigar las circunstancias en las que realizó su labor, los motivos que le llevaron a ello y el papel que en todo ello jugó su personalidad.

The article shows that inside the room on the ground floor of a house in Sibiu, Piata Micã/Small Square/Kleines ring 22, the allegorical motif of “Woman and the Men of the Four Elements,” inspired by Jakob von der Heyden’s engraving from the Pugillus facetiarum anthology (1608, Strasbourg) was painted in 1631. This discovery reveals a previously unknown aspect of residential decoration in the early decades of seventeenth­ century Transylvania, the motif being at the same time the only example of mural decoration known to be a literal copy after designs in the Pugillus facetiarum and one of the very few such in the non­-manuscript art of Pre­modern Europe. That this anthology exerted a considerable influence in Transylvania is suggested by the fact that a second motif from the volume inspired the murals of a contemporary house in the same city, on the former Fleischergasse 17 (1628). the identification of these motifs in the Sibiu murals and of their graphic source is important evidence both for their diffusion, and for its demonstration of the familiarity of the Siebenbürgischer Sachsen urban elite with the latest Western European art and culture, including the friendship books—Stammbuch or alba amicorum.

The series of Battles  by Paolo Uccello is one of the best known of the artist, as it highlights the mastery so acclaimed by Vasari, presented complex scene in a naturalistic way in a continuous search for a perspective technique not far from Gothic models. Nevertheless, the pictorial representation of the Battle reflect a historical narrative that is completely different from what is reported by the historical sources, that show a falsehood in the iconographic representation of the Unseating of Bernardino della Ciarda.

This paper aims to present iconographic modifications of the Virgin Hodegetria representations in the Crown of Aragon (a composite monarchy extended from Southern ltaly to the lberian Peninsula) in the early modern period. The time span ranging from the mid-15th to the early decades of the 16th century is the crucial period for the wide-range spread of the Hodegetria cult between East and West, and during which period occurred an iconographic and worship transfer that produced allotropies and variants. lt is only after the fall of Constantinople that new ways of representing the Hodegetria appeared on the ltalian Peninsula and in Sicily, along with the Holy icon replicas: the depiction which was set as a standard is the one with two old men (Calogeri) carrying on their shoulders the chest with the Hodegetria, sometimes as an icon, sometimes as a real body. Because of her commitment as protector against the enemy, the Virgin Hodegetria was invoked by all professionals related to the sea and so, during the 16th century, occurred two transfer phenomena: her identification wilh Madonna del Buon Cammino and her determination as protector against the Barbary slavery. lt is through these new operational functions that the cult spread beyond the traditional "Byzantine" Southern ltaly regions, such as Liguria, Sardinia, the Balearic lslands and the lberian Peninsula. These new functions entailed new iconographic standards depending on the geographical location and the activity of Mendicant orders (Augustinians, Franciscans, Mercedarians) and confraternities.

Judgement over judges.Fair verdicts represented in medieval and modern legal iconography found within the Alpine states.

Ideological programmes of town halls related to themes of justice, referring to God’s Law. Through art, the decoration of the interiors reminded everyone that God is the only fair judge. Justice is a moral virtue that each earthly judge should adhere to. A correlation between Jesus and a judge whose soul is at stake is represented in the scenes of the Judgement Day. Parallels between earthly and heavenly judges in town halls can also be drawn from early medieval emperors’ portraits, which were often based on the Mai- estas Domini iconography. It should be also borne in mind that trials and other legal acts in medieval towns usually took place in front of the main church. The sculpted scene of Judgement Day was placed in church’s tympanum and in addition was marked by painting the door red or by using red bricks in the portal. This custom, which has its deep symbolic meaning rooted in the texts of the Bible, was then transferred to courtrooms. Poorly developed court administrations did not provide sufficient control over the quality of trials therefore religion was used as a point of reference. Town trials became a part of eschatological mystery. The article is a consolidated effort to sketch out the issues on this unresearched topic within Polish art.

Title:  Picturing Commerce in and from the East Asian Maritime Circuits, 1550-1800
Volume Editor: Tamara H. Bentley
Publisher: Amsterdam University Press
Series: Visual & Material Culture, 1300-1700

Combining strikingly new scholarship by art historians, historians, and ethnomusicologists, this interdisciplinary volume illuminates trade ties within East Asia, and from East Asia outwards, in the years 1550 to 1800. While not encyclopedic, the selected topics greatly advance our sense of this trade picture. Throughout the book, multi-part trade structures are excavated; the presence of European powers within the Asian trade nexus features as part of this narrative. Visual goods are highlighted, including lacquerwares, paintings, prints, musical instruments, textiles, ivory sculptures, unfired ceramic portrait figurines, and Chinese, Japanese, Korean, and Southeast Asian ceramic vessels. These essays underscore the significance of Asian industries producing multiples, and the rhetorical charge of these goods, shifting in meaning as they move. Everyday commodities are treated as well; for example, the trans-Pacific trade in contraband mercury, used in silver refinement, is spelled out in detail. Building reverberations between merchant networks, trade goods, and the look of the objects themselves, this richly-illustrated book brings to light the Asian trade engine powering the early modern visual cultures of East and Southeast Asia, the American colonies, and Europe.

Table of contents:
Chapter One:  People and Things in Motion: The View from the East
by Tamara H. Bentley


I: CIRCUITS AND EXCHANGES

Chapter Two:  The Maritime Trading World of East Asia from the Thirteenth to the Seventeenth Centuries by Richard von Glahn

Chapter Three:  The Junk Trade and Hokkien Merchant Networks
in Maritime Asia: 1570—1760 by James K. Chin

Chapter Four:  The Trade Activities of 16th century Christian Daimyo Otomo Sorin
by Hiroko Nishida


II: COMMODITIES

Chapter Five:  From Global to Local: The Diaspora of Asian Decorative Arts
in Colonial Latin America by Donna Pierce

Chapter Six: Trans-Pacific Connections: Contraband Mercury Trade in the 16th to early 18th Century by Angela Schottenhammer

Chapter Seven:  “the Features are Esteem’d very just”: Chinese Unfired Clay Portrait Figures of Westerners by William R. Sargent


III: HYBRID AESTHETICS

Chapter Eight:  The Global Keyboard: Music, Visual Forms,
and Maritime Trade in the Early Modern Era by Victoria Levine

Chapter Nine  Barbarian Tropes Framed Anew: Three Qing Dynasty Chinese Lacquer Screens of Europeans Hunting by Tamara H. Bentley

Chapter Ten:  Chinese Porcelain, the East India Company and British Cultural Identity, 1600-1800 by Stacey Pierson

Index

Este corto artículo analiza una edición del Architectura libri decem (Los diez libros de la arquitectura) de Vitruvio, edición de 1552, que incluye comentarios por parte de Guillaume de Philandrier, anotado por un lector anónimo. El ejemplar se encuentra en la Biblioteca Palafoxiana en Puebla de los Ángeles, México. El artículo comenta las anotaciones y la manera en que el Vitruvio fue leído por este lector anónimo. Las anotaciones, en turno, nos hablan acerca de la cultura arquitectónica y la manera de leer y estudiar tratados arquitectónicos en el periodo temprano moderno en la esfera del mundo hispánico.

This short paper analyzes the annotations and marginalia in a 1552 edition of Vitruvius' De architectura libri decem, an edition containing the commentaries by the French Humanist Guillaume de Philandrier and found in the Biblioteca Palafoxiana, in the city of Puebla de los Ángeles, Mexico. The article interprets the way the treatise was read by an anonymous reader of the sixteenth or seventeenth century, which in turn is a commentary on the way architectural treatises were read and studied in the Hispanic world of the early modern period.

This article examines the origin and diffusion of icons containing multiple, miracle-working images of the Virgin Mary in prerevolutionary Russia.  This novel icon type can be traced to a specific period of transition in early modern Russian history.  Highly unusual for their combination of numerous miniature images of miraculous Marian icons, these compendia also deviate from established assumptions about icons of the Virgin as central or large single-image panels, or as central and hieratic images.  The article documents three significant stages in the development and reception of the compendium icon type: its emergence, rise to popularity, and final acceptance into official Orthodoxy.  The compendia took on a variety of meanings as they came to fulfill different functions.  First used in defense of embattled popular piety, they became a part of the patriotic culture of late Imperial Orthodoxy.

Author: Michael Zell
Series: Amsterdam Studies in the Dutch Golden Age
Publisher: Amsterdam University Press

Art offers a new perspective on the art of the Dutch Golden Age by exploring the interaction between the gift's symbolic economy of reciprocity and obligation and the artistic culture of early modern Holland. Gifts of art were pervasive in seventeenth-century Europe, and many Dutch artists, like their counterparts elsewhere, embraced gift giving to cultivate relations with patrons, art lovers, and other members of their social networks. Rembrandt also created distinctive works to function within a context of gift exchange, and both Rembrandt and Vermeer engaged the ethics of the gift to identify their creative labor as motivated by what contemporaries called a "love of art," not materialistic gain. In the merchant republic's vibrant market for art, networks of gift relations and the anti-economic rhetoric of the gift mingled with the growing dimension of commerce, revealing a unique chapter in the interconnected history of gift giving and art making.

For more info, visit https://www.aup.nl/en/book/9789463726429/rembrandt-vermeer-and-the-gift-in-seventeenth-century-dutch-art

Dominique Deneffe and Jeroen Reyniers, 'The Ghent Altarpiece, a Bibliography', in: B. Fransen and C. Stroo (ed.), The Ghent Altarpiece. Research and Conservation of the Exterior, Contributions to the Study of the Flemish Primitives, 14, Brussels (KIK-IRPA), 2020, p. 393-395.