Comp Renaissance and Baroque A

Babette Bohn is Professor of Art History at Texas Christian University. Her publications include two books on Italian prints, Agostino Carracci (1995) and Italian Masters of the Sixteenth Century (1996), and two on the drawings of Ludovico Carracci (2004) and Guido Reni (2008).
 
James M. Saslow is Professor of Art History, Theatre, and Renaissance Studies at Queens College and the Graduate Center, City University of New York. His most recent book, Pictures and Passions: A History of Homosexuality in the Visual Arts (1999), received two awards from the Lambda Literary Foundation.

A Companion to Renaissance and Baroque Art provides a diverse, fresh collection of accessible, comprehensive essays addressing key issues for European art produced between 1300 and 1700, a period that might be termed the beginning of modern history.
* Presents a collection of original, in-depth essays from art experts that address various aspects of European visual arts produced from circa 1300 to 1700
* Divided into five broad conceptual headings: Social-Historical Factors in Artistic Production; Creative Process and Social Stature of the Artist; The Object: Art as Material Culture; The Message: Subjects and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse
* Covers many topics not typically included in collections of this nature, such as Judaism and the arts, architectural treatises, the global Renaissance in arts, the new natural sciences and the arts, art and religion, and gender and sexuality
* Features essays on the arts of the domestic life, sexuality and gender, and the art and production of tapestries, conservation/technology, and the metaphor of theater
* Focuses on Western and Central Europe and that territory's interactions with neighboring civilizations and distant discoveries
* Includes illustrations as well as links to images not included in the book

A Companion to Renaissance and Baroque Art provides a diverse, fresh collection of accessible, comprehensive essays addressing key issues for European art produced between 1300 and 1700, a period that might be termed the beginning of modern history.

Preface/Acknowledgments
 
Introduction
Babette Bohn and James M. Saslow, Co-Editors
 
Part 1. The Context: Social-Historical Factors in Artistic Production
 
1. A Taxonomy of Art Patronage in Renaissance Italy
Sheryl Reiss
 
2. Judaism and the Arts in Early Modern Europe: Jewish and Christian Encounters
Shelley Perlove
 
3. Religion, Politics and Art in Late Medieval and Renaissance Italy
Julia I. Miller
 
4. Europe's Global Vision
Larry Silver
 
5. Italian Art and the North: Exchanges, Critical Reception, and Identity, 1400-1700
Amy Golahny
 
6. The Desiring Eye: Gender, Sexuality, and Visual Art
James M. Saslow
 
Part 2. The Artist: Creative Process and Social Stature
 
7. The Artist as Genius
William E. Wallace
 
8. Drawing in Renaissance Italy
Mary Vaccaro
 
9. Self-portraiture 1400-1700
H. Perry Chapman
 
10. Recasting the Role of the Italian Sculptor: Sculptors, Patrons, Materials, and Principles for the New Early Modern Age
Elinor Richter
 
11. From Oxymoron to Virile Paintbrush: Women Artists in Early Modern Europe
Babette Bohn
 
Part 3. The Object: Art as Material Culture
 
12. The Birth of Mass Media: Printmaking in Early Modern Europe
Alison Stewart
 
13. The Material Culture of Family Life in Italy and Beyond
Jacqueline Marie Musacchio
 
14. Tapestry: Luxurious Art, Collaborative Industry
Koenraad Brosens
15. The New Sciences and the Visual Arts
Eileen Reeves
 
16. Seeing Through Renaissance and Baroque Paintings: Case Studies
Claire Barry
 
Part 4. The Message: Subjects and Meanings
 
17. Iconography in Renaissance and Baroque Art
Mark Zucker
 
18. Renaissance Landscapes: Discovering the World and Human Nature
Lawrence O. Goedde
 
19. The Nude Figure in Renaissance Art
Thomas Martin
 
20. Genre painting in Seventeenth-century Europe
Wayne Franits
 
21. The Meaning of the European Painted Portrait, 1400-1650
Joanna Woods-Marsden
 
22. All the World's a Stage: The Theater Conceit in Early Modern Italy
Inge Reist
 
23. Intensity and Orthodoxy in Iberian and Hispanic Art of the Tridentine Era, 1550-1700
Marcus Burke
 
Part 5. The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse
 
24. Historians of Northern European Art: from Johann Neudörfer and Karel Van Mander to the Rembrandt Research Project
Jeffrey Chipps Smith
 
25. Artistic Biography in Italy: Vasari to Malvasia
David Cast
 
26. With a Critical Eye: Painting and Theory in France, 1600-1643. The Case of Simon Vouet and Nicolas Poussin
Joseph L. Forte
 
27. The Double Life of the Italian Piazza: Between Art Historical Monument and Social Phenomenon
Niall Atkinson
 
28. Building in Theory and Practice: Writing about Architecture in the Renaissance
Carolyn Yerkes