By Babette Bohn, James M. Saslow
A significant other to Renaissance and Baroque paintings presents a various, clean choice of obtainable, finished essays addressing key concerns for eu artwork produced among 1300 and 1700, a interval that would be termed the start of recent history.
• offers a suite of unique, in-depth essays from paintings specialists that deal with a variety of points of eu visible arts made from circa 1300 to 1700
• Divided into 5 extensive conceptual headings: Social-Historical elements in creative construction; artistic strategy and Social Stature of the Artist; the thing: artwork 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 usually incorporated in collections of this nature, resembling Judaism and the humanities, architectural treatises, the worldwide Renaissance in arts, the hot average sciences and the humanities, paintings and faith, and gender and sexuality
• positive aspects essays at the arts of the family existence, sexuality and gender, and the paintings and creation of tapestries, conservation/technology, and the metaphor of theater
• specializes in Western and relevant Europe and that territory's interactions with neighboring civilizations and far away discoveries
• comprises illustrations in addition to hyperlinks to photographs no longer integrated within the book
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Additional resources for A Companion to Renaissance and Baroque Art
Civic humanism cast such pursuit of private interest, or "luxury," as an enemy of the state. 12 The capacity to abstract from the particular to the general, developed, for example, through a taste for the right type of art, "elevates" citizens' minds, helping them overcome differences between their private interests and individual ways of seeing by leading them toward a consensual apprehension of the world at the fundamental level of perception itself. Reynolds implies that the promotion among a select group of citizens of a cohesive community of vision or taste, a civic humanist art, contrib12 Pocock, Machiavellian Moment, pp.
The underlying continuity between these two themes in eighteenth-century aesthetics, the de-particularized artwork and disinterested contemplation, makes it misleading to relegate them to separate periods. See also M. H. Abrams, "From Addison to Kant: Modern Aesthetics and the Exemplary Art," in Studies in Eighteenth-Century British Art and Aesthetics, ed. Ralph Cohen (Berkeley and Los Angeles: University of California Press, 1985], pp. 18-21. Abrams does not use the term "Romantic" in this essay but discusses "heterocosmic" works and "contemplative" reception.
20 21 See Terry Eagleton, The Ideology of the Aesthetic (Oxford: Basil Blackwell, 1990), pp. 38-9. Barrell, Political Theory of Painting, pp. 1-8, 2 7 - 3 3 ; Stolnitz, "Origins of 'Aesthetic Disinterestedness/" p. 132. 28 ELIZABETH A. BOHLS Philocles replies with a startling logic: Absurd enough, in conscience. 22 Shaftesbury is alluding to the traditional "wedding" between the Republic of Venice and the Adriatic: the doge sails out in state to drop a ring in the water. Through this custom Shaftesbury proclaims the gendered identity of the aesthetic subject.