Catégorie : Parutions

Parution : Robin Milner-Gulland, “Andrey Rublev The Artist and His World”, Chicago, Chicago University Press, 2023

A critical biography of the most celebrated religious icon painter in medieval Russia. A monk from Moscow, Andrey Rublev (c.1360–c.1430) is heralded as the greatest painter of religious icons and frescos in medieval Russia. Nevertheless, his life remains largely mysterious to historians and devotees alike. In this book, Robin Milner-Gulland provides the first English-language account of the artist’s life as a window into the world of medieval Moscow. Beautifully illustrated with previously unpublished images, Andrey Rublev offers...

Parution : Serena Laiena, “The Theatre Couple in Early Modern Italy Self-Fashioning and Mutual Marketing”, Harrogate, Combined Academic Publishers, 2023

Who were the first celebrity couples? How was their success forged? Which forces influenced their self-fashioning and marketing strategies? These questions are at the core of this study, which looks at the birth of a phenomenon, that of the couple in the show business, with a focus on the promotional strategies devised by two professional performers: Giovan Battista Andreini (1576-1654) and Virginia Ramponi (1583-ca.1631). This book examines their artistic path – a deliberately crafted and...

Parution : Stephanie Porras, “The First Viral Images Maerten de Vos, Antwerp Print, and the Early Modern Globe”, University Park, Penn State University Press, 2023

As a social phenomenon and a commonplace of internet culture, virality provides a critical vocabulary for addressing questions raised by the global mobility and reproduction of early modern artworks. This book uses the concept of virality to study artworks’ role in the uneven processes of early modern globalization. Drawing from archival research in Asia, Europe, and the Americas, Stephanie Porras traces the trajectories of two interrelated objects made in Antwerp in the late sixteenth century:...

Parution : Katherine Dauge-Roth et Craig Koslofsky (dir.), “Stigma. Marking Skin in the Early Modern World”, University Park, Penn State University Press, 2023

The early modern period opened a new era in the history of dermal marking. Intensifying global travel and trade, especially the slave trade, bought diverse skin-marking practices into contact as never before. Stigma examines the distinctive skin cultures and marking methods of Asia, Europe, Africa, and the Americas as they began to circulate and reshape one another in the early modern world. By highlighting the interwoven histories of tattooing, branding, stigmata, baptismal and beauty marks, wounds and scars, this volume...

Patution : Jean-Claude Schmitt, “Les images médiévales. La figure et le corps”, Paris, Gallimard, 2023

De l’empreinte bouleversante d’une main humaine datée du paléolithique dans la Grotte Cosquer (30 000 ans avant notre ère) à la pipe peinte en 1929 par René Magritte prévenant que : « Ceci n’est pas une pipe », les images ne cessent de nous renvoyer aux mêmes questions essentielles : qu’est-ce que représenter ? Imiter et figurer, est-ce la même chose ? Quel le rapport entre l’objet ou la personne représentés et leurs images ?...

Parution : Adam Jasienski, “Praying to Portraits. Audience, Identity, and the Inquisition in the Early Modern Hispanic World”, University Park, Penn State University Press, 2023

In Praying to Portraits, art historian Adam Jasienski examines the history, meaning, and cultural significance of a crucial image type in the early modern Hispanic world: the sacred portrait. Across early modern Spain and Latin America, people prayed to portraits. They prayed to “true” effigies of saints, to simple portraits that were repainted as devotional objects, and even to images of living sitters depicted as holy figures. Jasienski places these difficult-to-classify image types within their historical context....

Parution : Douglas Dow, “Bernardino Poccetti and the Art of Religious Painting at the End of the Florentine Renaissance”, Amsterdam, Amsterdam University Press, 2023

By almost any measure Bernardino Barbatelli, called Poccetti, was a successful and sought after painter in late sixteenth-century Florence, but his works have remained largely overlooked. This study situates representative examples of his religious painting within their respective contexts to demonstrate how Poccetti and his patrons negotiated the increasingly fraught terrain of sacred painting in the period of religious reform. These case studies demonstrate how patrons ranging from the Dominicans to the Carthusians to prominent...

Parution : Frédéric Cousinié, « Tensivité des images. Surgissement, Révélation, Extase, Apothéose dans la France du XVIIe siècle », Paris, Mare & Martin, 2023

Sous quelles formes le corps du Christ et le corps chrétien se sont-ils manifestés dans les représentations visuelles ? Quatre modalités déterminantes ont été identifiées dans les œuvres de Nicolas Poussin, de Simon Vouet et de leurs contemporains du XVIIe siècle français : le Surgissement épiphanique du divin en ce monde, la Révélation d’un Dieu s’offrant à l’épreuve de la reconnaissance durant sa vie terrestre, l’Extase visionnaire où l’âme tend vers l’union et la connaissance...

Parution : Esther Theiler, “Painters and Sitters in Early-Seventeenth Century Rome”, Turnhout, Brepols, 2023

Significant innovations in portraiture occurred during the transitional period from the end of the sixteenth-century to the early seventeenth-century in Rome. Portraits by Annibale Carracci, Valentin de Boulogne, Anthony van Dyck, Simon Vouet and Gianlorenzo Bernini display a loosening of formality and a trend towards movement. These artists produced a portrait type that was more inclusive of the viewer, more communicative, more revealing of a private face. The portraits in this study were less likely...

Parution : Mariam Hammami, “Veritatis Imago”, Berlin, De Gruyter, 2023

The study analyzes differentiated concepts of truth in Dutch prints of the 16th and 17th centuries. Against the backdrop of religious and political crises of the time, it elaborates on how copperplate engravings and etchings not only represent veritas but, by problematizing their own medial status, reflect on visual forms of evidence generation and art’s specific capacity for truth. Source

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