A Companion to Renaissance and Baroque Art by Babette Bohn and James M. Saslow
English | 2013 | ISBN: 1444337262 | 641 pages | PDF | 21,1 MB

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 

Chapter none Introduction (pages 1–20): Babette Bohn and James M. Saslow
Chapter 1 A Taxonomy of Art Patronage in Renaissance Italy (pages 21–43): Sheryl E. Reiss
Chapter 2 Judaism and the Arts in Early Modern Europe (pages 44–64): Shelley Perlove
Chapter 3 Religion, Politics, and Art in Late Medieval and Renaissance Italy (pages 65–84): Julia I. Miller
Chapter 4 Europe's Global Vision (pages 85–105): Larry Silver
Chapter 5 Italian Art and the North (pages 106–126): Amy Golahny
Chapter 6 The Desiring Eye (pages 127–148): James M. Saslow
Chapter 7 The Artist as Genius (pages 149–167): William E. Wallace
Chapter 8 Drawing in Renaissance Italy (pages 168–188): Mary Vaccaro
Chapter 9 Self?Portraiture 1400–1700 (pages 189–209): H. Perry Chapman
Chapter 10 Recasting the Role of the Italian Sculptor (pages 210–228): Elinor M. Richter
Chapter 11 From Oxymoron to Virile Paintbrush (pages 229–249): Babette Bohn
Chapter 12 The Birth of Mass Media (pages 251–274): Alison G. Stewart
Chapter 13 The Material Culture of Family Life in Italy and Beyond (pages 275–294): Jacqueline Marie Musacchio
Chapter 14 Tapestry (pages 295–315): Koenraad Brosens
Chapter 15 The New Sciences and the Visual Arts (pages 316–335): Eileen Reeves
Chapter 16 Seeing Through Renaissance and Baroque Paintings (pages 336–358): Claire Barry
Chapter 17 Iconography in Renaissance and Baroque Art (pages 359–380): Mark Zucker
Chapter 18 Renaissance Landscapes (pages 381–401): Lawrence O. Goedde
Chapter 19 The Nude Figure in Renaissance Art (pages 402–421): Thomas Martin
Chapter 20 Genre Painting in Seventeenth?Century Europe (pages 422–441): Wayne Franits
Chapter 21 The Meaning of the European Painted Portrait, 1400–1650 (pages 442–462): Joanna Woods?Marsden
Chapter 22 All the World's a Stage (pages 463–483): Inge Jackson Reist
Chapter 23 Intensity and Orthodoxy in Iberian and Hispanic Art of the Tridentine Era, 1550–1700 (pages 484–504): Marcus B. Burke
Chapter 24 Historians of Northern European Art (pages 505–524): Jeffrey Chipps Smith
Chapter 25 Artistic Biography in Italy (pages 525–540): David Cast
Chapter 26 With a Critical Eye: Painting and Theory in France, 1600–43 (pages 541–560): Joseph C. Forte
Chapter 27 The Italian Piazza (pages 561–581): Niall Atkinson
Chapter 28 Building in Theory and Practice (pages 582–601): Carolyn Yerkes