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Objects in Motion in the Early Modern World by
Objects in Motion in the Early Modern World presents a collection of 12 original essays that examine the circulation of objects across global regions and cultures from the 16th to 18th centuries. Features essays that represents an extremely wide cultural, geographical, and material scope while offering new insights into the specificity of early modern exchange Inspires broader questions about the disciplinary boundaries and frameworks of art history, visual culture, and material culture Presents innovative research that sheds new light on little-known historical objects and phenomena Calls into question traditional geographies and hierarchies associated with global exchange and challenges outdated center-periphery models
Circulations in the Global History of Art by
The project of global art history calls for balanced treatment of artifacts and a unified approach. This volume emphasizes questions of transcultural encounters and exchanges as circulations. It presents a strategy that highlights the processes and connections among cultures, and also responds to the dynamics at work in the current globalized art world. The editors' introduction provides an account of the historical background to this approach to global art history, stresses the inseparable bond of theory and practice, and suggests a revaluation of materialist historicism as an underlying premise. Individual contributions to the book provide an overview of current reflection and research on issues of circulation in relation to global art history and the globalization of art past and present. They offer a variety of methods and approaches to the treatment of different periods, regions, and objects, surveying both questions of historiography and methodology and presenting individual case studies. An 'Afterword' by James Elkins gives a critique of the present project. The book thus deliberately leaves discussion open, inviting future responses to the large questions it poses.
Cultural Contact and the Making of European Art since the Age of Exploration by
Art historians have long been accustomed to thinking about art and artists in terms of national traditions. This volume takes a different approach, suggesting instead that a history of art based on national divisions often obscures the processes of cultural appropriation and global exchange that shaped the visual arts of Europe in fundamental ways between 1492 and the early twentieth century. Essays here analyze distinct zones of contact--between various European states, between Asia and Europe, or between Europe and so-called primitive cultures in Africa, the Americas, and the South Pacific--focusing mainly but not exclusively on painting, drawing, or the decorative arts. Each case foregrounds the centrality of international borrowings or colonial appropriations and counters conceptions of European art as a "pure" tradition uninfluenced by the artistic forms of other cultures. The contributors analyze the social, cultural, commercial, and political conditions of cultural contact--including tourism, colonialism, religious pilgrimage, trade missions, and scientific voyages--that enabled these exchanges well before the modern age of globalization. Contributors: Claire Farago, University of Colorado at Boulder Elisabeth A. Fraser, University of South Florida Julie Hochstrasser, University of Iowa Christopher Johns, Vanderbilt University Carol Mavor, University of North Carolina at Chapel Hill Mary D. Sheriff, University of North Carolina at Chapel Hill Lyneise E. Williams, University of North Carolina at Chapel Hill
The Globalization of Renaissance Art by
In The Globalization of Renaissance Art: A Critical Review, Daniel Savoy assembles an interdisciplinary group of scholars to evaluate the global discourse on early modern European art. Over the course of eleven chapters and a roundtable, the contributors assess the discourse's goal of transcending Eurocentric boundaries, reflecting on the strengths and weaknesses of current terms, methods, theories, and concepts. Although it is clear that the global perspective has exposed the artistic and cultural pluralism of early modern Europe, it is found that more work needs to be done at the epistemological level of art history as a whole. Contributors: Claire Farago, Elizabeth Horodowich, Lauren Jacobi, Thomas DaCosta Kaufmann, Jessica Keating, Stephanie Leitch, Emanuele Lugli, Lia Markey, Sean Roberts, Ananda Cohen-Aponte, and Marie Neil Wolff.
The Global Lives of Things by
The Global Lives of Things considers the ways in which 'things', ranging from commodities to works of art and precious materials, participated in the shaping of global connections in the period 1400-1800. By focusing on the material exchange between Asia, Europe, the Americas and Australia, this volume traces the movements of objects through human networks of commerce, colonialism and consumption. It argues that material objects mediated between the forces of global economic exchange and the constantly changing identities of individuals, as they were drawn into global circuits. It proposes a reconceptualization of early modern global history in the light of its material culture by asking the question: what can we learn about the early modern world by studying its objects? This exciting new collection draws together the latest scholarship in the study of material culture and offers students a critique and explanation of the notion of commodity and a reinterpretation of the meaning of exchange. It engages with the concepts of 'proto-globalization', 'the first global age' and 'commodities/consumption'. Divided into three parts, the volume considers in Part One, Objects of Global Knowledge, in Part Two, Objects of Global Connections, and finally, in Part Three, Objects of Global Consumption. The collection concludes with afterwords from three of the leading historians in the field, Maxine Berg, Suraiya Faroqhi and Paula Findlen, who offer their critical view of the methodologies and themes considered in the book and place its arguments within the wider field of scholarship. Extensively illustrated, and with chapters examining case studies from Northern Europe to China and Australia, this book will be essential reading for students of global history.
The First Viral Images by
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: Gerónimo Nadal's Evangelicae historiae imagines, an illustrated devotional text published and promoted by the Society of Jesus, and a singular composition by Maerten de Vos, St. Michael the Archangel. Both were reproduced and adapted across the early modern world in the seventeenth century. Porras examines how and why these objects traveled and were adopted as models by Spanish and Latin American painters, Chinese printmakers, Mughal miniaturists, and Filipino ivory carvers. Reassessing the creative labor underpinning the production of a diverse array of copies, citations, and reproductions, Porras uses virality to elucidate the interstices of the agency of individual artists or patrons, powerful gatekeepers and social networks, and economic, political, and religious infrastructures. In doing so, she tests and contests several analytical models that have dominated art-historical scholarship of the global early modern period, putting pressure on notions of copying, agency, context, and viewership. Vital and engaging, The First Viral Images sheds new light on how artworks, as agents of globalization, navigated and contributed to the emerging and intertwined global infrastructures of Catholicism, commerce, and colonialism.
Venice and the Islamic World, 828-1797 by
From 828, when Venetian merchants carried home from Alexandria the stolen relics of St. Mark, to the fall of the Venetian Republic to Napoleon in 1797, the visual arts in Venice were dramatically influenced by Islamic art. Because of its strategic location on the Mediterranean, Venice had long imported objects from the Near East through channels of trade, and it flourished during this particular period as a commercial, political, and diplomatic hub. This monumental book examines Venice's rise as the "bazaar of Europe" and how and why the city absorbed artistic and cultural ideas that originated in the Islamic world. Venice and the Islamic World, 828#150;1797 features a wide range of fascinating images and objects, including paintings and drawings by familiar Venetian artists such as Bellini, Carpaccio, and Tiepolo; beautiful Persian and Ottoman miniatures; and inlaid metalwork, ceramics, lacquer ware, gilded and enameled glass, textiles, and carpets made in the Serene Republic and the Mamluk, Ottoman, and Safavid Empires. Together these exquisite objects illuminate the ways Islamic art inspired Venetian artists, while also highlighting Venice's own views toward its neighboring region. Fascinating essays by distinguished scholars and conservators offer new historical and technical insights into this unique artistic relationship between East and West.
The Renaissance Bazaar by
The Renaissance range in changes at a breathtaking pace, changes that shape the world to this day. Now Jerry Brotton deftly captures this remarkable age, in a book that places Europe's great flowering in a revealing global context. It was Europe's contact with the outside world, Brotton argues, especially with the rich and cultivated East, that made the Renaissance what it was. Indeed, Europeans saw themselves through the mirror of the East--it was during this age, for instance, that they first spoke of themselves as "Europeans." Here is cultural history of the best kind, as Brotton muses on the meanings of Holbein's painting "The Ambassadors"--which is virtually a catalog of the international influences on Europe--or on the Arabic influence in the burgeoning sciences of astronomy and geography. This global approach offers revealing new insights into such men as Dante and Leonardo da Vinci and highlights the international influences behind Chaucer's Canterbury Tales. Along with fresh and original discussions of well-known figures from Copernicus to Dürer to Shakespeare, Brotton offers a far-reaching exploration that looks at paintings and technology, patterns of trade and the printed page, as he illuminates the overarching themes that defined the age. From architecture to medicine, from humorists to explorers, the teeming world of the Renaissance comes to life in this thoughtful, insightful, and beautifully written book, which offers us a timely perspective on the Renaissance as a moment of global inclusiveness that still has much to teach us today.
Bazaar to Piazza by
The Mediterranean trade in luxury goods from the East made a strong and lasting impression on Italian artistic taste and production during the early Renaissance. This opulently illustrated book describes and illustrates the fascinating ways that imported art objects inspired improvements and new variety in Italian decorative arts. From Italian textiles featuring Islamic and Asian motifs to ceramics and glassware that reflected Syrian techniques and ornamental concepts, this book gives an extraordinary view of the influence of imported Oriental goods in Italy over three crucial centuries of artistic development. Rosamond Mack traces Italy's emerging decorative arts tradition as she discusses textiles, ceramics, glass, bookbinding, and metalwork; she also considers how Italian painting reflects trans-Mediterranean trade and travel. Painters represented carpets and ceramics from the East in their works, as well as textiles with bands of writing replicating or suggesting Arabic script, negotiating cultural differences in their borrowings. These paintings show how Islamic motifs were absorbed into Christian contexts. Beginning in the 1300s and 1400s, the works of Italian craftsmen inspired by luxury goods from Islamic and Asian countries gradually began to compete with those brought to Europe in huge quantities on Italian merchant ships. Yet even after their own versions surpassed the quality of some of the imported goods, Italians continued to collect, imitate, and adapt objects from the Ottoman empire and China. As Mack discusses these important influences, she provides useful summaries of the history of Renaissance decorative arts and presents a balanced and carefully researched view of the controversial topic of East-West artistic exchange. This uniquely comprehensive study offers an intriguing look at the effects of exchange in Renaissance material culture, shedding new light on the development of the Italian Renaissance as a whole. No other source provides so rich and inclusive a synthesis of the period's decorative arts.
Art of Colonial Latin America by
A lively account of the interaction between European and indigenous artists that took place during more than 300 years of Spanish and Portuguese colonial influence in Latin America (c.1492–1820). The book offers a fascinating insight into viceregal, missionary and civic architecture, as well as painting, sculpture and such ‘minor arts’ as furniture, textiles and ceramics. This is a long-awaited book on an increasingly popular subject and includes many previously unillustrated works
Art on the Jesuit Missions in Asia and Latin America, 1542-1773 by
When the Jesuit missionaries ventured from Europe to newly discovered territories in Asia and Latin America, they brought with them the rich traditions of Renaissance and Baroque art and architecture. What happened to the artistic and social practices already thriving in the communities that the missionaries encountered is the story told by art historian and Jesuit specialist Gauvin Alexander Bailey. The Jesuits, determined to convert both spiritually and culturally, put great effort into imparting their own artistic techniques and knowledge. At the same time they were unusually tolerant of the non-European cultures, making artistic accommodations in order to communicate with each particular society. The resulting hybridization was complex: German, Italian, and Flemish as well as the dominant Spanish and Portuguese idioms mingled with multiple Asian and Amerindian traditions. Bailey argues that this cross-pollination of early modern art became the first truly global visual currency for cultural exchange. Through a sweeping look at Japan, China, Mughul India, and Paraguay, the author focuses on four of the most flourishing artistic encounters and discovers much unrecognized or misunderstood art. He overturns the simple thesis that art was imposed on subject cultures in favour of the more difficult paradigm of exchange. This meticulously researched book has over 100 beautiful illustrations and a thorough index. Winner of the 2000 Roland H. Bainton Prize Winner for Art and Music History - Sixteenth Century Studies Conference
Archive of the World: Art and Imagination in Spanish America, 1500-1800 by
Including textiles, paintings and decorative arts, Archive of the World offers a lucid alternative to traditional interpretations of art from the so-called New World Exquisitely illustrated with new photography, this stunning book represents the first comprehensive study of LACMA's notable holdings of Spanish American art. Following the arrival of the Spaniards in the Americas in the 15th century, the region developed complex artistic traditions that drew simultaneously on Indigenous, European, Asian and African art. In 1565 the Spaniards conquered the Philippines, inaugurating a new commercial route that connected Asia, Europe and the Americas. Private homes and civic and ecclesiastic institutions in Spanish America were filled with imported and locally made objects. This confluence of riches signaled the status of the Americas as a major entrepôt--what one contemporaneous author described as "the archive of the world." Many works created in Spanish America were also shipped across the globe, attesting to their wide appeal. Arranged into five thematic sections, the volume features a conversation about LACMA's collection and nearly 100 catalog entries by various scholars, including Pablo F. Amador Marrero, Aaron M. Hyman, Rachel Kaplan, Paula Mues Orts, Jeanette F. Peterson, Elena Phipps, Maya Stanfield-Mazzi and Luis Eduardo Wuffarden, among others. These authoritative texts offer multiple access points to appreciate the material, aesthetic and historical aspects of the works, providing a lasting reference in this increasingly influential area of art history.
The Slave in European Art; from Renaissance Trophy to Abolitionist Emblem by
This volume explores the imagery of slaves and enslavement - white as well as black - in early modern Europe. Long before the abolitionist movement took up the theme, European art abounded in images of slaves - chained, subjected, subdued figures. Often these enslaved figures were meant to be symbolic, for slavery was widely invoked as a metaphor in both religious and secular contexts. The ancient Roman iconography of triumphalism, with its trophies and caryatids, provided a crucial impetus to this imagery, particularly for Renaissance artists who developed their own variations. Here the use of classical models had a peculiar force, since nudity, the attribute of antique heroes and idealized abstractions, was the mark of the Mediterranean galley slave. It was also to become the condition of the enslaved and transported African. The poignant sculptures of naked black Africans on Italian monuments of the seventeenth century are Ottoman galley slaves, representatives of the Islamic enemy along with their Turkish companions. But with the expansion and extension of the trade in enslaved Africans among the nations of Europe, African blackness became in itself a sign of slavery in European art. Fashionable portraits increasingly showed young and servile blacks, sometimes wearing silver slave collars, paying tribute to the status or supposed beauty of their masters and mistresses. This imagery often presents itself as playfully metaphorical, even though the slavery of Africans so portrayed could be literal enough. Unsurprisingly, there was little demand for representations of the slave trade. In the few cases in which African slaves in colonial situations became the subject-matter of paintings, they were generally depicted as part of an imperialist and 'civilizing' mission, or accommodated to picturesque formulae, distant from the uncomfortable realities of life on the plantation. Indeed - as the case of Spain especially demonstrates - the representation of slaves in art is never proportionate to their numerical presence in slave-owning societies. It is only with abolitionism that the slave trade and its injustices becomes an artistic theme, provoking the visual counter-propaganda that is charted in the coda to this collection.
Chinese and Japanese Porcelain for the Dutch Golden Age by
Contents:
• The Dutch Golden Age: growth, innovation and consumption / Maarten Prak
• The Iberian royal courts of Lisbon and Madrid, and their role in spreading a taste for Chinese porcelain in 16th-century Europe / Teresa Canepa
• Camel cups, parrot cups and other Chinese Kraak porcelain items in Dutch trade records, 1598-1623 / Cynthia Viallé
• The Dutch 17th-century porcelain trade from an archaeological perspective / Sebastiaan Ostkamp
• Merchants in 17th-century China / Anne Gerritsen
• The Batavia connection: the Chinese junks and their merchants / Leonard Blussé
• The Chinese junks' intermediate trade network in Japanese porcelain for the West / Miki Sakuraba
• A change in taste: the introduction of enamelled export porcelain in the 17th century / Christiaan Jörg
• Porcelain at the Cape of Good Hope in the 17th century / Antonia Malan, Jane Klose
• Women collectors and the rise of the porcelain cabinet / Cordula Bischoff
• Chinese and Japanese porcelain in the interior / Jan van Campen
• Cultural reflections on porcelain in the 17th-century Netherlands / Thijs Weststeijn
• Imitation and inspiration: the artistic rivalry between Delft earthenware and Chinese porcelain / Suzanne Lambooy.
Asia in Amsterdam by
A fascinating survey of the rich artistic and cultural impact of Asia on the Netherlands in the 17th century This lavishly illustrated catalogue discusses the Asian luxury goods that were imported into the Netherlands during the 17th century and demonstrates the overwhelming impact these works of art had on Dutch life and art during the Golden Age. Written by a team of 30 international scholars, this volume presents seven essays and catalogue entries on 150 works of art, including Dutch and Asian paintings, textiles, ceramics, lacquer, furniture, silver, diamonds, and jewelry. From the Dutch settlements throughout Asia--including Indonesia, India, Sri Lanka, Malaysia, China, and Japan--Dutch maritime traders brought an astonishing range of luxuries back to the Netherlands. Dutch consumers were enthralled with these foreign goods, which brought new colors, patterns, and textures to their interiors and wardrobes. As seen in the book's many illustrations, Dutch artists also found inspiration in these objects and incorporated them into portraits, genre scenes, and particularly still-life paintings. Dutch artists and craftspeople also adapted distinctly Asian technologies, such as porcelain and lacquer, to create new works of art inspired by Asia. This catalogue weaves together the complex stories of these diverse works of art and presents fascinating portraits of the dynamic cities of Amsterdam and Batavia (Jakarta)--the Dutch trade center in Asia during the 17th century. Distributed for the Peabody Essex Museum and the Rijksmuseum, Amsterdam Exhibition Schedule: Rijksmuseum, Amsterdam (10/17/15-01/17/16) Peabody Essex Museum (02/27/16-06/05/16)
Vermeer's Hat by
In the hands of an award-winning historian, Vermeer's dazzling paintings become windows that reveal how daily life and thought--from Delft to Beijing--were transformed in the seventeenth century, when the world first became global. A painting shows a military officer in a Dutch sitting room, talking to a laughing girl. In another, a woman at a window weighs pieces of silver. Vermeer's images captivate us with their beauty and mystery: What stories lie behind these stunningly rendered moments? As Timothy Brook shows us, these pictures, which seem so intimate, actually offer a remarkable view of a rapidly expanding world. The officer's dashing hat is made of beaver fur, which European explorers got from Native Americans in exchange for weapons. Those beaver pelts, in turn, financed the voyages of sailors seeking new routes to China. There--with silver mined in Peru--Europeans would purchase, by the thousands, the porcelains so often shown in Dutch paintings of this time. Moving outward from Vermeer's studio, Brook traces the web of trade that was spreading across the globe. The wharves of Holland, wrote a French visitor, were "an inventory of the possible." Vermeer's Hat shows just how rich this inventory was, and how the urge to acquire the goods of distant lands was refashioning the world more powerfully than we have yet understood.