How are processes of vision, perception, and sensation conceived in the Renaissance? How are those conceptions made manifest in the arts? The essays in this volume address these and similar questions
Jones (art history, University of Massachusetts, Boston) has selected five Roman altarpieces painted from 1595-1625 and studied them exhaustively in a brilliant example of interdisciplinary scholarshi
Focusing on the Mozarabic Chapel and Chapter Room of Toledo Cathedral and their decorative schemes, Erika Dolphin analyzes the patronage of Archbishop Francisco Jiménez de Cisneros (r. 1495-1517), Pri
Long obfuscated by modern definitions of historical evidence and art patronage, Lucrezia Tornabuoni de’ Medici’s impact on the visual world of her time comes to light in this book, the first full-leng
Providing a fresh evaluation of Albertia€?s text On Painting (1435), along with comparisons to various works of Nicholas Cusanus - particularly his Vision of God (1450) - this study reveals a shared e
Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, s
Venetian artistic giants of the sixteenth century, such as Giorgione, Vittore Carpaccio, Titian, Jacopo Sansovino, Jacopo Tintoretto, Paolo Veronese, and their contemporaries, continued to shape artis
Celebrated at the heart of a notoriously unstable period, the Vacant See, papal funerals in early modern Rome easily fell prey to ceremonial chaos and disorder. Charged with maintaining decorum, papal
A groundbreaking approach to Rococo religious décor and spirituality in Europe and South America, The Spiritual Rococo addresses three basic conundrums that impede our understanding of eighteenth-cent
Gillgren (art history, Stockholm U., Sweden) brings forward the Urbino painter Federico Barocci (1535-1612), who is less widely known than he should be outside of the scholars and connoisseurs who adm
The Eros Sleeping sculpture gracing the cover has been traced to the Greek or Roman period. Are copies that Michelangelo was urged to make of his Sleeping Cupid paying homage to this influence or will
