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This paper adopts materiality as an interpretive lens to explore the gendered resonances of ultramarine in the works of Baroque painter Artemisia Gentileschi. The history of ultramarine in early Italian devotional painting and the Renaissance theory of colore provide a contextual backdrop for investigating how Artemisia considered the significance of her materials in the competitive seventeenth-century art market. As a female artist, Artemisia was uniquely scrutinized by her male patrons and competitors and was therefore pressed to strategically craft her self-representation as a woman in early modern Italy. Artemisia's conspicuous use of ultramarine perhaps indicates her strategy to build upon the embedded meanings of the pigment and imbue her work with the value of both skill and material as she sought recognition for her artifice. [ABSTRACT FROM AUTHOR]

Located along the slopes of the north-western pre-Alpine arc, the Sacrimonti, erected between the end of the 15th and the beginning of the 18th century in the Piedmont and Lombardy areas, represent not only an important historical and artistic contribution to the Unesco World Heritage, but also some examples of real experiential, immersive and inclusive paths, designed to reach even the least literate users with a powerful didactic and catechetical message, without the need for any textual integration. The paper analyzes the architectural structure of the chapel VIII, L’Incoronazionedi Spine [The Crowning with Thorns], and its interaction both with the total structure of the monumental path designed in 1604 by Bernascone on Monte Velate of Varese and with the sculptural group and the cycle of frescoes, revealing its nature as a real storyboard, aimed at narrating one of the most dramatic episodes of the Jesus’ passion and at raising an empathic relationship with the faithful who observe the setting through the external openings.

Francisco de Zurbarán’s Crucifixion with a Painter (ca. 1650–55, Museo Nacional del Prado, Madrid) illustrates the devotional aspects of his religious imagery and suggests that artistic production is the result of profound visionary experiences with the artist ultimately acting as a mediator between the divine and the viewer. This article explores the complex intersection of artistic identity and stature and religious devotion and naturalism in evaluating the originality of Zurbarán’s theme. This work’s subject matter also raises essential questions about the relative merits of painting and sculpture that shape one of the core arguments of the paragone in early modern Spain. In addition to the art literature of the Spanish Golden Age, this essay also considers the spiritual texts of the period to establish a theoretical framework for Zurbarán’s art. [ABSTRACT FROM AUTHOR]

The Ruthenian Orthodox art in the Polish-Lithuanian Commonwealth in the sixteenth century opened itself to the influences of Western European culture. The article is devoted to а description and analysis of this phenomenon. Although for most of the seventeenth century no work emerged that was pure enough in terms of its style that it could be termed а fully Renaissance work, this fact does not mean that there wasn't any Renaissance at all. Here the Renaissance was not а style, an epoch, or а period, but а process that unfolded over two centuries, without а strictly defined beginning and end. [ABSTRACT FROM AUTHOR]

What did early modern European audiences make of the iridescent surfaces of colonial Mexican featherwork? While much previous scholarship relates their appeal to brightness, they also exhibit chromatic instability activated by alterations in the angle of illumination or view. This plurality of viewing experiences mirrored those provided by a range of other popular forms of contingent media such as anamorphic and ambiguous images. In ways both similar and distinct, featherwork exposed conventions of pictorial representation and the limitations of the sense of sight itself, embodying an epistemological dilemma that was especially important to the intellectual culture of seventeenth-century Spain. [ABSTRACT FROM AUTHOR]

Spinoza's philosophy of immanence represents a turning point that radically changed our conception of human agency and its relation to infinity. Hans Blumenberg rightly called the principle of immanence "a general hypothesis of the epoch", a principle that applies to philosophy no less than to the sciences and arts in the seventeenth century. This article looks at Dutch paintings by drawing parallels between Spinoza's philosophy and Vermeer's work. Spinoza and Vermeer both deny a dualistic conception of the world and a hierarchical structure between inner and outer spheres. With the example of Vermeer's painting the Milkmaid, this article shows how an analysis of light and colour, time and space, reveal a vision of immanent infinity, with the human agent at its centre. [ABSTRACT FROM AUTHOR]

A mysterious force capable of binding things as well as people together and a guiding moral principle, the concept of "sympathy" in the late eighteenth century blurred the boundaries between superstition and Enlightenment rationality. What light might this "sympathy" shed on James Cook's last voyage? What might it say about the induction of artifacts brought back from that voyage into European collections and, correspondingly, the contemporaneous introduction of "European" objects into Pacific cosmologies? Focusing on the materiality of these objects, specifically, the feather, allows us to explore the ways in which "sympathy" both unites and divides these heterogeneous archives. [ABSTRACT FROM AUTHOR]

Between 1913 and 1914, the connoisseur and Baroque expert Roberto Longhi wrote two texts on the Futurists. Longhi used Heinrich Wölfflin's formalist categories to explain Futurism's formal innovation as heir to the Baroque and as the source of a specifically Italian aesthetics. Longhi analyzed the Baroque and Futurism through the tropes of "Latinity" versus "Germanity." Although he avoided chauvinistic proclamations and racial terminology, his work engaged in conversations about national identity, the place of Italian art in the history of the avant-garde, and the geopolitical aspirations of Italy on the eve of World War I. [ABSTRACT FROM AUTHOR]

The bronze statue of Neptune (around 1615–20) in the Long Market (Długi Targ) in Gdańsk unifies two opposed antique prototypes, a contrapposto figure which shows the god Neptune peacefully resting, and a dynamic figure applying the trident, his weapon, in combat. The new combination represents mimetically the changeable nature of the god’ s liquid sphere, the sea. In its artistic invention the statue manifests such an exact knowledge and familiarity with the study of antiquity and the artistic methods from Michelangelo Buonarroti until to Giambologna (Jean Boulogne, 1529– 1608), that we have to look for the artist among those trained in sixteenth Century Florence. Among the works of the Dutch Hubert Gerhard (1550– 1620), trained until to 1581 in Florence in the circle of Giambologna and later active in Augsburg and Munich as a leading Northern Mannerist artist, the Archangel Vanquishing Lucifer (1588) at the facade of St Michael’s Church (M unich) comes most close to the movement expressed in the Gdańsk Ne ptune.

The St. Louis Art Museum’s statue ofReclining Panproved inspirational to many artists of the seventeenth century, none more so than Giovanni Benedetto Castiglione. The artist reproduced the statue in many of his works, making it a symbol of hisinvenzione. Previously, the few reproductions known of the statue have given the impression that Baroque audiences considered it antiquwct 2 e, and of less interest than other antiquities. This article corrects that assumption by examining Castiglione’s, as well as Peter Paul Rubens’, Joachim von Sandrart’s, Nicolas Poussin’s, and Salvator Rosa’s uses of the statue. The artists used thePanas both figural exemplar and symbol for pastoral themes. These artistic responses are here set alongside new information concerning thePan’s seventeenth-century provenance, display, and attribution to Bernini, to reveal theReclining Panas a primary catalyst for the period’s extensive Arcadian and bacchanalian imagery while simultaneously representing lessons of the classical style. [ABSTRACT FROM PUBLISHER]

Copyright of Ars is the property of Slovak Academy of Sciences, Institute of Art History of SAS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gregorio Vásquez de Arce y Ceballos (1638-1711) has been considered, due to his prolific production, the greatest colonial painter of the New Kingdom of Granada. His first biography was written in 1859 by Juan Manuel Groot and was later disseminated by Alberto Urdaneta through the first National Fair of 1886 and the Papel Periódico Ilustrado. Finally, in 1926, Roberto Plzano wrote a new text analyzing the painter's work from personal observation. Through these texts, Vasquez is seen as a founding hero of the arts in Colombia, as a function of certain national ideals of the Conservative Republic. [ABSTRACT FROM AUTHOR]

The 1627-28 sale of the cream of the Gonzaga art collection belonging to the Dukes of Mantua was, arguably, the greatest art transaction of the seventeenth century. Many theories have been put forward by scholars as to the origins of the sale. However, the friendship between Daniel Nijs, the Flemish merchant in Venice who brokered the sale, and Isaac Wake, the English ambassador in Venice at the time, has largely been overlooked. This article will trace the development of their friendship from its beginnings during Wake's employment as secretary to Dudley Carleton, English ambassador in Venice between 1610 and 1615, through Wake's subsequent posting to Turin and his return to Venice as ambassador himself in 1625. Wake held Nijs in high esteem and was in a position to recommend the Fleming's services favourably to his fellow Englishmen. The Gonzaga sale needs to be understood against this background. [ABSTRACT FROM AUTHOR]

This article examines the progress of a series of ambassadorial visits to Rome by emissaries from the Kongo, Japan, and Safavid Persia as they unfolded over the reign of Pope Paul V. Close attention is paid to the visual representation of the ambassadors, and of their actions, in engravings and in the decoration of the Quirinal Palace. The author argues that the public aspects of diplomacy, and of the visual representations based on it, played a significant role in articulating the Papacy's missionary ambitions and sense of its global position. Furthermore, it is argued that the diplomatic and courtly practices of the papal court played a significant role in mediating the representation of "other" cultures in early modern Europe. [ABSTRACT FROM AUTHOR]

Copyright of Acta Historiae Artis Slovenica is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The name of the painter Francisco Pacheco (1564–1644) is often mentioned in connection with his pupil and son-in-law, Velázquez and for his book on painting, the Arte de la Pintura (Seville, 1649). However, during seventeenth-century Spain, and before Velázquez hit fame in the 1620s, Pacheco was recognized for his book of portrait drawings and eulogies, the Libro de descripción de verdaderos retratos de ilustres y memorables varones, which remained unpublished. This essay aims to introduce the reader to the Libro and to analyse the role that the original drawings had in the context of seventeenth-century Spain. The concept of ‘true likeness’ appears often in the eulogies of the sitters, and indeed, in the title of the work. To Pacheco, drawings were the most accurate medium for an authentic portrait, and were also means to attract help in compiling the book, and social recognition, from colleagues and learned contemporaries. [ABSTRACT FROM AUTHOR]

An introduction to the journal is presented in which the editors discuss the various articles published within the issue on topics which include the art and architecture in the seventeenth and eighteenth centuries, the popular art history writing during the period, and the relationship of academic art historiography and the popular forms of its communication.

This essay argues that illustrations to early modern Aesop's Fables, especially those by Francis Barlow, deserve attention as a distinct form of representation that offered meanings that were independent of the words they accompanied. Drawing on conventions of depiction germane to natural history illustration and landscape painting, the illustrations in these works invited a mode of reading that ran counter to the allegorical format of the tales they accompanied. By construing viewers as observers of nature, the illustrations asked readers to consider the most important epistemological questions of the modern era, what is nature to man, and man to nature? In the real world outside of these works the possibility of a non-allegorical relationship with nature had already been subsumed by the anti-allegorical relations established between nature and capital in mercantile imperialism, between dissection and truth in natural sciences, and between nature and property in political theory. The illustrations in seventeenth-century Aesops can therefore be seen to reveal to us a strangely dilated and even fantastical moment in which it might have possible to imagine a nature that afforded us no surplus in economic, ontological, or even theological terms. [ABSTRACT FROM AUTHOR]

The article focuses on the series of eight paintings done between 1715 and 1721 by English artist James Thornhill to decorate the dome of St. Paul's Cathedral in London, England. The mural paintings depict eight images taken from from New Testament account of the life of Saint Paul the Apostle taken form the Acts of the Apostles. The author considers the cultural milieu in which the painting was created, focusing on the work as part of the English history painting genre, the political aspects of the Church of England during the period, and the history of the erection of St. Paul's Cathedral, designed by Christopher Wren.

The article temporal models in post 16th century art, historiographic, and cultural studies. Writings of numerous 17th and 18th century authors are cited on the topic of cyclical models of time. Art historian Vasari worked according to a temporal model of progress punctuated by decline. That 17th century progression model was gave way to cyclical models which seemed better to conform to developments observed in art and culture. The invention of the museum is said to have brought time to a standstill.

The meaning of music crosses the historically conceived concept of time. This article focuses on the the works of Johann Sebastian Bach and Felix Mendelssohn-Bartholdy as cases ponting out the resistence of musical signs (semiotically speaking) to functionalist readings, which would transform them into ruins (to be precise, rubble of the past acquiring their real beauty in the present, as Marc Augé try to display, in his recent essay, with regard to heritage of some culture). Mendelssohn's role was central, in the debates of his time, about the new perspectives of lutheran sacred song, because he suffered the resistence opposed by some contemporary composers and critics to his Paulus, the oratorio addressed to the concert halls and not to the sacred service. Bach's thought endured several misinterpretations during the romantic era. The case of Two and three part Inventions shows that the sense of arising musical culture of the past has to be corrected (translated) to prove the linear historical development of art. [ABSTRACT FROM AUTHOR]

The article presents a study of seventeenth-century raised-work embroideries. In these works, not only do their subjects and techniques exemplify contemporary trends in needleworking, but their visual imagery and design disclose fundamental cultural assumptions about order, gender, and imagination. This study, which focuses on the meaning and function of the "rocky pool" motif within the context of the embroidered design, examines the importance of needlework within women's domestic culture, particularly as an outlet for creative expression and imagination.

Examines the works of 18th-century artist Jacques-Louis David. `Portrait of Antoine-Laurent and Marie-Anne Lavoisier,' 1788; David's didactism, praise of virtue and social idealism; Strong and positive image of a woman in his art; David's ideas on the unified progress of the arts, sciences and society; David's ideological positions prior to 1789.

Explores the formation and the character of the art of the 17th-century Dutch cities of Delft and Leiden, using the concept of urban subconscious. Artistic isolation of the towns of the province of Holland during the period; Definition of the urban subconscious; Differences in the identities of the two cities as manifested in their art; Town descriptions; Dispositions of water and land; City names.

The article focuses on the manuscripts of Matteo Zaccolini of Cesena, Italy in the collection of Cassiano Dal Pozzo. Zaccolini's artistic career restricts to decorations and projects for the Theatine churches and monasteries in Rome and Naples. Aside from his paintings, he also writes. In fact, four illustrated volumes on perspective and color survive among the Ashburnham manuscripts of the Laurentian Library in Florence. The four volumes covers the importance of Baroque art theory in Italian history. Thus, the evidence of the collection testifies the importance of making art scientific and systematic, a quality associated with Baroque naturalism through the works of art themselves.

The article highlights Pierleone Casella's "Elogia Illustrium Artificum of 1606," the early seventeenth-century canon of artistic excellence. It focuses on the manner of Casella's style in writing, was described as enigmatic and far more superficial for it follows the style of Florus and of Seneca rather than the splendid elegance of Ciceronian style. Furthermore, the tentative interpretation and translation of Casella's "Elogia" were depicted as a work not from his own effort but from different collaborations of many colleagues and the canon's overall significance was rather defective than being impressive.

The article presents an art catalog of the 17th century paintings forged by Karel la Fargue. He forged the painting "Herdsmen and Cattle Fording a River" by J. Asselijn with black and red chalk and a brown and blue wash, which showed an Italian landscape with a ruined bridge, a river and a flock of animals being herded through it. In "Beach View with Horseman and Two Fisherman," Asselijn used black chalk with brown wash, which showed a beach view with a beacon and a gentleman on a horseback conversing with two peasants in the foreground. In "Mountain Landscape with Hunting Party," which was done by either Asselijn or A. van der Kabel, the artist used black chalk with a grey and light brown wash.

The article focuses on the life and works of painter Karel la Fargue, forger of 17th century Dutch drawings. He was born in 1738 and specialized in landscapes and townscapes, which were based on the works of 17th century masters including Gerrit Adriaensz Berckheyde and Jan van der Heyden. He worked solely with pens in the initial stage of his career and shifted to using brushes and black chalk in the 1750s. His career as a counterfeiter started in the early 1760s. Later, his imitations increased in frequency, and he became increasingly adept at it. He forged the paintings "River Landscape with Five Cows," by Aelbert Cuyp and "Winter Landscape with 'Kolf ' Players," by Aert van der Neer.

The article focuses on "Dog-Chasing Contest," a single six-fold screen painting which documents the last phase in the evolution of the dog-chase theme and is an important addition to the Japanese collections of the Detroit Institute of Arts in Michigan. The size of this screen is very large by normal standards. The fences in the painting are clearly depicted and are reminiscent of one surrounded the Kamo Shrine race track in Kyoto, Japan. Mountains and a body of water are visible in the background, and the scene is almost entirely bordered by clouds at top and bottom. Yamane Yuzo attributed the screen to an eclectic town artist and dated it to the mid-17th century.

The article presents information regarding the American Antiquarian Society for the 1934-1935 year. Fund raising efforts by the society to cover acquisitions for its library collection are detailed. The article reports that the grounds of the library lost its box hedge and an elm tree and an alarm system was installed in the library after it suffered a theft. The Society partnered with the Worcester Art museum to host an exhibition of 17th-century New England portraits in the summer of 1934. The article also notes the death of several members of the society in 1935 including Roland B. Dixon, William L. Clements, and Albert H. Whitin.

This introduction situates the essays of this special issue within current scholarship on art and religious reform in early modern Europe. The first section considers iconoclasm and the settlements reached in its aftermath, and emphasizes the richness and diversity of the Protestant and Catholic visual cultures that evolved alongside movements for religious reform. The second section considers the individual essays, and draws out common themes: the relationship between image and word; artists’ and patrons’ responses to new understandings of Christian history and soteriology; images’ role in the construction of confessional boundaries, but also their ability to transgress those boundaries. The introduction highlights the plurality of methodological approaches adopted by the contributors, which reminds us that although attention to the social and political contexts in which images were produced and received is an essential part of both historical and art-historical analysis, the power of art can never be fully captured through words. [ABSTRACT FROM AUTHOR]