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Author : Walter S. Gibson Publisher : Univ of California Press Page : 291 pages File Size : 41,7 Mb Release : 2006-02 Category : Art ISBN : 9780520245211
Pieter Bruegel and the Art of Laughter by Walter S. Gibson Pdf
In this delightfully engaging book, Walter S. Gibson takes a new look at Bruegel, arguing that the artist was no erudite philosopher, but a man very much in the world, and that a significant part of his art is best appreciated in the context of humour.
Pieter Bruegel’s Historical Imagination by Stephanie Porras Pdf
The question of how to understand Bruegel’s art has cast the artist in various guises: as a moralizing satirist, comedic humanist, celebrator of vernacular traditions, and proto-ethnographer. Stephanie Porras reorients these apparently contradictory accounts, arguing that the debate about how to read Bruegel has obscured his pictures’ complex relation to time and history. Rather than viewing Bruegel’s art as simply illustrating the social realities of his day, Porras asserts that Bruegel was an artist deeply concerned with the past. In playing with the boundaries of the familiar and the foreign, history and the present, Bruegel’s images engaged with the fraught question of Netherlandish history in the years just prior to the Dutch Revolt, when imperial, religious, and national identities were increasingly drawn into tension. His pictorial style and his manipulation of traditional iconographies reveal the complex relations, unique to this moment, among classical antiquity, local history, and art history. An important reassessment of Renaissance attitudes toward history and of Renaissance humanism in the Low Countries, this volume traces the emergence of archaeological and anthropological practices in historical thinking, their intersections with artistic production, and the developing concept of local art history.
Pieter Bruegel the Elder: Art Discourse in the Sixteenth-Century Netherlands examines the later images by Bruegel in the context of two contemporary discourses - art theoretical and convivial. The first concerns the purely visual interactions between artists and artistic practices that unfold in pictures, which often transgress the categorical boundaries modern scholars place on their work, such as sacred and profane, antique and modern, and Italian and Northern. In this context, the images themselves - those of Bruegel, his contemporaries and predecessors - make up the primary source material from which the author argues. The second deals with the dialogue that occurred between viewers in front of pictures and the way in which pictorial strategies facilitated their visual experience and challenged their analytical capabilities. In this regard, the author expands his base of primary sources to include convivial texts, dialogues and correspondences, and texts by rhetoricians and Northern humanists addressing art theoretical issues. Challenging the conventional wisdom that the artist eschewed Italianate influences, this study demonstrates how Bruegel's later peasant paintings reveal a complicated artistic dialogue in which visual concepts and pictorial motifs from Italian and classical ideas are employed for a subject that was increasingly recognized in the sixteenth century as a specifically Northern phenomenon. Similar to the Dutch rhetorician societies and French Pl?de poets who cultivated the vernacular language using classical Latin, the function of this interpictorial discourse, the author argues, was not simply to imitate international trends, a common practice during the period, but to use it to cultivate his own visual vernacular language. Although the focus is primarily on Bruegel's later work, the author's conclusions are applied to sketch a broader understanding of both the artist himself and the vibrant artistic dialogue occurring in the Netherl
Pieter Bruegel and the Culture of the Early Modern Dinner Party by Claudia Goldstein Pdf
Mining a rich, interdisciplinary mix of sources, including stoneware jugs, personal correspondence, paintings, inventories, and literature written for the dining room, this study offers a critical and entirely original examination of the function of early modern images for the people who owned and viewed them. The study explores the emergence, functions and material culture of the Antwerp dinner party during the heady days of the mid-sixteenth century, when Antwerp?s art market was thriving and a new wealthy, non-noble class dominated the city. The author recontextualizes some of Bruegel?s work within the cultural nexus of the dining room, where material culture and theatrical performance met humanist wit and the desire for professional advancement. The narrative also touches on the reception of Northern art in Lombardy, on intersections among painting, material culture, and theater, and on intellectual history.
Laughter in the Middle Ages and Early Modern Times by Albrecht Classen Pdf
Despite popular opinions of the ‘dark Middle Ages’ and a ‘gloomy early modern age,’ many people laughed, smiled, giggled, chuckled, entertained and ridiculed each other. This volume demonstrates how important laughter had been at times and how diverse the situations proved to be in which people laughed, and this from late antiquity to the eighteenth century. The contributions examine a wide gamut of significant cases of laughter in literary texts, historical documents, and art works where laughter determined the relationship among people. In fact, laughter emerges as a kaleidoscopic phenomenon reflecting divine joy, bitter hatred and contempt, satirical perspectives and parodic intentions. In some examples protagonists laughed out of sheer happiness and delight, in others because they felt anxiety and insecurity. It is much more difficult to detect premodern sculptures of laughing figures, but they also existed. Laughter reflected a variety of concerns, interests, and intentions, and the collective approach in this volume to laughter in the past opens many new windows to the history of mentality, social and religious conditions, gender relationships, and power structures.
Pieter Bruegel and the Idea of Human Nature by Elizabeth Alice Honig Pdf
A fresh account of the life, ideas, and art of the beloved Northern Renaissance master. In sixteenth-century Northern Europe, during a time of increasing religious and political conflict, Flemish painter Pieter Bruegel explored how people perceived human nature. Bruegel turned his critical eye and peerless paintbrush to mankind’s labors and pleasures, its foibles and rituals of daily life, portraying landscapes, peasant life, and biblical scenes in startling detail. Much like the great humanist scholar Erasmus of Rotterdam, Bruegel questioned how well we really know ourselves and also how we know, or visually read, others. His work often represented mankind’s ignorance and insignificance, emphasizing the futility of ambition and the absurdity of pride. This superbly illustrated volume examines how Bruegel’s art and ideas enabled people to ponder what it meant to be human. Published to coincide with the four-hundred-fiftieth anniversary of Bruegel’s death, it will appeal to all those interested in art and philosophy, the Renaissance, and Flemish painting.
The history of art in the late Middle Ages and the Renaissance has generally been written as a story of elites: bankers, noblemen, kings, cardinals, and popes and their artistic interests and commissions. Recent decades have seen attempts to recast the story in terms of material culture, but the focus seems to remain on the upper strata of society. In his inclusive analysis of art from 1300 to 1600, Rembrandt Duits rectifies this. Bringing together thought-provoking ideas from art historians, historians, anthropologists and museum curators, The Art of the Poor examines the role of art in the lower social classes of Europe and explores how this influences our understanding of medieval and early modern society. Introducing new themes and raising innovative research questions through a series of thematically grouped short case studies, this book gives impetus to a new field on the cusp of art history, social history, urban archaeology, and historical anthropology. In doing so, this important study helps us re-assess the very concept of 'art' and its function in society.
Pieter Bruegel the Elder and Religion by Anonim Pdf
New insight into the religious dimension of Bruegel’s art. With a number of highly original case studies, the volume illuminates Bruegel’s multifaceted engagement with the contemporary religious concepts and practices of his era.
Historical Dictionary of Renaissance Art by Lilian H. Zirpolo Pdf
This second edition of Historical Dictionary of Renaissance Art contains a chronology, an introduction, and a bibliography. The dictionary section has over 700 cross-referenced entries on artists from Italy, Flanders, the Netherlands, Germany, Spain, and Portugal, historical figures and events that impacted the production of Renaissance art.
Art and Dis-illusion in the Long Sixteenth Century by Larry Silver Pdf
Dramatic changes during the Reformation era in Northern Europe, such as witchcraft and new global discoveries, are examined through visual culture, both prints and paintings.
The Venetian Origins of the Commedia dell'Arte by Peter Jordan Pdf
The Venetian Origins of the Commedia dell'Arte is a striking new enquiry into the late-Renaissance stirrings of professional secular comedy in Venice, and their connection to the development of what came to be known as the Commedia dell’Arte. The book contends that through a symbiotic collaboration between patrician amateurs and plebeian professionals, innovative forms of comedy developed in the Venice region, fusing ‘high’ and ‘low’ culture in a provocative mix that had a truly mass appeal. Rich with anecdotes, diary entries and literary – often ribald – comic passages, Peter Jordan's central argument has important implications for the study of Venetian art, popular theatre and European cultural history.
Peasant festival imagery began in sixteenth-century Nuremberg, when the city played host to a series of religious and secular festivals. The peasant festival images were first produced as woodcut prints in the decade between 1524 and 1535 by Sebald Beham. These peasant festival prints show celebrating in a variety of ways including dancing, eating and drinking, and playing games. In Before Bruegel, Alison Stewart takes a fresh look at these images and explores them within their historical and cultural contexts, including the introduction of the Lutheran Reformation into the town's institutions and the accompanying re-evaluation of the town's popular festivals. Stewart goes beyond the black-and-white approaches of previous interpretations, to examine the festival prints in a more complex manner. In the first publication of its kind, Stewart makes the case for a range of meanings these works held for a sixteenth-century audience and for Beham's pictorial inventiveness and his business savvy. Beham is credited with inventing the subject of peasant festivals in Northern Renaissance art and for creating a market for the subject by the middle of the sixteenth century, with his large-scale woodcuts at Nuremberg and with tiny engravings at Frankfurt. Stewart shows that the market Beham created for prints with the theme of peasant festivals paved the way for Pieter Bruegel's Netherlandish paintings of the same theme, dating but a few years later.
The Artistic Sphere by Roger D. Henderson,Marleen Hengelaar-Rookmaaker Pdf
While some Christians have embraced the relationship between faith and the arts, the Reformed tradition tends to harbor reservations about the arts. However, among Reformed churches, the Neo-Calvinist tradition—as represented in the work of Abraham Kuyper, Herman Dooyeweerd, Hans Rookmaaker, and others—has consistently demonstrated not just a willingness but a desire to engage with all manner of cultural and artistic expressions. This volume, edited by art scholar Roger Henderson and Marleen Hengelaar-Rookmaaker, the daughter of art historian and cultural critic Hans Rookmaaker, brings together history, philosophy, and theology to consider the relationship between the arts and the Neo-Calvinist tradition. With affirmations including the Lordship of Christ, the cultural mandate, sphere sovereignty, and common grace, the Neo-Calvinist tradition is well-equipped to offer wisdom on the arts to the whole body of Christ.
