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"This book excavates the unequaled reception of Flemish artist Peter Paul Rubens in Latin America in the form of prints made after his works, arguing that colonial artists in the New World forged new frameworks for artistic creativity by conforming to European printed designs"--
This book examines the reception in Latin America of prints designed by the Flemish artist Peter Paul Rubens, showing how colonial artists used such designs to create all manner of artworks and, in the process, forged new frameworks for artistic creativity. Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist’s designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects. Rubens in Repeat is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analyzing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator.
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.
They are sometimes called storksbills and originated in South Africa. They may be star-shaped or funnel-shaped, and they range in color from white, pink, and orange-red to fuchsia and deep purple. The geranium and its many species, much loved and also much loathed, have developed since the seventeenth century into one of the most popular garden plants. In this book, Kasia Boddy tells the story of geranium’s seemingly inexorable rise, unearthing the role it has played in everything from plant-hunting and commercial cultivation to alternative medicine, the philanthropic imagination, and changing styles in horticultural fashion. Boddy shows how geraniums became the latest fad for wealthy collectors and enterprising nurserymen after they were first collected by Dutch plant-hunters on the sandy flats near present-day Cape Town. She explains that the flower would not be rare for long—scarlet hybrids were soon found on every cottage windowsill and in every park bedding display, and the backlash against the innocent plant followed quickly on the heels of its ubiquity. Today, geraniums can be found throughout the world, grown as annuals in the regions too cold for them to regenerate. In addition to exploring the history of geraniums, Boddy reveals the plant’s other uses, including how they are cultivated and distilled for their scents of citrus, mint, pine, rose, and various spices to use in perfumes. With their edible leaves, they are also used to flavor desserts, cakes, jellies, and teas, and some people believe that certain species provide an effective treatment for a cough. Featuring over one hundred illustrations, Geranium shows how the plant is portrayed in painting, literature, film, and popular culture, and provides an intriguing example of the global industrialization of plant production.
Concepts of Creativity in Seventeenth-century England by Rebecca Herissone,Alan Howard Pdf
The first genuinely interdisciplinary study of creativity in early modern England In the seventeenth century, the concept of creativity was far removed from most of the fundamental ideas about the creative act - notions of human imagination, inspiration, originality and genius - that developed in the eighteenthand nineteenth centuries. Instead, in this period, students learned their crafts by copying and imitating past masters and did not consciously seek to break away from tradition. Most new material was made on the instructions of apatron and had to conform to external expectations; and basic tenets that we tend to take for granted-such as the primacy and individuality of the author-were apparently considered irrelevant in some contexts. The aim of this interdisciplinary collection of essays is to explore what it meant to create buildings and works of art, music and literature in seventeenth-century England and to investigate the processes by which such creations came into existence. Through a series of specific case studies, the book highlights a wide range of ideas, beliefs and approaches to creativity that existed in seventeenth-century England and places them in the context of the prevailing intellectual, social and cultural trends of the period. In so doing, it draws into focus the profound changes that were emerging in the understanding of human creativity in early modern society - transformations that would eventually lead to the development of a more recognisably modern conception of the notion of creativity. The contributors work in and across the fields of literary studies, history, musicology, history of art and history of architecture, and their work collectively explores many of the most fundamental questions about creativity posed by the early modern English 'creative arts'. REBECCA HERISSONE is Head of Music and Senior Lecturer in Musicology at the University of Manchester. ALAN HOWARD is Lecturer in Music at the University of East Anglia and Reviews Editor for Eighteenth-Century Music. Contributors: Linda Phyllis Austern, Stephanie Carter, John Cunningham, Marina Daiman, Kirsten Gibson, Raphael Hallett, Rebecca Herissone, Anne Hultzsch, Freyja Cox Jensen, Stephen Rose, Andrew R. Walkling, Amanda Eubanks Winkler, James A. Winn.
Transcortical aphasias is the term used for syndromes in which the ability to repeat language is relatively preserved despite marked disturbances in other linguistic domains. Although there are a number of well-known reference texts on language disturbances after acquired brain damage that uncover the classical syndromes of aphasia (e.g. conduction aphasia) in a comprehensive fashion, this monograph is unique in its coverage of the different clinical, linguistic, and neuroanatomical aspects of transcortical aphasias. This book offers a comprehensive, contemporary and scholarly account of transcortical aphasias by combining valuable information upon cognitive neuropsychology, neuroimaging and functional localization of residual repetition and other language functions among patients with transcortical aphasias. The book covers: historical aspects; assessment of language deficits from a clinical and psycholinguistic perspective; clinical phenomenology, aetiology, neural substrates, and linguistic mechanisms underlying each of the three clinically established variants of transcortical aphasias (motor, sensory, and mixed); associated phenomena such as echolalia, completion phenomenon, automatic speech, and prosody; and neuroanatomical correlates including structural and functional neuroimaging. Each chapter presents the description of original and published cases which illustrate the various clinical patterns of transcortical aphasias.
The Drunken Silenus is a book that is as hard to categorize as it is to put down--an enlightening and mesmerizing blend of philosophy, history, and art criticism. Morgan Meis begins simply enough, with a painting by the Baroque master Peter Paul Rubens of the figure from Greek mythology who is mentor to Dionysus, god of wine and excess of every kind. We learn who this obscure, minor god is--why he must attend on the god who dies and must be re-born and educated all over again--and why Rubens depicted him not as a character out of a farce, but as one whose plight evokes pity and compassion. The narrative spirals out from there, taking in the history of Antwerp, bloody seventeenth-century religious wars, tales of Rubens's father's near-execution for sleeping with William of Orange's wife, Nietzsche's Birth of Tragedy and the impossibility of there being any meaning to human life, and the destruction of all civilization by nefarious forces within ourselves. All of this is conveyed in language that crackles with intelligence, wit, and dark humor--a voice that at times sounds a bit tipsy and garrulous, but which ultimately asks us to confront the deepest questions of meaning, purpose, and hope in the face of death and tragedy.
Before Call of Duty, before World of Warcraft, before even Super Mario Bros., the video game industry exploded in the late 1970s with the advent of the video arcade. Leading the charge was Atari Inc., the creator of, among others, the iconic game Missile Command. The first game to double as a commentary on culture, Missile Command put the players’ fingers on “the button,†? making them responsible for the fate of civilization in a no-win scenario, all for the price of a quarter. The game was marvel of modern culture, helping usher in both the age of the video game and the video game lifestyle. Its groundbreaking implications inspired a fanatical culture that persists to this day.As fascinating as the cultural reaction to Missile Command were the programmers behind it. Before the era of massive development teams and worship of figures like Steve Jobs, Atari was manufacturing arcade machines designed, written, and coded by individual designers. As earnings from their games entered the millions, these creators were celebrated as geniuses in their time; once dismissed as nerds and fanatics, they were now being interviewed for major publications, and partied like Wall Street traders. However, the toll on these programmers was high: developers worked 120-hour weeks, often opting to stay in the office for days on end while under a deadline. Missile Command creator David Theurer threw himself particularly fervently into his work, prompting not only declining health and a suffering relationship with his family, but frequent nightmares about nuclear annihilation. To truly tell the story from the inside, tech insider and writer Alex Rubens has interviewed numerous major figures from this time: Nolan Bushnell, founder of Atari; David Theurer, the creator of Missile Command; and Phil Klemmer, writer for the NBC series Chuck, who wrote an entire episode for the show about Missile Command and its mythical “kill screen.†? Taking readers back to the days of TaB cola, dot matrix printers, and digging through the couch for just one more quarter, Alex Rubens combines his knowledge of the tech industry and experience as a gaming journalist to conjure the wild silicon frontier of the 8-bit ’80s. 8-Bit Apocalypse: The Untold Story of Atari's Missile Command offers the first in-depth, personal history of an era for which fans have a lot of nostalgia.
Author : Javier F Leon,Helena Simonett Publisher : University of Illinois Press Page : 496 pages File Size : 43,6 Mb Release : 2016-07-15 Category : Music ISBN : 9780252098437
A Latin American Music Reader by Javier F Leon,Helena Simonett Pdf
Javier F. León and Helena Simonett curate a collection of essential writings from the last twenty-five years of Latin American music studies. Chosen as representative, outstanding, and influential in the field, each article appears in English translation. A detailed new introduction by León and Simonett both surveys and contextualizes the history of Latin American ethnomusicology, opening the door for readers energized by the musical forms brought and nurtured by immigrants from throughout Latin America. Contributors: Marina Alonso Bolaños, José Jorge de Carvalho, Maria Ignêz Cruz Mello, Gonzalo Camacho Díaz, Claudio F. Díaz, Rodrigo Cantos Savelli Gomes, Juan Pablo González, Javier F. León, Rubén López Cano, Angela Lühning, Jorge Martínez Ulloa, Julio Mendívil, Carlos Miñana Blasco, Raúl R. Romero, Iñigo Sánchez Fuarros, Carlos Sandroni, Carolina Santamaría Delgado, Helena Simonett, Rodrigo Torres Alvarado, and Alejandro Vera.
Author : Giovanni Pietro Bellori,Hellmut Wohl Publisher : Cambridge University Press Page : 532 pages File Size : 50,8 Mb Release : 2005-11-21 Category : Art ISBN : 0521781876
Giovan Pietro Bellori: The Lives of the Modern Painters, Sculptors and Architects by Giovanni Pietro Bellori,Hellmut Wohl Pdf
This is the first complete translation of the biographies of fifteen artists, including Annibale Carracci, Carvaggio, Rubens, Van Dyck, and Poussin, written by the seventeenth-century antiquarian Giovan Pietro Bellori. Originally conceived as a continuation of Vasari's famous Lives, it is a fundamental source for seventeenth-century Italian art and artistic theory, providing detailed descriptions of extant and lost works of art, while casting light on the cultural politics of contemporary Rome and the relations between Rome and France. The importance of Bellori's Lives lies in the scrupulous documentation of artists, many of whom he knew personally; the author's detailed descriptions of their works; and his exposition of the classicist theory of art in the introductory lecture, the Idea. This volume contains the twelve Lives published in the original edition of 1672 and three Lives (Guido Reni, Andrea Sacchi, and Carlo Maratti) that survive in manuscript form and that were published for the first time in 1942.
The Body of Raphaelle Peale by Alexander Nemerov Pdf
"The Body of Raphaelle Peale is a close reading not just of Raphaelle's paintings but also of the visual and intellectual culture of early-nineteenth-century Philadelphia to which they intimately relate. More broadly, the book presents a reading of romanticism in the American visual arts. Above all, it is an argument about selfhood in Raphaelle's era. Raphaelle focused - in paintings both playful and morbid - on the pleasures and horrors of being a mere body, of being less than a self."--BOOK JACKET.
