ARTS AND SOCIETY IN EARLY MODERN EUROPE

Module’s ObjectivesThe module will allow students to analyse the historical meanings of ‘arts’ - in which luxury objects are considered alongside painting, sculpture and architecture - by placing them in the context of early modern European society. Its ample geographical focus (Italy, Germany, the Netherlands, Spain, France and England) is designed to highlight the different paths by which Europe acquired a shared visual culture. As a Special Subject, it will give students the opportunity to study a set of problems in depth, with the aid of primary printed sources and artefacts (to be studied directly in museum collections and through internet resources). It is also intended to develop the ability of students to engage with visual materials in order to broaden and refine their historical analyses.

Seminars

Term 1

1. Week 1 - Introduction: Arts, History and Social Change

2. Week 2 - Art in Theory

3. Week 3 - The Artist’s Practice

4. Week 4 - From Guilds to Academies: The Changing Status of the Artist

5. Week 5 - Female Artists

6. Week 7 - Objects and Material Culture

7. Week 8 - The World of Glass, Ceramics and Silk

8. Week 9 - Courts and Republics: Patrons and Spectators

9. Week 10 - Religion and Art: Catholics and Protestants

Term 2

10. Week 1 - Arts and State Building

11. Week 2 - Aristocratic Collectors

12. Week 3 - Displaying Art and Nature: Kunstkammern and Wunderkammern

13. Week 4 - The Birth of the Art Market

14. Week 5 - Visual Culture, the Natural World and Technology

15. Week 7 - Mapmaking and Cartography

16. Week 8 – Luxury Objects

17. Week 9 - Europe and Global Arts

18. Week 10 - Distant Perspectives: Arts and Society in Ming China

1

Primary Sources

Alberti, Leon Battista, On Painting, New Haven-London 1966 [ND 49.A5]

Cellini, Benvenuto, Autobiography, Harmondsworth 1956 [NB 623.C3]

Cellini, Benvenuto, The Treatises of Benvenuto Cellini on Goldsmithing and Sculpture, New York 1967 [NB 623.C3]

Cennini, Cennino, The Craftsman’s Handbook: The Italian ‘Il libro dell’arte’, New York 1960 [ND 1130.C3]

Chambers, David S. (ed), Patrons and Artists in the Italian Renaissance, London 1970 [N 6915.C4]

Condivi, Ascanio, The Life of Michelangelo, ed. Helmut Wohl, Philadephia 1999 [other edition NB 623.M4]

Denvir, Bernard (ed), From the Middle Ages to the Stuarts: Art, Design and Society before 1689, London 1988 [N 6765.D3]

Edwards, Steve (ed), Art and its Histories. A Reader, London 1999 [N 6350.AZ]

Enggass, Robert - Brown, Jonathan (eds), Italian and Spanish Art, 1600-1750: sources and documents, Evanston, Ill., 1992 [N 6916.E6]

Gilbert, Creighton E. (ed), Italian Art 1400-1500. Sources and Documents, Englewood Cliffs, N.J., 1980 [N 6915.G4]

Harrison, Charles – Wood, Paul – Gaiger, Jason (eds), Art in Theory, 1648-1815. An Anthology of Changing Ideas, Oxford 2000 [N 6420.A7]

Holt, Elizabeth (ed.), A Documentary History of Art. Vol. 1: The Middle Ages and the Renaissance, Princeton 1981 [N 5940.H6]

Holt, Elizabeth (ed.), A Documentary History of Art. Vol. 2: Michelangelo and the Mannerists. The Baroque and the Eighteenth Century, Princeton 1982 [N 5940.H6]

Klein, Robert - Zerner, Henry (eds.), Italian Art, 1500-1600: sources and documents, Englewood Cliffs, N.J., 1966 [N 6915.K5]

Leonardo da Vinci, Leonardo on Painting, sel. and trans. by Martin Kemp and Margaret Walker, New Haven-London 1989 [ND 1130.L3]

Leonardo da Vinci, The Notebooks of Leonardo da Vinci, ed. Irma A. Richter, Oxford 1980 [ND 623.L3]

Michelangelo Buonarroti, Michelangelo: Life, Letters and Poems, ed. by George Bull, Oxford 1987 [NB 623.M4]

Stechov, Wolfgang, Northern Renaissance Art, 1400-1600: sources and documents, Englewood Cliffs, N.J., 1966 [N 6370.S8]

van Mander, Carel, Dutch and Flemish Painters, New York 1969 [ND 631.M2]

Vasari, Giorgio, The Lives of the Painters, Sculptors and Architects, 2 vols., London 1996 [N 6922.V2]

2

Seminar 1. Introduction: Arts, History and Social Change

Seminar questions1. In what ways the analysis of the arts help us explain historical change in the early modern period?

2. Are artistic objects less reliable than written documents as source of information for historians?

3. “Historians and art historians belong to two entirely different traditions of intellectual enquiry”. Discuss

Suggested readingBurke, Peter, Eyewitnessing: The Uses of Images as Historical Evidence, London 2001 [e-book / D 16.255.B8]

Hauser, Arnold, The Social History of Art, 4 vols., London 1999, vol. 2 [N 72.H2]

Rabb, Theodore K. – Brown, Jonathan (eds), The Evidence of Art: Images and Meaning in History, special issue of Journal of Interdisciplinary History, 17 (1986); reprinted as Art and History: Images and their Meaning, Cambridge 1988 [N 72.H4]

Seminar 2. Art Theory

Seminar questions1. Discuss the influence of humanism on the development of art theory in Renaissance Italy.

2. How influential was art theory in raising the status of painting?

3. What was at stake in the discussion of the paragone?

Suggested readingBlunt, Anthony, Artistic Theory in Italy, 1450-1600, Oxford 1956, chs. 1-3, 5-7, 9 [N 65.I8]

Clark, Kenneth, ‘Leon Battista Alberti on painting’, Proceedings of the British Academy, 30 (1944), pp. 283-302 [Arts Periodicals]

Farago, Claire J. (ed), Leonardo da Vinci’s Paragone: A Critical Interpretation with a New Edition of the Text in the Codex Urbinas, Leiden 1992 [ND 1130.F2]

Grafton, Anthony, Leon Battista Alberti: Master Builder of the Italian Renaissance, New York 2000 [NA 1123.A5]

Lee, Rensselaer W., Ut Pictura Poesis: The Humanist Theory of Painting, New York 1967 [ND 1133.L3]

Quiviger, Francois, Renaissance Art Theories, in A Companion to Art Theory, ed. by Paul Smith and Carolyn Wilde, Oxford 2002, pp. 49-60 [N 7475.C6]

Sohm, Philip L., Style in the Art Theory of Early Modern Italy, Cambridge 2001 [N 6916.S6]

Spencer, John R., ‘Ut Rethorica Pictura. A Study in Quattrocento Theory of Painting’, Journal of the Warburg and Courtauld Institutes, 20 (1957), pp. 26-44 [Arts Periodicals]

Summers, David, Michelangelo and the Language of Art, Princeton 1981 [NB 623.M4]

Summers, David, The Judgement of Sense: Renaissance Naturalism and the Rise of Aestethics, Cambridge 1987 [BH 301.S3]

Westfall, C.W., ‘Painting and the Liberal Arts. Alberti’s View’, Journal of the History of Ideas, 30 (1969), pp. 487-506 [Jstor]

3

Wilde, Carolyn, Alberti and the Formation of Modern Art Theory, in A Companion to Art Theory, ed. by Paul Smith and Carolyn Wilde, Oxford 2002, pp. 3-18 [N 7475.C6]

Williams, Robert, Art, Theory, and Culture in Sixteenth-Century Italy: From Techne to Metatechne, Cambridge 1997 [N 6915.W4]

William, Robert, Art Theory: An Historical Introduction, Oxford 2004, chs. 1-2 [xerox]

Wittkower, Rudolph, Architectural Principles in the Age of Humanism, New York 1973 [NA 520.W4]

Seminar 3. The Artist’s Practice

Seminar questions1. Was the organisation of the artists’ workshops different from that of artisans in Renaissance Florence?

2. Were the claims of artists to belong to the intellectual elite supported by their working practices?

Suggested readingBinski, Paul, Painters, London 1991 [ND 140.B4]

Cole, Bruce, The Renaissance Artist at Work: From Pisano to Titian, Boulder 1983 [N 6915.C6]

Gage, John, Colour and Culture. Practice and Meaning from Antiquity to Abstraction, London 1993, ch. 7 [ND 1488.G2]

Goldthwaite, Richard A., The Building of Renaissance Florence: An Economic and Social History, Baltimore 1980, chs. 5, 7 [HP 2582.G6]

Hall, Marcia, Color and Meaning. Practice and Theory in Renaissance Painting, Cambridge 1992 [ND 1488.H2]

Humfrey, Peter, The Altarpiece in Renaissance Venice, New Haven-London 1993, ch. 4 [N 7952.B8]

Ladis, A. - Wood, C. (eds.), The Craft of Art. Originality and Industry in the Italian Renaissance and Baroque Workshop, Athens (GA)-London 1995 [being processed]

Matthew, Louisa C., ‘Working Abroad: Northern Artists in the Venetian Ambient’, in Renaissance Venice and the North. Crossroads in the time of Dürer, Bellini and Titian, ed. by Bernard Aikema and Beverly Louise Brown, London 1999, pp. 61-69 [ND 621.V5]

Matthew, Louisa C., ‘Vendecolori a Venezia: The Reconstruction of a Profession’, The Burlington Magazine, 1196 (2002) [Arts Periodicals]

McNeal Kaplow, Harriet, ‘Sculptors’ Partnerships in Michelozzo’s Florence’, Studies in the Renaissance, 21 (1974), pp. 145-175 [Jstor]

Pope-Hennessy, J., ‘The Interaction of Painting and Sculpture in Florence in the Fifteenth Century’, The Journal of the Royal Society of the Arts, 117 (1969), pp. 406-424 [Arts Periodicals]

Thomas, Anabel, The Painter’s Practice in Renaissance Tuscany, Cambridge 1995 [ND 619.T8]

Wackernagel, M., The World of the Florentine Renaissance Artist, Princeton 1981, chs. 11-12 [N 6921.F5]

Welch, Evelyn, Art and Society in Italy, 1350-1500, Oxford 1997, chs. 1-2 [N 6915.W3]

Wilson, Jane C., Painting in Bruges at the Close of the Middle Ages: Studies in Society and Visual Culture, University Park, Pa., 1998, ch. 4 [ND 671.B7]

4

Seminar 4. From Guilds to Academies: The Changing Status of the Artist

Seminar questions1. To what extent does Burckhardt’s Renaissance individual correspond to Vasari biographies of artists?

2. How much the way in which artists were perceived changed in European societies during the early modern period?

3. Were academies fundamental in raising the status of artists?

4. How far was the sixteenth-century artist free from guild restrictions?

Suggested readingAckerman, James S., ‘On the Origins of Art History and Criticism’, in Idem, Origin, Imitations, Conventions, Cambridge (Mass.)-London 2002, ch. 1 [xeroxes]

Ames-Lewis, Francis, The Intellectual Life of the Early Renaissance Artist, New Haven-London 2000 [N 6370.A6]

Barker, Emma - Webb, Nick - Wood, Kim (eds.), The Changing Status of the Artist, New Haven-London 1999 [N 6915.C4]

Clifton, James, ‘Vasari on Competition’, Sixteenth Century Journal, 27 (1996), pp 23-41 [Jstor]

Goldstein, Carl, Teaching Art: Academies and Schools from Vasari to Albers, Cambridge 1996, chs. 1-2 [N 85.G6]

Hughes, Anthony, Michelangelo, London 1997 [NB 623.M4]

Jack, Mary Ann, ‘The Accademia del Disegno in Late Renaissance Florence’, Sixteenth Century Journal, 7 (1976), pp. 3-20 [Jstor]

Kempers, Bram, Painting, Power and Patronage. The Rise of the Professional Artist in Renaissance Italy, London 1994 [ND 615.K3]

Kris, Ernst – Kurz, Otto, Legend, Myth and Magic in the Image of the Artist: A Historical Experiment, New Haven-London 1979 [N71.K7]

Perry, G. – Cunningham, C. (eds), Academies, Museums and Canons of Art, New Haven-London 1999 [N 7480.A2]

Pevsner, Nicolaus, Academies of Art, Past and Present, New York 1973, chs. 2-3 [N 325.P3]

Rogers, Mary, ‘The Artist as Beauty’, in Concepts of Beauty in Renaissance Art, ed. F. Ames-Lewis and M. Rogers, Aldershot 1998, pp. 93-106 [N 6915.C6]

Rubin, Patricia Lee, Giorgio Vasari: Art and History, New Haven-London 1995 [N 6922.V2]

Shiner, Larry, The Invention of Art. A Cultural History, Chicago-London 2001, Introduction and chs. 1-4 [N 66.S4]

Warnke, Martin, The Court Artist: On the Ancestry of the Modern Artist, Cambridge 1993 [N 8350.W2]

Wittkower, Rudolph, ‘Individualism in Art and Artists: A Renaissance Problem’, Journal of the History of Ideas, 22 (1961), pp. 291-302 [Jstor]

Wittkower, Rudolph - Wittkower, D., Born Under Saturn. The Character and Conduct of Artists, London 1963 [N 71.W4]

Woods-Marsden, Joanna, Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist, New Haven-London 1998 [N 7618.W6]

5

The Autobiography of a Craftsman: Benvenuto Celllini Barker, Emma - Webb, Nick - Wood, Kim (eds.), The Changing Status of the Artist, New Haven-London 1999, ch. 3 [N 6915.C4]

Cellini, Benvenuto, Autobiography, London 1999

Chong, A. - Pegazzano, D. - Zikos, D. (eds.), Raphael, Cellini and a Renaissance Banker. The Patronage of Bindo Altoviti, Milan 2004 [N 5273.2.A5]

Gallucci, Margaret A. – Rossi, Paolo L. (eds), Benvenuto Cellini: Sculptor, Goldsmith, Writer, Cambridge 2004

Gardner, Victoria C., ‘Homines non nascuntur, sed figuntur: Benvenuto Cellini’s Vita and Self-Presentation of the Renaissance Artist’, Sixteenth Century Journal, 28 (1997), pp. 447-465 [Jstor]

Gardner Coates, Victoria C., ‘”Sculpsit Cellinium Neptunam”: The Biography of the Neptune Fountain in Cellini’s Vita’, Renaissance Studies, 19 (2005), pp. 604-618 [Arts Periodicals]

Pope-Hennesy, John W., Cellini, London 1985 [NB 623.C3]

Rossi, Paolo L., ‘Sprezzatura, Patronage, and Fate: Benvenuto Cellini and the World of Words’, in P. Jacks, Vasari’s Florence: Artists and Literati at the Medicean Court, Cambridge 1998, pp. 55-69 [N 6922.V2]

Seminar 5. Female Artists

Seminar questions1. Were female artists “novelties” in the early modern period?

2. Did women artists conform to male expectations?

3. Was self-presentation more important for female than male artists?

4. Can we detect a “gendering” of art in the early modern period?

5. What can we learn about the situation of women in the early modern period by studying the lives of female painters?

Websites

https://www.youtube.com/watch?v=8OWPhR64tZk

Suggested readingBroude, Norma – Garrard, Mary D. (eds), Feminism and Art History: Questioning the Litany, New York 1982, chs. 8-10, essays by Garrard, Fox Hofrichter, Alpers [N 72.F3]

Broude, Norma – Garrard, Mary D. (eds), Reclaiming Female Agency: Feminist Art History After Postmodernism, Berkeley-Los Angeles 2005, chs. 3-4, essays by Garrard, Bohn [N 72.F3]

Cohen, Elizabeth, ‘The Trials of Artemisia Gentileschi: A Rape as History’, Sixteenth Century Journal, 31 (2000), pp. 47-75 [Jstor]

Garrard, Mary, ‘Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting’, Art Bulletin, 62 (1980), pp. 97-112 [Arts Periodicals]

Garrard, Mary, Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art, Princeton 1988 [ND 623.G3]

6

Garrard, Mary D., ‘Here’s Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist’, Renaissance Quarterly, 47 (1994), pp. 556-622 [Jstor]

Jacobs, Fredrika H., ‘The Construction of a Life: Madonna Properzia de’ Rossi ‘Schultrice’ Bolognese’, Word and Image, 9 (1993), pp. 122-132 [Arts Periodicals]

Jacobs, Fredrika H., ‘Woman’s Capacity to Create: The Unusual Case of Sofonisba Anguissola’, Renaissance Quarterly, 47 (1994), pp. 74-101 [Jstor]

Jacobs, Fredrika H., Defining the Renaissance Virtuosa: Women Artists and the Language of Art History and Criticism, Cambridge 1997 [N 72.F3]

King, C., ‚Looking a Sight: Sixteenth-Century Portraits of Women Artists’, Zeitschrift für Kunstgeschichte, 58 (1995), pp. 381-406 [Arts Periodicals]

Lincoln, Evelyn, ’Making a Good Impression: Diana Mantuana’s Printmaking Career’, Renaissance Quarterly, 5 (1997), pp. 1101-1147 [Jstor]

Murphy, Caroline P., ’Lavinia Fontana and Female Life Cycle Experience in Late Sixteenth-Century Bologna’, in Picturing Women in Renaissance and Baroque Italy, eds. G.A. Johnson and S.F. Matthews Grieco, Cambridge 1997, pp. 111-138 [N 6915.P4]

Perry, Gill (ed.), Gender and Art, New Haven-London 1999 [N 7630.G3]

Schutte, Anne Jacobson, ‘Irene di Spilimbergo: The Image of a Creative Woman in Late Renaissance Italy’, Renaissance Quarterly, 44 (1991), pp. 42-61 [Jstor]

Trinchieri Camiz, Franca, “’Virgo non sterilis ...’: Nuns as Arstists in Seventeenth-Century Rome”, in Picturing Women in Renaissance and Baroque Italy, ed. by Geraldine A. Johnson and Sara F. Matthews Grieco, Cambridge 1997, pp. 139-164 [N 6915.P4]

Ward Bissell, R., Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonnè, University Park 1997 [ND 623.G34]

Seminar 6. Objects and Material Culture

Seminar questions1. How were objects used to define social status in the early modern period?

2. Was the growing consumption of luxury goods in the Renaissance the beginning of modern consumerism?

3. What was different in the consumption of luxury objects between northern and southern Europe?

4. Was sumptuary legislation successful in its attempt to curb social mobility?

5. Did technical innovations respond to the growing demand for arts among early modern Europeans or did they cause it?

Suggested readingAppadurai, Arjun (ed), The Social Life of Things: Commodities in Cultural Perspective, Cambridge 1986 [HK 10.S6]

Ajmar, Marta (ed), Approaches to Renaissance Consumption, special issue of Journal of Design History, 15 (2002) [Arts Periodicals]

Belozerskaya, Marina, Luxury Arts of the Renaissance, Los Angeles, Getty Museum, 2005

7

Clark, Graham, Symbols of Excellence. Precious Materials as Expression of Status, Cambridge 1986 [GT 2250.C5]

Findlen, Paula, ‘Possessing the Past: the Material World of the Italian Renaissance’, American Historical Review, 103 (1998), pp. 83-114 [Jstor]

Fortini Brown, Patricia, Behind the Walls: The Material Culture of Venetian Elites, in Venice Reconsidered. The History and Civilization of an Italian City-State, 1297-1797, ed. by John Martin and Dennis Romano, Baltimore-London 2000, pp. 295-338 [DG 676.3.V3]

Fortini Brown, Patricia, Private Lives in Renaissance Venice: Art, Architecture and the Family, New Haven-London 2004 [NK 1452.B7]

Fox, Robert – Turner, Anthony (eds), Luxury Trades and Consumerism in Ancien Régime Paris. Studies in the History of the Skilled Workforce, Aldershot 1998, esp. essays by J. Thirsk, F. Crouzet and G. Lewis [HY 3040.L8]

Gavitt, Philip, ‘An Experimental Culture: the Art of the Economy and the Economy of Art under Cosimo I and Francesco I’, in The Cultural Politics of Duke Cosimo I de' Medici, ed. Konrad Eisenbichler, Ashgate 2001, pp. 205-221 [DG 738.17.CB]

Goldthwaite, Richard A., ‘The Empire of Things: Consumer Demand in Renaissance Italy’, in Patronage, Art and Society in Renaissance Italy, a cura di F.W. Kent e P. Simons, Oxford 1987, pp. 155-175 [N 6915.P2]

Goldthwaite Richard A., ‘The Economy of Renaissance Italy: The Preconditions for Luxury Consumption’, I Tatti Studies, 2 (1987), pp. 15-39 [Arts Periodicals]

Goldthwaite, Richard A., ‘The Economic and Social World of Italian Renaissance Maiolica’, in Renaissance Quarterly, 42 (1989), pp. 1-32 [Jstor]

Goldthwaite, Richard A., ‘Artisans and the Economy in Sixteenth-Century Florence’, in The Medici, Michelangelo, and the Art of Late Renaissance Florence, New Haven-London 2002, pp. 85-93 [N 6921.F7]

Harte, Nigel B., ‘State Control of Dress and Social Change in Preindustrial England’, in Trade, Government and Economy in Pre-Industrial England: Essays Presented to F.J. Fisher, eds. D.C. Coleman and A.H. John, London 1976, pp. 132-165 [HK 113.C6]

Jardine, Lisa, Worldly Goods: A New History of the Renaissance, London 1996 [CB 361.J2]

Levy Peck, Linda, Consuming Splendor: Society and Culture in Seventeenth-Century England, Cambridge 2005

Olson, Roberta J.M. – Reilly, Patricia L. – Shepherd, Rupert (eds), The Biography of the Object in Late Medieval and Renaissance Italy, special issue of Renaissance Studies, 19 (2005) [Arts Periodicals]

Owen Hughes, Diane, ‘Sumptuary Law and Social Relations in Renaissance Italy’, in Disputes and Settlements: Law and Human Relations in the West, Cambridge 1983, pp. 69-99 [CB 461.D4]

Snodin, Michael – Styles, John (eds), Design and the Decorative Arts. Britain 1500-1900, London 2001 [NK 750.S6]

Syson, Luke - Thornton, Dora, Objects of Virtue: Art in Renaissance Italy, London 2001 [N 6915.S9]

Thirsk, Joan, ‘The Fantastical Folly of Fashion; The English Stocking Knitting Industry, 1500-1700’, in Textile History and Economic History. Essays in Honour of Miss Julia de Lacy Mann, ed. N.B. Harte and K.G. Ponting, Manchester 1973, pp. 50-73 [HP 1162.H2]

Thornton, Dora, The Scholar in His Study. Ownership and Experience in Renaissance Italy, New Haven-London 1997, chs. 3-4, 6 [NK 2052.T4]

Thornton, Peter, The Italian Renaissance Interior 1400-1600, London 1991 [NK 2052.T4]

8

Welch, Evelyn, Shopping in the Renaissance: Consumer Cultures in Italy, 1400-1600, New Haven-London 2005 [HK 254.W3]

Seminar 7. The World of Glass, Ceramics and Silk

Suggested reading

GlassBarovier, Rosa – Tonini, Cristina (eds.), Study Days on Venetian Glass. Approximately 1600, Venice 2014

Beretta, Marco, ‘Glassmaking Goes Public: The Cultural Background to Antonio Neri’s L’Arte Vetraria (1612)’, Technology and Culture, 58 (2017), pp. 1046-1070

Charleston, R. J., Masterpieces of Glass. A World History from the Corning Museum of Glass, New York 1980 [NK 5102.N3]

Hills, Paul, ‘Venetian Glass and Renaissance Self-Fashioning’, in Concepts of Beauty in Renaissance Art, ed. Francis Ames-Lewis and Mary Rogers, Aldershot 1998, pp. 163-178 [N 6915.C6]

Hills, Paul, Venetian Colour: Marble, Mosaic, Painting and Glass, 1250-1550, New Haven-London 1999, chs. 5, 8 [N 6921.V3]

Liefkes, Reino, Glass, London 1997 [NK 5102.G75]

MacFarlane, Adam – Martin, Gerry, Glass. A World History, Chicago-London 2002

MacLeod, Christine, ‘Accident or Design? George Ravenscroft’s Patent and the Invention of Lead-Crystal Glass’, Technology and Culture, 28 (1987), pp. 776-803

Maitte, Corine, ‘Façon de Venise: Determining the Value of Glass in Early Modern Europe’, in Concepts of Value in European Material Culture, 1500-1900, ed. by Bert De Munck and Dries Lyna, Ashgate 2015, pp. 209-237

McCray, W. Patrick, ‘Creating Networks of Skill: Technology Transfer and the Glass Industry of Venice’, Journal of European Economic History, 28 (1999), pp. 301-333

McCray, W. Patrick, Glassmaking in Renaissance Venice: The Fragile Craft, London-New York 1999

Tait, G. Hugh, The Golden Age of Venetian Glass, London 1979 [NK 5152.V3]

Tait, G. Hugh, Five Thousand Years of Glass, London 1991

CeramicsGoldthwaite, Richard A., ‘The Economic and Social World of Italian Renaissance Maiolica’, in Renaissance Quarterly, 42 (1989), pp. 1-32

Hess, Catherine (ed.), Italian Ceramics. Catalogue of the J. Paul Getty Museum Collection, Los Angeles 2002

Hildyard, Robin, European Ceramics, London 1999

Johnson, Jerah, ‘Bernard Palissy, Prophet of Modern Ceramics’, Sixteenth Century Journal, 14 (1983), pp. 399-410

Kingery, W. David, ‘Painterly Maiolica of the Italian Renaissance’, Technology and Culture, 34 (1993), pp. 28-48

9

Mallet, J.V.G., ‘Mantua and Urbino: Gonzaga Patronage of Maiolica’, Apollo, 14 (1981), pp. 162-169 [Arts Periodicals]

Mallet, J.V.G., ‘The Gonzaga and Ceramics’, in Splendours of the Gonzaga, ed. by David Chambers and Jane Martineau, London 1982, pp. 39-43 [N 6921.M3]

Simons, Patricia, ‘The Cultural Context of Maiolica in Renaissance Italy’, Bulletin of the Detroit Institute of Art, 87 (2013), Italian Renaissance and Later Ceramics

Thornton, Dora, ‘Maiolica Production in Renaissance Italy’, Pottery in the Making: World Ceramic Traditions, eds. Ian Freestone and David Gaimster., London 1997, pp. 116-121 [NK 3780.P6]

Wilson, Timothy, Ceramic Art of the Italian Renaissance, London 1987 [NK 4103.W4]

Wilson, Timothy, Italian Maiolica of the Renaissance, Milan 1996

SilkEdler De Roover, Florence, ‘Andrea Banchi, Florentine Silk Manufacturer and Merchant in the Fifteenth Century’, in Studies in Medieval and Renaissance History, 3 (1966), pp. 223-285 [Arts Periodicals]

Kovesi, Catherine, ‘Defending the Right to Dress: Two Sumptuary Law Protests in Sixteenth-Century Milan’, in The Right to Dress. Sumptuary Laws in a Global Perspective, c. 1200-1800, ed. by Ulinka Rublack and Giorgio Riello, Cambridge 2019, pp. 186-209

Ma, Debin, ‘The Great Silk Exchange: How the World Was Connected and Developed’, in Pacific Centuries: Pacific and Pacific Rim History Since the 16th Century, ed. by D. Flynn, L. Frost and A.J.H. Latham, London 1998

Molà, Luca, The Silk Industry of Renaissance Venice, Baltimore-London 2000

Molà, Luca, ‘A Luxury Industry: The Production of Italian Silks’, in Europe’s Rich Fabrics, ed. by Bart Lambert and Katherine Ann Wilson, Ashgate 2016, pp. 205-234

Molà, Luca, ‘Material Diplomacy: Venetian Luxury Gifts for the Ottoman Empire in the Late Renaissance’, in Global Gifts. The Material Culture of Diplomacy in Early Modern Eurasia, ed. by Zoltan Biedermann, Anne Gerritsen and Giorgio Riello, Cambridge 2017, pp. 56-87

Poni, Carlo, ‘Fashion as Flexible Production: The Strategies of the Lyons Silk Merchants in the Eighteenth Century’, in World of Possibilities. Flexibility and Mass Production in Western Industrialization, ed. by Charles F. Sabel and Jonathan Zeitlin, Cambridge 1997, pp. 37-74

Seminar 8. Courts and Republics: Patrons and Spectators

Seminar questions1. Was there a competition among Italian princes for the patronage of the arts?

2. How far did Italian courts determine artistic production?

3. How did male and female patronage differ?

4. Did the status of artists rise in the eyes of patrons?

Suggested readingBaldwin, Robert W., ‘Art Patronage in Van der Weyden’s Time’, in Rogier van der Weyden/Rogier de la Pasture: Official Painter to the City of Brussels; Portrait Painter of the Burgundian Court, Brussels 1979, pp. 24-35 [ND 673.W3]

10

Barzman, Karin-edis, The Florentine Academy and the Early Modern State: The Discipline of Disegno, Cambridge 2000 [N 332.187.B2]

Baxandall, Michael, Painting and Experience in Fifteenth-Century Italy, Oxford 1972 [ND 615.B2]

Campbell, Stephen J. (ed), Artists at Court: Image-Making and Identity, 1300-1550, Chicago 2004

Chong, A. - Pegazzano, D. - Zikos, D. (eds.), Raphael, Cellini and a Renaissance Banker. The Patronage of Bindo Altoviti, Milan 2004 [N 5273.2.A5]

Cole, Alison, Virtue and Magnificence: Art of the Italian Renaissance Courts, New York 1995 [N 6915.C6]

Fletcher, Jennifer M., ‘Isabella d’Este, Patron and Collector’, in Splendours of the Gonzaga, ed. by David Chambers and Jane Martineau, London 1982, pp. 51-63 [N 6921.M3]

Goldthwaite, Richard A., Wealth and the Demand for Art in Italy 1300-1600, Baltimore-London 1993, section 3 [NX 711.I8]

Hollingsworth, Mary, Patronage in Renaissance Italy: From 1400 to the Early Sixteenth Century, London 1994 [N 6915.H6]

Hollingsworth, Mary, Patronage in Sixteenth-Century Italy, London 1996 [N 6915.H6]

King, Catherine E., Renaissance Women Patrons. Wives and Widows in Italy, c. 1300-1550, Manchester 1998 [N 6915.K4]

Lawrence, C. (ed.), Women and Art in Early Modern Europe. Patrons, Collectors and Connoisseurs, University Park (PA) 1997

Lytle, Guy F. - Orgel, Stephen, Patronage in the Renaissance, Princeton 1981, essays by Hope and Janson [CB 361.P2]

Marchand, E. - Wright, A. (eds.), With and Without the Medici: Studies in Tuscan Art and Patronage, 1434-1530, Aldershot 1998 [N 6915.W4]

O’Malley, Michelle, “Late Fifteenth- and Early Sixteenth-Century Painting Contracts and the Stipulated Use of the Painter’s Hand”, in With and Without the Medici. Studies in Tuscan Art and Patronage 1434-1530, ed. by Echart Marchand and Alison Wright, Aldershot 1998, pp. 155-178 [N 6915.W4]

Perry, Gill (ed.), Gender and Art, New Haven-London 1999 [N 7630.G3]

Reiss, Sheryl E. - Wilkins, David G., Beyond Isabella. Secular Women Patrons of Art in Renaissance Italy, Kinksville 2001

Robertson, Clare, ‘Il Gran Cardinale’. Alessandro Farnese, Patron of the Arts, New Haven-London 1992 [N 5273.2.F2]

Rosenberg, Charles M. (ed), Art and Politics in Late Medieval and Early Renaissance Italy, 1250-1500, Notre Dame-London 1990 [N 6915.A7]

Shearman, John, ‘Only Connect…’: Art and the Spectator in the Italian Renaissance, Princeton 1992 [N 6915.S4]

Starn, Randolph - Patridge, L., Arts of Power: Three Halls of State in Italy, 1300-1600, Berkeley 1992 [NA 7755.S8]

Welch, Evelyn, Art and Authority in Renaissance Milan, New Haven-London 1995 [N 6921.M4]

Welch, Evelyn, Art and Society in Italy, 1350-1500, Oxford 1997, chs. 7-9 [N 6915.W3]

Welch, Evelyn, ‘Women as Patrons and Clients in the Courts of Quattrocento Italy’, in Women in Italian Renaissance Culture and Society, ed. Letizia Panizza, Oxford 2000, pp. 18-34 [PQ 4076.W6]

11

Wilson, Jane C., Painting in Bruges at the close of the Middle Ages: studies in society and visual culture, University Park, Pa., 1998, ch. 1 [ND 671.B7]

Seminar 9. Religion and Art: Catholics and Protestants

Seminar questions1. What does the secularization of art tells us about the Reformation?

2. Was the art of the Catholic Reformation a reaction against Renaissance values?

3. Did an artist have more freedom in northern or southern Europe during the late sixteenth- early seventeenth century?

Suggested reading

CatholicsBlunt, Anthony, Artistic Theory in Italy, 1450-1600, Oxford 1956, ch. 8 [N 65.I8]

Gibbons, Mary Weitzel, Giambologna: Narrator of the Catholic Reformation, Berkeley 1995 [www.netlibrary.com]

Gilbert, C., ‘The Archbishop on the Painters of Florence’, Art Bulletin, 41 (1959), pp. 75-87 [Arts Periodicals]

Goldthwaite, Richard A., Wealth and the Demand for Art in Italy 1300-1600, Baltimore-London 1993, section 2 [NX 711.I8]

Haskell, Francis, Patrons and Painters. Art and Society in Baroque Italy, New Haven-London 1980 [N 6916.H2]

Lowe, Kate, ‘Nuns and Choice: Artistic Decision-Making in Medicean Florence’, in With and Without the Medici. Studies in Tuscan Art and Patronage 1434-1530, ed. E. Marchand and A. Wright, Aldershot 1998, pp. 129-153 [N 6915.W4]

Magnuson, Torgil, Rome in the Age of Bernini, 2 vols., Stockholm 1982-86 [N 6920.M2]

Radke, Gary M., ‘Nuns and Their Art: The Case of San Zaccaria in Renaissance Venice’, Renaissance Quarterly, 54 (2001), pp. 430-459 [Jstor]

Verdon, Timothy – Henderson, John (eds), Christianity and the Renaissance: Image and Religious Imagination in the Quattrocento, Syracuse 1990 [N 7952.C4]

Welch, Evelyn, Art and Society in Italy, 1350-1500, Oxford 1997, chs. 5-6 [N 6915.W3]

Winkelmes, Mary-Ann, ‘Taking Part: Benedictine Nuns as Patrons of Art and Architecture’, in Picturing Women in Renaissance and Baroque Italy, ed. by Geraldine A. Johnson and Sara F. Matthews Grieco, Cambridge 1997, pp. 91-110 [N 6915.P4]

Wittkower, Rudolph, Gian Lorenzo Bernini: The Sculptor of the Roman Baroque, Oxford 1981 [NB 623.B3]

ProtestantsAston, Margaret, The King’s Bedpost. Reformation and Iconography in a Tudor Group Portrait, Cambridge 1993 [ND 1314.A8]

Christensen, Carl C., Art and the Reformation in Germany, Athens, OH, 1979 [N 7950.C4]

Dillenberger, J., Images and Relics: Theological Perception and Visual Images in Sixteenth-Century Europe, Oxford 1999 [www.netlibrary.com]

12

Garside, C., Zwingli and the Arts, New Haven 1966 [BR 345.G2]

Hutchison, Jane Campbell, Albrecht Dürer: A Biography, Princeton 1990 [ND 588.D9]

Landau, David – Parshall, Peter, The Renaissance Print, 1470-1550, New Haven-London 1994 [NE 440.L2]

Michalski, S., The Reformation and the Visual Arts: The Protestant Image Question in Western and Eastern Europe, London 1993 [N 6375.M4]

Pettegree, Andrew, ‘Luther and the Arts’, in Idem (ed), The Reformation World, London 2000, ch. 25 [www.netlibrary.com]

Scribner, Robert W., For the Sake of Simple Folk: Popular Propaganda for the German Reformation, Cambridge 1981 [BR 307.S2]

Spraggon, Julie, Puritan Iconoclasm during the English Civil War, Woodbridge 2003 [BR 757.S7]

Wandel, Lee Palmer, Voracious Idols and Violent Hands: Iconoclasm in Reformation Zurich, Strasbourg and Basel, Cambridge 1995 [BR 355.I6]

Seminar 10. Arts and State Building

Seminar questions1. How important was the role of the arts in creating and propagating the image of a ruler?

2. To what extent was art used as a diplomatic tool?

3. To what extent royal architecture reflects the growth of absolutism?

Suggested readingAdamson, John (ed), The Princely Courts of Europe: Ritual, Politics and Culture under the Ancien Règime 1500-1750, London 1999 [D 211.P7]

Aschengreen Piacenti, Kirsten, ‘The Medici Grand-ducal Family and the Symbols of Power’, in The Medici, Michelangelo, and the Art of Late Renaissance Florence, New Haven-London 2002, pp. 25-33 [N 6921.F7]

Berger, Robert W., A Royal Passion. Louis XIV as Patron of Architecture, Cambridge 1994 [NA 1046.B3]

Brown, Jonathan - Elliott, John H., A Palace for a King. The Buen Retiro and the Court of Philip IV, New Haven-London 1980 [NA 7776.M3]

Brown, Jonathan, Velazquez. Painter and Courtier, New Haven-London 1986 [ND 813.V3]

Brown, Jonathan, ‘Enemies of Flattery: Velazquez’ Portraits of Philip IV’, Journal of Interdisciplinary History, 17 (1986), pp. 137-154 [Jstor]

Burke, Peter, The Fabrication of Louis XIV, New Haven-London 1992 [DC 126.B8]

Caldicott, Edric, ‘Richelieu and the Arts’, in Bergin, Joseph - Brockliss, Laurence (eds), Richelieu and His Age, Oxford 1992 [DC 123.9.R5]

Carroll, Margaret D., ‘The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence’, in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary D. Garrard, Boulder, CO, 1992, pp. 139-159 [N 72.F3]

DaCosta Kaufmann, Thomas, ‘Metamorphoses of Nature: Arcimboldo’s Imperial Allegories’, in Idem, The Mastery of Nature. Art, Science, and Humanism in the Renaissance, Princeton 1993, ch. 4 [CB 361.K2]

Elliott, John H., ‘Power and Propaganda in the Spain of Philip IV’, in Idem, Spain and its World 1500-1700. Selected Essays, New Haven-London 1989, pp. 162-188 [DP 171.E5]

13

Elliott, John H., ‘Art and Decline in Seventeenth-Century Spain’, in Idem, Spain and its World 1500-1700. Selected Essays, New Haven-London 1989, pp. 263-286 [DP 171.E5]

Evans, R.J.W., Rudolf II and His World. A Study in Intellectual History 1576-1612, Oxford 1973 [DD 187.E9]

Fucikova, Eliska et al. (eds.), Rudolf II and Prague. The Court and the City, London 1997 [DB 225.P7]

Howarth, David, Images of Rule. Art and Politics in the English Renaissance, 1485-1649, London 1997 [N 6765.H6]

Mulcahy, Rosemarie, Philip II of Spain, Patron of the Arts, Dublin 2004 [being processed]

Schama, Simon, ‘The Domestication of Majesty: Royal Family Portraiture, 1500-1850’, Journal of Interdisciplinary History, 17 (1986), pp. 155-183 [Jstor]

Smuts, R. Malcom, “Art and the Material Culture of Majesty in Early Stuart England”, in Idem, The Stuart Court and Europe. Essays in Political and Cultural Change, Cambridge 1996 [DA 375.S8]

Strong, Roy, The Cult of Elizabeth: Elizabethan Portraiture and Pageantry, London 1977 [ND 1314.2 S8]

Strong, Roy C., Art and Power, Woodbridge 1984 [GT 3930.S8]

Thurley, Simon, The Royal Palaces of Tudor England. Architecture and Court Life 1470-1547, New Haven-London 1993 [NA 7745.T4]

Trevor-Roper, Hugh, Princes and Artist. Patronage and Ideology at Four Habsburg Courts, 1517-1633, New York 1991 [N 5240.T7]

Seminar 11. Aristocratic Collectors

Seminar questions1. How important was collecting in defining social status?

2. Were agents instrumental in shaping the taste of a patron?

3. What was the purpose of collecting?

Suggested readingAlsop, Joseph, The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena, New York-London 1982 [N 5200.A5]

Braunmuller, A.R., ‘Robert Carr, Earl of Somerset, as Collector and Patron’, in The Mental World of the Jacobean Court, ed. Linda Levy Peck, Cambridge 1991, pp. 230-250 [DA 391.M3]

Brown, Jonathan, Kings and Connoisseurs. Collecting Art in Seventeenth-Century Europe, New Haven-London 1995 [N 5240.B7]

Elsner, John - Cardinal, Roger (eds.), The Cultures of Collecting, London 1994, chs. 7, 9 [AM 231.C8]

Haskell, Francis, ‘Charles I’s Collection of Pictures’, in The Late King’s Goods. Collections, Possessions and Patronage of Charles I in the Light of the Commonwealth Sale Inventories, ed. A. MacGregor, London-Oxford 1989 [N 5247.C4]

Holst, N. von, Creators, Collectors and Connoisseurs: The Anatomy of Artistic Taste from Antiquity to the Present Day, London 1967 [N 8380.H6]

Howart, David, ‘Charles I and the Gonzaga Collections’, in Splendours of the Gonzaga, ed. D. Chambers and J. Martineau, London 1982

14

Howart, David, Lord Arundel and its Circle New Haven-London 1985 [N 5247.A7]

Lawrence, C. (ed.), Women and Art in Early Modern Europe. Patrons, Collectors and Connoisseurs, University Park (PA) 1997

Lightbown, Ronald W., ‘Charles I and the Tradition of European Princely Collecting’, in The Late King’s Goods. Collections, Possessions and Patronage of Charles I in the Light of the Commonwealth Sale Inventories, ed. A. MacGregor, London-Oxford 1989, pp. 53-72 [N 5247.C4]

Muensterberger, Werner, Collecting: An Unruly Passion, Princeton, NJ, 1994

Pace, Claire, ‘Virtuoso to Connoisseur. Some Seventeenth-Century Responses to the Visual Arts’, The Seventeenth Century, 2 (1987), pp. 166-188 [Arts Periodicals]

Schnapper, Antoine, ‘The King of France as Collector in the Seventeenth Century’, Journal of Interdisciplinary History, 17 [Jstor]

Swann, Marjorie, Curiosities and Texts: The Culture of Collecting in Early Modern England, Philadelphia, PA, 2001 [being processed]

Thornton, Dora, The Scholar in His Study. Ownership and Experience in Renaissance Italy, New Haven-London 1997, ch. 5 [NK 2052.T4]

Trevor-Roper, Hugh, The Plunder of the Arts in the Seventeenth Century, London 1970 [N 8760.T7]

Warwick, Genevieve, The Arts of Collecting. Padre Sebastiano Resta and the Market for Drawing in Early Modern Europe, Cambridge 2000 [being processed]

Seminar 12. Displaying Art and Nature: Kunstkammern and Wunderkammern

Seminar questions1. Why were the Wunderkammern so popular among German princes?

2. What was the purpose of Wunderkammern?

3. How is the “age of exploration” reflected in the Wunderkammern?

4. “The Wunderkammern were the precursors of museums”. Discuss

5. “Knowledge is power”. Can this statement explain the creation of Kunstkammern in Central Europe?

Suggested readingBalsinger, B.J., The Kunst- und Wunderkammern. A Catalogue Raisonnè of Collecting in Germany, France and England, 1565-1750, Pittsburgh, PA, 1970

Bedini, Silvio, ‘The Evolution of Science Museums’, Technology and Culture, 6 (1965), pp. 1-29 [Project Muse]

DaCosta Kaufmann, Thomas, ‘The Kunstkammer as a Form of Representation: Remarks on the Collections of Rudolf II’, Art Journal, 38 (1978), pp. 22-28 [Arts Periodicals]

DaCosta Kaufmann, Thomas, ‘From Mastery of the World to Mastery of Nature: The Kunstkammer, Politics, and Science’, in Idem, The Mastery of Nature. Art, Science, and Humanism in the Renaissance, Princeton 1993, ch. 7 [CB 361.K2]

DaCosta Kaufmann, Thomas, Court, Cloister and City. The Art and Culture of Central Europe 1450-1800, London 1995, ch. 7 [N 6861.K2]

15

Findlen, Paula, ‘The Economy of Scientific Exchange in Early Modern Italy’, in Patronage and Institutions: Science, Technology, and Medicine at the European Court, ed. Bruce Moran, Woodbridge 1991, pp. 5-24 [Q 125.P2]

Findlen, Paula, Possessing Nature: Museums, Collecting and Scientific Culture in Early Modern Italy, Berkeley, CA, 1994 [Q 105.I8]

Findlen, Paula, ‘Inventing Nature: Commerce, Art, and Science in the Early Modern Cabinet of Curiosities’, in Merchants and Marvels: Commerce, Science, and Art in Early Modern Europe, eds. P.H. Smith and P. Findlen, New York-London 2002, pp. 297-323 [N 72.M3]

Evans, R.J.W., Rudolf II and His World. A Study in Intellectual History 1576-1612, Oxford 1973 [DD 187.E9]

Fucikova, Eliska et al. (eds.), Rudolf II and Prague. The Court and the City, London 1997 [DB 225.P7]

Greenblatt, S., Marvelous Possessions: The Wonder of the New World, Chicago 1991 [E 121.G7]

Hooper-Greenhill, Eilean, Museums and the Shaping of Knowledge, London 1992 [AM 5.H6]

Impey, Oliver – MacGregor, Arthur (eds), The Origins of Museums: The Cabinet of Curiosities in Sixteenth- and Seventeenth-Century Europe, London 2001 [AM 342.O7]

Kenseth, Joy (ed), The Age of the Marvelous, Chicago 1991

MacGregor, Arthur, Ark to Ashmolean: The Story of the Tradescants, Ashmole and the Ashmolean Museum, Oxford 1983

MacGregor, Arthur, Tradescant’s Rarities. Essays on the Foundation of the Ashmolean Museum, 1683, Oxford 1983

Pearce, Susan M., Museums, Objects and Collections: A Cultural Study, Leicester 1992 [AM 5.P3]

Pearce, Susan M. (ed.), Interpreting Objects and Collections, London-New York 1994, chs. 23-24 [AM 133.I6]

Pomian, Krzystzof, Collectors and Curiosities: Paris and Venice, 1500-1800, Cambridge 1990 [N 5200.P6]

Seminar 13. The Birth of the Art Market

Seminar questions1. Where was the art market born?

2. What were the preconditions for the development of an art market in early modern Europe?

3. Was the “commodification” of art a purely Dutch phenomenon?

4. What the birth of an art market tell us about the structure of the Dutch Republic’s economy in the seventeenth century?

Suggested readingAlpers, Svetlana, Rembrandt’s Enterprise. The Studio and the Market, Chicago 1988, ch. 4 [ND 653.R3]

Benedict, Philip, ‘Towards the Comparative Study of the Popular Market for Art: The Ownership of Paintings in Seventeenth-Century Metz’, Past and Present, 109 (1985), pp. 100-117 [Jstor]

Campbell, Lorne, ‘The Art Market in the Southern Netherlands in the Fifteenth Century’, The Burlington Magazine, 118 (1976), pp. 188-198 [Arts Periodicals]

16

De Marchi, Neil – Van Miegroet, Hans J., ‘Art, Value and Market Practices in the Netherlands in the Seventeenth Century’, Art Bulletin, 76 (1994), pp. 451-464 [Arts Periodicals]

De Marchi, Neil – Van Miegroet, Hans J.,, ‘Novelty and Fashion Circuits in the Mid-Seventeenth Century Antwerp-Paris Art Trade’, Journal of Medieval and Early Modern Studies, 28 (1998), pp. 201-246 [Arts Periodicals]

De Marchi, Neil – Van Miegroet, Hans J., ‘Exploring Markets for Netherlandish Paintings in Spain and Nueva España’, Nederlands Kunsthistorisch Jaarboek, (2000), pp. 80-111

De Marchi, Neil – Van Miegroet, Hans J. (eds.), Mapping Markets for Paintings in Europe, 1450-1750, Turnhout 2006

Ewing, Dan, ‘Marketing Art in Antwerp, 1460-1560: Our Lady’s Pand’, Art Bulletin, 72 (1990), pp. 558-584 [Arts Periodicals]

Fantoni, Marcello - Matthew, Louise C. - Matthews-Grieco, Sarah F. (eds.), The Art Market in Italy, 15th-17th Centuries, Modena 2003 [N 8605.I8]

Freedberg, David - de Vries, Jan (eds.), Art in History: History in Art. Studies in Seventeenth-Century Dutch Culture, Santa Monica (CA) 1991

Haskell, Francis, ‘The Market for Italian Art in the 17th Century, in Past and Present, 15 (1959) [Jstor]

Israel, Jonathan I., The Dutch Republic. Its Rise, Greatness, and Fall 1477-1806, Oxford 1995, chs. 23, 33 [DJ 156.I8]

Montias, John Michael, ‘Reflections on Historical Materialism, Economic Theory and the History of Art in the Context of Renaissance and 17th-Century Painting’, Journal of Cultural Economics, 5 (1981), pp. 19-38 [Arts Periodicals]

Montias, John Michael, Artists and Artisans in Delft: A Socio-Economic Study of the Seventeenth Century, Princeton 1982 [N 6946.M6]

Montias, John Michael, Vermeer and His Milieu: A Web of Social History, Princeton 1989 [ND 653.V3]

Montias, John Michael, ‘Socio-Economic Aspects of Netherlandish Art from the Fifteenth to the Seventeenth Century’, Art Bulletin, 72 (1990), pp. 358-373 [Arts Periodicals]

Montias, John Michael, Art at Auction in 17th Century Amsterdam, Amsterdam 2002 [N 8605.N4 and eclectronic version]

North, Michael, ‘Art and Commerce in the Dutch Republic’, in A Miracle Mirrored. The Dutch Republic in European Perspective, eds. Karel Davids and Jan Lucassen, Cambridge 1995, pp. 284-302 [DJ 155.M4]

North, Michael, Art and Commerce in the Dutch Golden Age, New Haven-London 1997 [ND 646.N6]

North, Michael - Ormrod, David (eds.), Art Markets in Europe, 1400-1800, Aldershot 1998

Ormrod, David, ‘Art and Its Markets’, The Economic History Review, new series, 52 (1999), pp. 544-551 [Jstor]

Schama, Simon, Rembrandt’s Eye, London 2000 [ND 653.R3]

Wilson, Jane C., Painting in Bruges at the close of the Middle Ages: studies in society and visual culture, University Park, Pa., 1998, ch. 5 [ND 671.B7]

Seminar 14. Visual Culture, the Natural World and Technology

Seminar questions

17

1. How was nature incorporated into art?

2. How much did art help in the classification of the natural world?

3. “The scientific revolution would have been impossibile without the support of the visual arts”. Discuss

4. In what ways were the arts instrumental in the transmission of technical knowledge?

Suggested readingAlpers, Svetlana, The Art of Describing. Dutch Art in the Seventeenth Century, Chicago-London 1983 [ND 646.A5]

Baldasso, Renzo, ‘The Role of Visual Representation in the Scientific Revolution: A Historiographic Inquiry’, Centaurus, 42 (2006), pp. 69-88

DaCosta Kaufmann, Thomas, The Mastery of Nature. Art, Science, and Humanism in the Renaissance, Princeton 1993 [CB 361.K2], chs. 1, 5-6

Davis, Natalie Zemon, Women on the Margins: Three Seventeenth Century Lives, Harvard 1997, chapter on Maria Sybilla Merian, pp. 140-202

Edgerton jr., Samuel, The Heritage of Giotto’s Geometry: Art and Science on the Eve of the Scientific Revolution, Ithaca 1991 [N 7430.5.3]

Eichberger, Dagmar, ‘Naturalia and Artefacta: Durer’s Nature Drawings and Early Collecting’, in Durer and His Culture, eds. D. Eichberger and C. Zika, Cambridge 1998, pp. 13-37 [ND 588.D9]

Ellenius, Allen (ed), The Natural Sciences and the Arts: Aspects of Interaction from the Renaissance to the Twentieth Century, Uppsala 1985

Farago, Claire J. (ed), Leonardo’s Projects, c. 1500-1519, New York-London 1999 [ND 623.L3]

Field, Judith V., The Invention of Infinity: Mathematics and Arts in the Renaissance, Oxford 1997 [N 7430.5.F4]

Freedberg, David, ‘Science, Commerce, and Art: Neglected Topics at the Junction of History and Art History’, in Art in History. History in Art. Studies in Seventeenth-Century Dutch Culture, ed. D. Freedberg and J. de Vries, Santa Monica, CA, 1991, pp. 376-428

Goldgar, Anne, Tulipmania. Money, Honor, and Knowledge in the Dutch Golden Age, Chicago 2007

Jones, Caroline – Galison, Peter, Picturing Science Producing Art, New York 1998 [N 72.S3]

Keller, Alex, ‘Renaissance Theaters of Machines’, Technology and Culture, 9 (1978), pp. 495-508

Kemp, Martin, Leonardo da Vinci: The Marvellous Works of Nature and Man, London 1981 [ND 623.L3]

Kemp, Martin, ‘”The Mark of Truth”: Looking and Learning in Some Anatomical Illustrations from the Renaissance and Eighteenth Century’, in Medicine and the Five Senses, eds. W.F. Bynum and R. Porter, Cambridge 1993, pp. 85-121 [R 131.M3]

Kemp, Martin, “’Wrought By No Artist’s Hand: The Natural, the Artificial, the Exotic, and the Scientific in Some Artifacts from the Renaissance”, in Farago, Claire J. (ed), Reframing the Renaissance: Visual Culture in Europe and Latin America, New Haven-London 1995, pp. 177-196

Kusukawa, Sachiko, ‘Leonhart Fuchs on the Importance of Pictures’, Journal of the History of Ideas, 58 (1997), pp. 403-427 [Project Muse]

Lazzaro, Claudia, ‘Animals as Cultural Signs: A Medici Menagerie in the Grotto at Castello’, in Reframing the Renaissance: Visual Culture in Europe and Latin America 1450-1650, New Haven-London 1995, pp. 197-227 [N 6370.R3]

18

Lefèvre, Wolfgang, Picturing Machines 1400-1700, Boston MIT 2004

Prager, Frank D. – Scaglia, Gustina, Brunelleschi. Studies of his Technology and Inventions, Cambridge (Mass.) 1970 (reprinted in Mineola, NY, 2004) [TA 140.B7]

Reeves, Eileen, Painting the Heavens: Art and Science in the Age of Galileo, Princeton 1997 [ND 1460.A8]

Reeves, Eileen, ‘The New Sciences and the Visual Arts’, in A Companion to Renaissance and Baroque Art, eds. B. Bohn and J.M. Saslow, Oxford 2013, pp. 316-330

Rossi, Paolo, Philosophy, Technology, and the Arts in the Early Modern Era, New York 1970

Santillana, Giorgio, ‘The Role of Art in the Scientific Renaissance’, in Critical Problems in the History of Science, ed. Marshall Clagett, Madison, Wisconsin, 1959, pp. 33-65 [Q 125.I6]

Schama, Simon, ‘Perishable Commodities: Dutch Still-Life Painting and the “Empire of Things”’, in Consumption and the World of Goods, eds. John Brewer and Roy Porter, London 1993, pp. 478-488 [HS 2200.C6]

Schultz, Bernard, Art and Anatomy in Renaissance Italy, Ann Arbor 1985 [N 6915.S2]

Shirley, J. – Hoeniger, F. (eds), Science and the Arts in the Renaissance, Washington, D.C., 1985

Smith, Pamela H. – Findlen, Paula (eds), Merchants and Marvels: Commerce, Science, and Art in Early Modern Europe, eds. P.H. Smith and P. Findlen, New York-London 2002 [N 72.M3]

Smith, Pamela H., The Body of the Artisan: Art and Experience in the Scientific Revolution, Chicago 2004

Seminar 15. Mapmaking and Cartography

Seminar questions1. What was the purpose of maps and how is that reflected in their form?

2. What was the interplay between artistry and cartography during the Renaissance?

3. How did maps change the European perception of space during the early modern period?

Suggested readingBrotton, Jerry, Trading Territories: Mapping the Early Modern World, London 1997 [GA 231.B7]

Brotton, Jerry, A History of the World in 12 Maps, London 2012, ch. 8, pp. 262-291

Buisseret, David, The Mapmakers’ Quest. Depicting New Worlds in Renaissance Europe, Oxford 2003 [GA 781.B8]

Buisseret, David (ed), Monarchs, Ministers and Maps: The Emergence of Cartography as a Tool of Government in Early Modern Europe, Chicago 1992 [GA 231.M6]

Buisseret, David (ed), Envisioning the City: Six Studies in Urban Cartography, Chicago 1998

Cosgrove, Dennis E., ‘Mapping New Worlds: Culture and Cartography in Sixteenth-Century Venice’, in Imago Mundi, 44 (1992), pp. 65-89

Cosgrove, Dennis E., The Palladian Landscape: Geographical Change and its Cultural Representations in Sixteenth-Century Italy, Leicester 1993 [NA 1119.V3]

Frangenberg, Thomas, ‘Chorographies of Florence: the use of city views and city plans in the sixteenth century’, in Imago Mundi, 46 (1994), pp. 41-64

19

Kagan, Richard L. – Marias, Fernando (eds), Urban images of the Hispanic world, New Haven-London 2000

Kagan, Richard L. – Schmidt, Benjamin, ‘Maps and the Early Modern State: Official Cartography’, in The History of Cartography. Volume Three. Cartography in the European Renaissance. Part 1, Chicago-London 2007, ch. 26, pp. 661-679

Nuti, Lucia, ‘The mapped view by Georg Hoefnagel: the merchant’s eye, the humanist’s eye’, in Word and Image, 4 (1988), pp. 545-570

Pinto, John, ‘Origins and development of the iconographic city plan’, in Journal of the Society of Architectural Historians, 35 (1976), pp. 35-50

Rees, Ronald, ‘Historical links between cartography and art’, in Geographical Review, 70 (1980), pp. 60-78

Schultz, Jurgen, ‘Jacopo de’ Barbari’s view of Venice: map making, city views and moralized geography before the year 1500’, in Art Bulletin, 60 (1978), pp. 427-473

Tooley, R.V., ‘Maps in Italian atlases of the sixteenth century’, in Imago Mundi, 3 (1970), pp. 12-47

Woodward, David (ed), Art and Cartography, Chicago 1987

Seminar 16. The Empire of Luxuries

Seminar questions“The early-modern increase in the consumption of luxury objects shows the growing complexity of European social stratification”. Discuss

Did technical innovations respond to the growing demand for arts among early modern Europeans or did they cause it?

Suggested reading

Book IlluminationAlexander, J.J.G., Medieval Illuminators and their Methods of Work, New Haven-London 1992 [ND 2920.A5]

Alexander, J.J.G. (ed), The Painted Page: Italian Renaissance Book Illumination, London-Munich 1994 [ND 3159.P2]

Farquhar, James Douglas, Creation and Imitation: The Work of a Fifteenth-Century Manuscript Illuminator, Fort Lauderdale, FL, 1976 [ND 3150.M2]

MetalsHackenbroch, Yvonne, Renaissance Jewellery, Munich 1979 [NK 5106.F4]

Hayward, J.F., Virtuoso Goldsmiths and the Triumph of Mannerism 1540-1620, London 1976 [NK 7109.H2]

Somers Cocks, Anna, ‘The Myth of “Burgundian” Goldsmithing and the Function of Plate at the Burgundian Court’, The Connoisseur, 194 (1977), pp. 180-186 [Arts Periodicals]

Somers Cocks, Anna, Princely Magnificence: Court Jewels in the Renaissance 1500-1630, London 1980 [NK 7409.P7]

Tait, G. Hugh, Seven Thousand Years of Jewellery, London 1986

Precious StonesButters, Suzanne, The Thriumph of Vulcan: Sculptors’ Tools, Porphiry, and the Prince in Ducal Florence, 2 vols., Florence 1996 [NB 615.B8]

20

Giusti, Annamaria, ‘The Origins and Splendors of the Grand-Ducal Pietre Dure Workshop’, in The Medici, Michelangelo, and the Art of Late Renaissance Florence, New Haven-London 2002, pp. 103-111 [N 6921.F7]

Perry, M., ‘Wealth, Art and Display: The Grimani Cameos in Renaissance Venice’, Journal of the Warburg and Courtauld Institutes, 56 (1993), pp. 268-273 [Arts Periodicals]

TextilesAdelson, Candace, ‘Cosimo I and the Foundation of Tapestry Production in Florence’, in Firenze e la Toscana dei Medici nell'Europa del Cinquecento, ed. by Gian Carlo Garfagnini, Florence 1983, vol. 3, pp. 899-924

Campbell, Thomas P., Tapestry in the Renaissance: Art and Magnificence, New York 2002 [NK 3007.C2]

Delmarcel, Guy, Flemish Tapestry Weavers Abroad. Emigration and the Founding of Manufactories in Europe, Leuven 2002

Edler De Roover, Florence, ‘Andrea Banchi, Florentine Silk Manufacturer and Merchant in the Fifteenth Century’, in Studies in Medieval and Renaissance History, 3 (1966), pp. 223-285 [Arts Periodicals]

Goddard, Steven, ‘Brocade Patterns in the Shop of the Master of Frankfort: An Accessory to Stylistic Analysis’, Art Bulletin, 67 (1985), pp. 401-417 [Arts Periodicals]

Newton, Stella Mary, The Dress of the Venetians 1495-1525, Aldershot 1988 [GT 964.N3]

Seminar 17. Europe and Global Arts

Tba

Seminar 18. Distant Perspectives: Arts and Society in Ming China

Seminar questions1. Was the collection of art a unique European phenomenon during the sixteenth and seventeenth centuries?

2. “The differences in the artistic traditions of early modern China and Europe have been exaggerated”. Discuss

Suggested readingAdshead, Samuel A., Material Culture in Europe and China, 1400-1800: The Rise of Consumerism, Basingstoke 1997 [HK 14.A3]

Cahill, J., Parting at the Shore: Chinese Painting of the Early and Middle Ming Dinasty, 1368-1580, New York 1982

Cahill, J., The Distant Mountains: Chinese Painting of the Late Ming Dinasty, 1570-1644, New York 1982

Cahill, J., The Painter’s Practice: How Artists Lived and Worked in Traditional China, New York 1994

Clunas, Craig (ed), Chinese Export Art and Design, London 1987 [N 7343.5.C4]

Clunas, Craig, Fruitful Sights: Garden Culture in Ming Dinasty China, London 1996 [NA 8416.C4]

Clunas, Craig, Art in China, Oxford 1997 [N 7340.C5]

Clunar, Craig, Superfluous Things: Material Culture and Social Status in Early Modern China, Honolulu 2004 [HC 7608.3.C5]

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Kerr, R. (ed), Chinese Art and Design, London 1991 [processed]

Li, C. – Watts, C.Y. (eds), The Chinese Scholar’s Studio: Artistic Life in the Late Ming Period, New York-London 1987

Li, C., (ed), Artists and Patrons: Some Social and Economic Aspects of Chinese Painting, Lawrence, KA, 1989

Mote, F.W, Imperial China, 900-1800, Cambridge (Mass.)-London 1999, part 4 [DS 735.M6]

Murck, Christian (ed), Artists and Traditions: Uses of the Past in Chinese Culture, Princeton 1976

Murck, Christian – Fong, W.C. (eds), Words and Images: Chinese Poetry, Painting and Calligraphy, New York 1991

Rawson, J. (ed), The British Museum Book of Chinese Art, London 1992

Thorp, L.P., Son of Heaven: Imperial Arts of China, Seattle 1988

Weidner, M. (ed), Flowering in the Shadows: Women in the History of Chinese and Japanese Painting, Honolulu 1990 [electronic resource]

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