By Babette Bohn, James M. Saslow
A significant other to Renaissance and Baroque artwork offers a various, clean choice of obtainable, accomplished essays addressing key matters for eu paintings produced among 1300 and 1700, a interval that may be termed the start of contemporary history.
• provides a set of unique, in-depth essays from paintings specialists that tackle a number of features of ecu visible arts made out of circa 1300 to 1700
• Divided into 5 wide conceptual headings: Social-Historical components in creative creation; artistic strategy and Social Stature of the Artist; the thing: artwork as fabric tradition; The Message: matters and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse
• Covers many subject matters no longer in general integrated in collections of this nature, corresponding to Judaism and the humanities, architectural treatises, the worldwide Renaissance in arts, the hot ordinary sciences and the humanities, paintings and faith, and gender and sexuality
• beneficial properties essays at the arts of the household lifestyles, sexuality and gender, and the paintings and creation of tapestries, conservation/technology, and the metaphor of theater
• specializes in Western and valuable Europe and that territory's interactions with neighboring civilizations and far-off discoveries
• contains illustrations in addition to hyperlinks to pictures no longer incorporated within the book
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Extra resources for A Companion to Renaissance and Baroque Art
Overcoming the boundaries of academic disciplines and specialist expertise, OUP CORRECTED PROOF – FINAL, 25/02/17, SPi 14 IM AGES OF MITHR A we would argue, needs to be done as a collective, and, whether or not the members decide to speak in one voice, only true exchange and conversation will make cross-fertilization of ideas possible. It is clear there are many questions and many problems that this book will not answer. Some are intractable and there are others that would require the careful grind of scholarship on a larger scale than we can offer.
It is quite simply because however well any of our objects from the past have survived, they are always fragments of something larger. These statues stand as a cursory reminder of that fact, as something of an allegory of the fallibility of our explanations and assumptions about the past. Our own preconceptions are an issue not only in how we approach discrete objects such as these statues, or how we examine larger and more complex archaeological sites, but also how we conceive of cults, such as that of Mithras, for which we have only the scantest of remains.
32 See Gordon 1977–1978, esp. 154–5, on the unlikelihood of this image evolving over a long period of time. More generally on its development, see Beck 1984a, 2071–8. OUP CORRECTED PROOF – FINAL, 25/02/17, SPi 32 IM AGES OF MITHR A have yet to discuss. 33 There is no better illustration of this than in the relatively uniform spread of the image type across the empire. 35 Furthermore, the god is doing something and the act itself is part of what this representation is. It is not a repeated depiction of a sacred prototype (a statue in a particular sanctuary), and thus the scene has a symbolic value that these other statues from the ancient world did not share.
A Companion to Renaissance and Baroque Art by Babette Bohn, James M. Saslow
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