Baroque And Rococo Pictorial Imagery The 1758 60 Hertel Edition Of Ripa S Iconologia Introduction Translations And 200 Commentaries By Edward A Maser

This book offers a a way to analyze narrative data in socio-historical research.

Bringing into relief the singularity of Barry's unswerving commitment to his vision for history painting despite adverse cultural, political and commercial currents, these essays on Barry and his contemporaries offer new perspectives on the painter's life and career. Contributors, including some of the best known experts in the field of British eighteenth-century studies, set Barry's works and writings into a rich political and social context, particularly in Britain. Among other notable achievements, the essays shed new light on the influence which Barry's radical ideology and his Catholicism had on his art; they explore his relationship with Reynolds and Blake, and discuss his aesthetics in the context of Burke and Wollstonecraft as well as Fuseli and Payne Knight. The volume is an indispensable resource for scholars of eighteenth-century British painting, patronage, aesthetics, and political history.

This book reveals a new history of the imagination told through its engagement with the body. Even as they denounced the imagination’s potential for inviting luxury, vice, and corruption, American audiences avidly consumed a transatlantic visual culture of touring paintings, dioramas, gift books, and theatrical performances that pictured a preindustrial—and largely imaginary—European past. By examining the visual, material, and rhetorical strategies artists like Washington Allston, Asher B. Durand, Thomas Cole, and others used to navigate this treacherous ground, Catherine Holochwost uncovers a hidden tension in antebellum aesthetics. The book will be of interest to scholars of art history, literary and cultural history, critical race studies, performance studies, and media studies.

Peter Mason takes a bold, multidisciplinary approach in this account of the idea of the colossal in culture. He gathers instances of the colossal throughout history—including the obelisks of Egypt, the Colossus of Rhodes, the Roman Colosseum, the heads of the Olmecs, and the stone statues of Easter Island—using historical and archaeological evidence to position them within the context of time and culture. Mason establishes a vision of the colossal that encompasses both the colossal in scale and another, overlooked sense of the word: the archaic Greek kolossos, a ritual effigy, and its modern equivalents. Combining fascinating detail with a rigorous account that spans three millennia, The Colossal argues that the artist who best understood and tapped into the kolossos was Alberto Giacometti. Mason shows that the Swiss sculptor and painter’s work articulated themes of death and mourning in ways rarely seen since the art of archaic Greece, themes most evident in his enigmatic work, The Cube. From the monolithic sculptures of long-dead civilizations to Giacometti’s imposing and unsettling heads, The Colossal is an innovative book that traces unexplored thematic threads through visual history.

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

In Infelicities Peter Mason explores the texts, paintings, drawings, photographs, and museum displays in which the exotic has been represented from the early modern period to the present. He describes the unique iconography that Europeans developed to convey the exotic and the means they employed to display it once artifacts were brought to Europe. In both instances, the exotic object is taken out of its original context and given a meaning and significance it never had; this new meaning and significance, Mason argues, are derived from the imposition of European cultural values and the need to recontextualize the object in a European setting.

The essays in this volume present a collective study of one of the major problems in the recent history of science: To what extent did the occult 'sciences' (alchemy, astrology, numerology, and natural magic) contribute to the scientific revolution of the late Renaissance? These studies of major scientists (Kepler, Bacon, Mersenne, and Newton) and of occultists (Dee, Fludd, and Cardano), complemented by analyses of contemporary official and unofficial studies at Cambridge and Oxford and discussions of the language of science, combine to suggest that hitherto the relationship has been too crudely stated as a movement 'from magic to science'. In fact, two separate mentalities can be traced, the occult and the scientific, each having different assumptions, goals, and methodologies. The contributors call into question many of the received ideas on this topic, showing that the issue has been wrongly defined and based on inadequate historical evidence. They outline new ways of approaching and understanding a situation in which two radically different and, to modern eyes, incompatible ways of describing reality persisted side-by-side until the demise of the occult in the late seventeenth century. Their work, accordingly, sets the whole issue in a new light.