Fashion Virtue Textile Patterns And The Print Revolution 1520 1620 The Metropolitan Museum Of Art Bulletin V 73 No 2 Fall 2015

This Bulletin discusses the Met's extensive collection of Renaissance textile pattern books, used primarily by women to embroider clothes and accessories. The practice of embroidery was seen as a virtuous endeavor, and textile pattern books, published with great frequency from the 1520s onward, were designed to inspire, instruct, and encourage "beautiful and virtuous women" in this esteemed practice. Straddling the disciplines of early printmaking, ornament design, and textile decoration, these works help shed light on the crucial period when the concept of fashion as a means of distinguishing individual identity became fixed in Western society.

This publication explores the integrative narratives of historical costume in the novel universal perspective of literature, leisure, ornamentation, customs/traditions, and theoretical contexts. The adaptation, mutation, and transformation of attire are the result of complex interactions between many factors, such as economic conditions, political conditions, social conditions, psychological conditions, and technology. The meanings encoded in the costume are one of the noticeable hallmarks of any society. This proposed book investigates multidisciplinary topics, for instance, embellishments such as needlework and embroidery; the historical concept of fight, physical encounter, combat, or bout and its connection with related-attire; the contribution of dress to the narrative process of Virgil’s 'Aeneid'; and the theory and philosophy of fashion.

The Middle Kingdom (ca. 2030–1650 B.C.) was a transformational period in ancient Egypt, during which older artistic conventions, cultural principles, religious beliefs, and political systems were revived and reimagined. Ancient Egypt Transformed presents a comprehensive picture of the art of the Middle Kingdom, arguably the least known of Egypt’s three kingdoms and yet one that saw the creation of powerful, compelling works rendered with great subtlety and sensitivity. The book brings together nearly 300 diverse works— including sculpture, relief decoration, stelae, jewelry, coffins, funerary objects, and personal possessions from the world’s leading collections of Egyptian art. Essays on architecture, statuary, tomb and temple relief decoration, and stele explore how Middle Kingdom artists adapted forms and iconography of the Old Kingdom, using existing conventions to create strikingly original works. Twelve lavishly illustrated chapters, each with a scholarly essay and entries on related objects, begin with discussions of the distinctive art that arose in the south during the early Middle Kingdom, the artistic developments that followed the return to Egypt’s traditional capital in the north, and the renewed construction of pyramid complexes. Thematic chapters devoted to the pharaoh, royal women, the court, and the vital role of family explore art created for different strata of Egyptian society, while others provide insight into Egypt’s expanding relations with foreign lands and the themes of Middle Kingdom literature. The era’s religious beliefs and practices, such as the pilgrimage to Abydos, are revealed through magnificent objects created for tombs, chapels, and temples. Finally, the book discusses Middle Kingdom archaeological sites, including excavations undertaken by the Metropolitan Museum over a number of decades. Written by an international team of respected Egyptologists and Middle Kingdom specialists, the text provides recent scholarship and fresh insights, making the book an authoritative resource.

Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.

Recasts the Reformation as a battleground over memory, in which new identities were formed through acts of commemoration, invention and repression.

Giovanni Battista Moroni is considered one of the great portraitists of sixteenth-century Italy. Published with The Frick Collection to accompany the first major exhibition devoted to the artist in the United States, this sumptuous volume celebrates the painter's eye for exquisite detail in depicting his sitters' interior and material worlds. New scholarship includes in-depth studies of individual portraits, as well as essays on the artist in the context of portrait painting in northern Italy in the later cinquecento. Contents: Director's Foreword; Preface and Acknowledgements; Moroni's Eyes; Moroni between Likeness and Presence; Catalogue of the Exhibition; Bibliography; Index. The publication is linked to an exhibition running at The Frick Collection from February to June 2019. AUTHORS: Aimee Ng is an Associate Curator at The Frick Collection, New York. Arturo Galansino is the Director of the Palazzo Strozzi, Florence. Simone Facchinetti is a Curator at the Museo Adriano Bernareggi, Bergamo. SELLING POINTS: * The only substantial treatment of this renowned Old Master's portraiture in print * Accompanies the major exhibition at The Frick Collection from February to June 2019 * Offers new insights by experts in the field with accessibly written text 90 colour images

Rising from humble origins as Turkish tribesmen, the powerful and culturally prolific Seljuqs—an empire whose reach extended from Central Asia to the eastern Mediterranean—dominated the Islamic world from the eleventh to the fourteenth century. Court and Cosmos: The Great Age of the Seljuqs examines the roots and impact of this formidable dynasty, featuring some 250 objects as evidence of the artistic and cultural flowering that occurred under Seljuq rule. Beginning with an historical overview of the empire, from its early advances into Iran and northern Iraq to the spread of its dominion into Anatolia and northern Syria, Court and Cosmos illuminates the splendor of Seljuq court life. This aura of luxury extended to a sophisticated new elite, as both sultans and city dwellers acquired dazzling glazed ceramics and metalwork lavishly inlaid with silver, copper, and gold. Advances in science and technology found parallels in a flourishing interest in the arts of the book, underscoring the importance the Seljuqs placed on the scholarly and literary life. At the same time, the unrest that accompanied warfare between the Seljuqs and their enemies as well as natural disasters and unexplainable celestial phenomena led people to seek solace in magic and astrology, which found expression in objects adorned with zodiacal and talismanic imagery. These popular beliefs existed alongside devout adherence to Islam, as exemplified by exquisitely calligraphed Qur’ans and an array of building inscriptions and tombstones bearing verses from the holy book. The great age of the Seljuqs was one that celebrated magnificence, be it of this world or in the celestial realm. By revealing the full breadth of their artistic achievement, Court and Cosmos provides an invaluable record of the Seljuqs’ contribution to the cultural heritage of the Islamic world.