Reframing Albrecht D Rer

Focusing on the ways his art and persona were valued and criticized by writers, collectors, and artists subsequent to his death, this book examines the reception of the works of Albrecht D?rer. Andrea Bubenik's analysis highlights the intensive and international interest in D?rer's art and personality, and his developing role as a paragon in art historiography, in conjunction with the proliferation of portraits after his likeness. The author traces carefully how D?rer's paintings, prints, drawings and theoretical writings traveled widely, and were appropriated into new contexts and charged with different meanings. Drawing on inventories and correspondences and taking collecting practices into account, Bubenik establishes who owned what by D?rer in the 16th and 17th centuries, and characterizes the key locations where interest in D?rer peaked (especially the courts of Maximilian I in Munich, and Rudolf II in Prague). Bubenik treats the emergent artistic appropriations of D?rer-borrowings from or transformations of his originals-in conjunction with contemporary sources on art theory. The volume includes illustrations of numerous imitative works after D?rer. As well as being the first book to fully address the early reception of the most important of German Renaissance artists, Reframing Albrecht D?rer shows how appropriation is a crucial concept for understanding artistic practice during the early modern period.

"Focusing on the ways his art and persona were valued and criticized by writers, collectors, and artists subsequent to his death, this book examines the reception of the works of Albrecht D?rer. Andrea Bubenik's analysis highlights the intensive and international interest in D?rer's art and personality, and his developing role as a paragon in art historiography, in conjunction with the proliferation of portraits after his likeness. The author traces carefully how D?rer's paintings, prints, drawings and theoretical writings traveled widely, and were appropriated into new contexts and charged with different meanings. Drawing on inventories and correspondences and taking collecting practices into account, Bubenik establishes who owned what by D?rer in the 16th and 17th centuries, and characterizes the key locations where interest in D?rer peaked (especially the courts of Maximilian I in Munich, and Rudolf II in Prague). Bubenik treats the emergent artistic appropriations of D?rer-borrowings from or transformations of his originals-in conjunction with contemporary sources on art theory. The volume includes illustrations of numerous imitative works after D?rer. As well as being the first book to fully address the early reception of the most important of German Renaissance artists, Reframing Albrecht D?rer shows how appropriation is a crucial concept for understanding artistic practice during the early modern period."--Provided by publisher.

Analyzing seventeenth-century images of the dead Christ produced by Gregorio Fernández, author Ilenia Colon Mendoza investigates how and why the artist and his patrons manipulated these images in connection with the religious literature of the time to produce striking images that moved the faithful to devotion. In so doing, she contributes new findings to the topic of Spanish sacred sculpture. The author re-examines these sculptures not only in the context of a larger sculptural group but also as independent sculptures that were intended as powerful aids to contemplation and devotion as was prescribed by the writings of San Juan de la Cruz and Luis de Granada. Combining study of the sculptural works with that of liturgical sources, she reveals the connection between the written word and the sculpted work of art. Through this interdisciplinary approach, the author links Fernández's sculptural program with the strategic objectives of major patrons of the period, such as the Duke of Lerma and King Philip III of Spain, both fervent defenders of the Catholic faith.

Dürer's Lost Masterpiece tracks the history of a turning point in the career of the celebrated German artist Albrecht Dürer (1471-1528), when he stopped painting altarpieces after arguing with a merchant patron over payment. As an eloquent homage to Dürer ́s life, it brings us closer to the creation and meaning of his paintings than ever before. Dürer's Lost Masterpiece considers the celebrated German artist Albrecht Dürer (1471-1528), his time and his legacy. It tracks the history of a crucial, and often overlooked, turning point in his career, when Dürer stopped painting altarpieces after falling out with the Frankfurt merchant Jacob Heller over a commission. The story of this painting, as Dürer ́s lost masterpiece, functions as a lens through which to view the new relationship developing between art, collecting and commerce in Europe up to the Thirty Years ́ War (1618-1648) when global trade and cultural exchanges were increasing. At the heart of the book is the argument that merchants, and their mentalities, were crucial for the making of Renaissance art and its legacy for modern art. The book draws on a decade of research, and uniquely draws the reader into the rich emotional worlds of three merchants each of whom typified the evolving relationship between art and commerce in that entrepreneurial, and often ruthless, age. It brings to life Dürer ́s determined fight for creative makers to be adequately paid and explores the big questions about how European societies came to value the arts and crafts that remain relevant to our time.

Works in the Museum's collection that embody the Renaissance interest in classical learning, fame, and beautiful objects are illustrated and discussed in this resource and will help educators introduce the richness and diversity of Renaissance art to their students. Primary source texts explore the great cities and powerful personalities of the age. By studying gesture and narrative, students can work as Renaissance artists did when they created paintings and drawings. Learning about perspective, students explore the era's interest in science and mathematics. Through projects based on poetic forms of the time, students write about their responses to art. The activities and lesson plans are designed for a variety of classroom needs and can be adapted to a specific curriculum as well as used for independent study. The resource also includes a bibliography and glossary.

Everything is Relevant: Writings on Art and Life, 1991-2018 brings together texts by Canadian artist Ken Lum. They include diary entries, articles, catalogue essays, curatorial statements, a letter to an editor, and more. Along the way, the reader learns about late modern, postmodern, and contemporary art practices, as well as debates around issues such as race, class, and monumentality. Penetrating, insightful, and often moving, Lum's writings are essential for understanding his varied practice, which has often been prescient of developments within contemporary art.

In early sixteenth-century Italy, works of art came to be understood as unique objects made by individuals of genius, giving rise to a new sense of the artist as the author of his images. At the same time, the practice of engraving, a medium that produced multiple printed images via collaborative processes, rapidly developed. In this book, Lisa Pon examines how images passed between artists and considers how printing techniques affected the authorship of images. Pon focuses on the encounters between the engraver Marcantonio Raimondi and three key artists: Albrecht Dürer, Raphael, and Giorgio Vasari. She reevaluates their work in light of the tensions between possessive authorship and practical collaboration in the visual arts.

We’re pleased to welcome you to the Department of Political Science at the University of Bari “Aldo Moro” for the 7th Migration Conference. The conference is the largest scholarly gathering on migration with a global scope. Human mobility, economics, work, employment, integration, insecurity, diversity and minorities, as well as spatial patterns, culture, arts and legal and political aspects appear to be key areas in the current migration debates and research. Throughout the program of the Migration Conference you will find various key thematic areas covered in 598 presentations by 767 contributors coming from all around the world, from Australia to Canada, China to Colombia, Brazil to Korea, and South Africa to Norway. We are proud to bring together experts from universities, independent research organisations, governments, NGOs and the media. We are also proud to bring you opportunities to meet with some of the leading scholars in the field. This year invited speakers include Fiona B. Adamson, Markus Kotzur, Philip L. Martin, Karsten Paerregaard, Ferruccio Pastore, Martin Ruhs, Jeffrey H. Cohen, and Carlos Vargas Silva. Although the main language of the conference is English, this year we will have linguistic diversity as usual and there will be presentations in French, Italian, Spanish and Turkish. We have maintained over the years a frank and friendly environment where constructive criticism foster scholarship, while being nice improves networks and quality of the event. We hope to continue with this tradition and you will enjoy the Conference and Bari during your stay. We thank all participants, invited speakers and conference committees for their efforts and contribution. We also thank many colleagues who were interested in and submitted abstracts but could not make it this year. We are particularly grateful to hundreds of colleagues who served as reviewers and helped the selection process. We also thank to those colleagues who organised panels and agreed to chair parallel sessions over three days. We reserve our final thanks to the team of volunteers whose contributions have been essential to the success of the conference. In this regard, special thanks are reserved for our volunteers and team leaders Rosa, Alda, Franco, and Aldo from the University of Bari, Tuncay and Fatma from Regent’s University London, Fethiye from Namik Kemal University and Vildan from Galatasaray University, Ege from Middle East Technical University, Mehari from Regent’s University London, and Gizem from Transnational Press London. Our final thanks are reserved for the leaders of the University of Bari “Aldo Moro” and the Department of Political Science, President of Puglia Regional Administration and Mayor of City of Bari for hosting the Conference and for their generous support in enriching the Conference programme. Please do not hesitate to get in touch with us through the conference email ([email protected]). Ibrahim Sirkeci and Michela C. Pellicani The Migration Conference Chairs The Migration Conference 2019 The Migration Conference is a global venue for academics, policy makers, practitioners, students and everybody who is interested in intelligent debate and research informed discussions on human mobility and its impacts around the world. The Migration Conference 2019 is the 7th conference in the series and co-organised and hosted by the University of Bari “Aldo Moro”, Italy and Transnational Press London. The Migration Conferences were launched at the Regent’s Centre for Transnational Studies in 2012 when the first large scale well attended international peer-reviewed conference with a focus on Turkish migration in Europe in Regent’s Park campus of Regent’s University London. The migration conferences have been attended by thousands of participants coming from all around the world in London (2012), London (2014), Prague (2015), Vienna (2016), Athens (2017), Lisbon (2018), and Bari (2019).