The Visual Legacy Of Alexander The Great From The Renaissance To The Age Of Revolution

"This is an analysis of the diverse facets of Alexander the Great's image from the Renaissance era through the Baroque into the nineteenth century. Perceived as the first sovereign ruler of the world, for centuries Alexander became an exemplar for the most ambitious kings and emperors. This cultural phenomenon flourished above all in the Renaissance while extending into the nineteenth century. Early modern monarchs' identification with Alexander associated them with ideas of kingly wisdom. Yet this admiration waned on occasions. Napoleon was Alexander of Macedonia's most ardent critic. During the nineteenth century, the Macedonian hero was viewed as an individual who won control of the Achaemenid empire, but also underwent a progressive moral decline that converted him into a tyrant. The book will be of interest to scholars working in art history and iconography"--

This is an analysis of the diverse facets of Alexander the Great’s image from the Renaissance era through the Baroque into the nineteenth century. Perceived as the first sovereign ruler of the world, for centuries Alexander became an exemplar for the most ambitious kings and emperors. This cultural phenomenon flourished above all in the Renaissance while extending into the nineteenth century. Early modern monarchs’ identification with Alexander associated them with ideas of kingly wisdom. Yet this admiration waned on occasions. Napoleon was Alexander of Macedonia’s most ardent critic. During the nineteenth century, the Macedonian hero was viewed as an individual who won control of the Achaemenid empire, but also underwent a progressive moral decline that converted him into a tyrant. The book will be of interest to scholars working in art history and iconography.

This volume explores the images of Alexander the Great from the fifteenth and sixteenth centuries, how they came about, and why they were so popular. In contrast to the numerous studies on the historical and legendary figure of Alexander, surprisingly few studies have examined, in one volume, the visual representation of the Macedonian king in frescoes, oil paintings, engravings, manuscripts, medals, sculpture, and tapestries during the Renaissance. The book covers a broad geographical area and includes transalpine perspectives. Ingrid Alexander-Skipnes examines the role that humanists played in disseminating the stories about Alexander and explores why Alexander was so popular during the Renaissance. Alexander-Skipnes offers cultural, political, and social perspectives on the Macedonian king and shows how Renaissance artists and patrons viewed Alexander the Great. The book will be of interest to scholars working in art history, Renaissance studies, ancient Greek history, and classics.

Contrary to what Kant believed about the Dutch (and their visual culture) as “being of an orderly and diligent position” and thus having no feeling for the sublime, this book argues that the sublime played an important role in seventeenth-century Dutch visual culture. By looking at different visualizations of exceptional heights, divine presence, political grandeur, extreme violence, and extraordinary artifacts, the authors demonstrate how viewers were confronted with the sublime, which evoked in them a combination of contrasting feelings of awe and fear, attraction and repulsion. In studying seventeenth-century Dutch visual culture through the lens of notions of the sublime, we can move beyond the traditional and still widespread views on Dutch art as the ultimate representation of everyday life and the expression of a prosperous society in terms of calmness, neatness, and order. The book will be of interest to scholars working in art history, visual culture, architectural history, and cultural history.

This book explores our corporeal connections to the past by considering what three theoretical approaches - somaesthetics, posthumanism, and the uncanny - may reveal about both premodern and postmodern terms of embodiment. It takes as its point of departure a selection of fifteenth-century northern European Books of Hours - evocative objects designed at once to inscribe social status, to strengthen religious commitment, to entertain, to stimulate emotions, and to encourage discomfiting self-scrutiny. Studying their kaleidoscopically strange, moving, humorous, disturbing, and imaginative pages not only enables a window into relationships among bodies, images, and things in the past but also in our own internet era, where surprisingly popular memes drawn from such manuscripts constitute a part of our own visual culture. In negotiating theoretical, post-theoretical, and historical concerns, this book aims to contribute to an emerging and much-needed intersectional social history of art. It will be of interest to scholars working in art history, medieval studies, Renaissance/early modern studies, gender studies, the history of the book, posthumanism, aesthetics, and the body.

This edited volume takes a new look at an old question: what is the relationship between beauty and monstrosity? How has the notion of beauty transformed through the years and how does it coincide with monstrous ontologies? Contributors offer an interdisciplinary approach to how these two concepts are interlinked and emphasize the ways the beautiful and the monstrous pervade human experience. The two notions are explored through the axis of human transformation, focusing on body, identity, and gender, while questioning both how humans transform their body and space as well as how humans themselves are gradually transformed in different contexts. The pandemic, gender crisis, moral crisis, sociocultural instability, and environmental issues have redefined beauty and the relationship we have with it. Exploring these concepts through the lens of human transformation can yield valuable insights into what it means to be human in a world of constant change. The book will be of interest to scholars working in art history, archaeology, philosophy, architecture, and cultural studies.

This volume investigates the mechanisms (artworks, treatises, and other forms of cultural patronage) that the Marquises of Villena and their opponents used to operate in the cultural battlefield of the time with the aim of understanding how their conflicting historical memories were constructed and manipulated. Concentrating on the late fifteenth and early sixteenth centuries, the book examines these two aristocrats and demonstrates that political tensions led not only to military conflicts during this period but also to conflicts fought on cultural grounds, through the promotion of artistic, religious, and literary programmes. Maria Teresa Chicote Pompanin investigates why the Marquises of Villena lost in both the military and cultural battlefields and explains how the negative historical memories forged by their opponents in the late fifteenth century managed to become the official historical truth that has remained unchallenged to this day. The book will be of interest to scholars working in art history, cultural history, medieval studies, Renaissance studies, Iberian studies, literary studies, and patronage studies.

Resonating with contemporary ecological and queer theory, this book pioneers the theorization of the Victorian idyll, establishing its nature, lineaments, and significance as a formal mode widely practised in nineteenth-century British culture across media and genre. Chapters trace the Victorian idyll’s emergence in the 1830s, its flourishing in the 1860s, and its evolution up to the century’s close, drawing attention to the radicalism of idyllic experiments with pictorial, photographic, dramatic, literary, and poetic form in the work of canonical and lesser-known figures. Approaching the idyll through three intersecting categories—subject, ecology, and form—this book remaps Victorian culture, reshaping thinking about artistic form in the nineteenth century, and recalibrating accepted chronologies. In the representations by a host of Victorian artists and writers engaging with other-than-human forms, and in the natures of the subjectivities animated by these encounters, we find versions of Victorian ecology providing provocative imaginative material for ecocritics, scholars, writers, and artists today. This book will be of interest to scholars working in art history, English literature, Victorian studies, British history, queer and trans* theory, musicology, and ecocriticism, and will enliven debates pertaining to the environmental across periods.