"Starting with Marcel Duchamp's brilliantly cheeky L.H.O.O.Q., this volume takes you on a year-by-year tour of the most iconic and influential artowrks of the past century. The works are impeccably reproduced in stunning images, alongside analysis from noted art historian Ágnes Berecs. When read in sequence, these entries provide an evocative summary of a hundred years of stylistic innovations, historic events, and ongoing dialogues in the field of art. Including paintings, sculptures, installations, and performance pieces this careful selection showcases diversity not only of form and medium, but also of social and geopolitical context and the level of success enjoyed by the artist during his or her lifetime"--From dust jacket.

An accessible, comprehensive, freshly-updated celebration of the vast range of human artistry from 28,000 BC to today Brought completely up to date for this revised edition and now available in a compact new format, this new edition of Phaidon's groundbreaking book presents art differently from all other compendia by revealing the huge diversity - or in many cases, the similarity - of artistic achievements around the globe. Images of more than 600 works from all periods and regions are arranged in chronological order, each with a short text that puts the work in critical context and explains its contribution to the development of art history.
(source: Nielsen Book Data) 9780714877297 20190325

• Introduction
• Part I: Collaborations Between Art Schools and Their Museums
• 1. The Art Museum and the Art School: Negotiating Collaboration in Chicago Judith Russi Kirshner and Lisa Wainwright
• 2. Encouraging American Genius": Creative Exchange at the Corcoran Gallery of Art and the Corcoran College of Art + Design Sarah Cash and Lisa Lipinski
• Part II: Dialogues in Museums
• 3. IDEAS: The Art Museum as Laboratory for Learning Rachel Middleman and Deborah Edwards Banerjee
• 4. A Woven History: These Baskets All Started with a Story Gigi Romeo and Jennifer Juan
• 5. The Museum as Classroom: Expanding the Boundaries of EFL Curriculum in Korea Kristina Dziedzic Wright
• Part III: Museums and Interdisciplinarity
• 6. Framing Art History in the Liberal Arts: The Academy and Museum in Interdisciplinary Dialogue Catherine Carter Goebel
• 7. The Museum: Culture, Business and Education Suzanne Bellah, Irina D. Costache, Clare Kunny, and Andrew Morris
• 8.The Art of Attending Arts-Based Observation Training for Health Professions Students at the University of South Florida Megan Voeller
• Part IV: Museum Practices and Audience Engagement
• 9. The Politics of Space and the Critical Role of Art in Historical Museums Bimbola Akinbola
• 10. Exhibitions as a Field of Production Martino Margheri
• 11. Attract, Engage, Partner: Forming Museum-Academic Relationships Peter I. Tokofsky
• Part V: Museums, Artists and The Digital Factor
• 12.The Project Series at Pomona College Museum of Art: Artists in the Academic Context Rebecca McGrew
• 13. The Art Museum as a Generative Site: A Case Study of The Metropolitan Museum of Art Jacqueline Terrassa and Maya Valladares
• 14. A Third Place: the &/ project Sarah Archino, Siofra McSherry and Isabella Streffen.
• (source: Nielsen Book Data)

Collaboration and interdisciplinary practice in the museum are on the rise. Academics, Artists, and Museums examines twenty-first century partnerships between the museum and higher education sectors, with a focus on art museums and exhibits. The edited volume offers detailed analysis of how innovative curatorial relationships between museums and academia have sought to engage new, younger, audiences through the collaborative transformation of museums and exhibitions. Thematic topics explored include the forming and nature of interdisciplinary partnerships, the integration of museum learning into higher education, audience engagement, and digital technology. With a particular emphasis on practice in the US, the range of projects discussed includes those at both widely recognized and lesser known institutions, from The Met to the Tohono O'odham Nation Cultural Center in the US, to Ewha University Museum in South Korea, and Palazzo Strozzi in Italy. The role of art and the work of the artist are firmly positioned at the core of many of the relationships explored. Academics, Artists, and Museums advocates for the museum as an experimental `laboratory' where academia, art and the museum profession can combine to engage new audiences. It is a useful resource for museum professionals, artists, scholars, and students interested in collaboration and innovative practice.
(source: Nielsen Book Data) 9781138300781 20181203

• Introduction: On first becoming a painting
• All too aesthetically: the bijin in the era of Japonisme
• "Fair Japan": art, war and the bijin at the Saint Louis World's Fair,
• 1904
• True bijin: the debate on truth and beauty
• Bijin graphic: illustrated magazines and the popular ideology of beauty
• "Short-lived beauty": illustration and the bijin heroines of literary realism
• Living works of art: Sōseki's aesthetic heroines
• Bijinga: the Nihonga genre and the fashioning of material beauty
• Coda.

This study of modern Japan engages the fields of art history, literature, and cultural studies, seeking to understand how the "beautiful woman" (bijin) emerged as a symbol of Japanese culture during the Meiji period (1868-1912). With origins in the formative period of modern Japanese art and aesthetics, the figure of the bijin appeared across a broad range of visual and textual media: photographs, illustrations, prints, and literary works, as well as fictional, critical, and journalistic writing. It eventually constituted a genre of painting called bijinga (paintings of beauties). Aesthetic Life examines the contributions of writers, artists, scholars, critics, journalists, and politicians to the discussion of the bijin and to the production of a national discourse on standards of Japanese beauty and art. As Japan worked to establish its place in the world, it actively presented itself as an artistic nation based on these ideals of feminine beauty. The book explores this exemplary figure for modern Japanese aesthetics and analyzes how the deceptively ordinary image of the beautiful Japanese woman--an iconic image that persists to this day--was cultivated as a "national treasure, " synonymous with Japanese culture.
(source: Nielsen Book Data) 9780674975163 20190311

• Acknowledgments
• 1. What is a work of art?
• 2. What is a painting?
• 3. The Art World
• 4. Lawrence Carroll Enters the Art World
• 5. Why Painting's History Matters
• 6. An Art History Made for and by Artists
• 7. Interpreting Lawrence Carroll's Artworks
• 8. Why Lawrence Carroll's Paintings Matter Notes Lawrence Carroll: Selected Exhibitions Lawrence Carroll: Selected Collections Bibliography Index.
• (source: Nielsen Book Data)

Boldly developing the central traditions of American modernist abstraction, Lawrence Carroll's paintings engage with a fundamental issue of aesthetic theory, the nature of the medium of painting, in highly original, frequently extraordinarily successful ways. Aesthetic Theory, Abstract Art, and Lawrence Carroll explains how he understands the medium of painting; shows what his art says about the identity of painting as an art; discusses the place of his paintings in the development of abstraction; and, finally, offers an interpretation of his art. The first monograph devoted to him, this philosophical commentary employs the resources of analytic aesthetics. Art historians trace the development of art, explaining how what came earlier yields to what comes later. Taking for granted that the artifacts they describe are artworks, art historians place them within the history of art. Philosophical art writers define art, explain why it has a history and identify its meaning. Pursuing that goal, Aesthetic Theory, Abstract Art, and Lawrence Carroll roams freely across art history, focused at some points on the story of old master painting and sometimes on the history of modernism, but looking also to contemporary art, in order to provide the fullest possible philosophical perspective on Carroll's work.
(source: Nielsen Book Data) 9781350009561 20181022

• Quelques remarques liminaires
• Chez Christie's à New York. 11 mai 2015
• Le fils du peintre et de sa mère
• Une patrie : le Val Bregaglia
• Parlons bargaiot !
• Petit précis de généalogie giacomettienne
• Un père peintre
• Le lumineux Segantini et les brillants Bugatti
• Qui est Annetta Stampa, la mère dAlberto Giacometti ?
• Le célèbre oncle Augusto
• La maison de Maloja
• La discipline de la copie
• L'éclosion d'un artiste
• L'éveil
• Le collège de Schiers
• Des poires qui rapetissent
• Voyage initiatique en Italie
• Mort à... Madonna di Campiglio
• À Paris
• Bourdelle et la Grande Chaumière
• Un hiver pour peindre un crâne
• Flora Mayo
• Au-delà de la tradition : les plaques
• L'atelier de la rue Hippolyte-Maindron
• L'arrivée de Diego
• Sculpture à deux dimensions : Tête qui regarde
• Amitiés artistiques
• L'aventure du surréalisme
• La Boule suspendue
• Adhésion aux surréalistes
• Photographes
• Une Figure dans le jardin des Noailles
• Cages
• Plaques de jeux
• Jean-Michel Frank
• "Recherches expérimentales sur la connaissance irrationnelle de l'objet"
• La Table surréaliste
• Décès du père
• L'Objet invisible
• Exclusion des surréalistes
• La longue marche
• Giacometti et Picasso
• Samuel Beckett
• Isabel I : la rencontre
• Une mort et une naissance
• Sartre et Beauvoir
• Landi 39 : le goût du paradoxe
• Isabel II : l'accident
• Isabel III : à la veille de l'exode
• Paris se vide-t-il ?
• À Genève : hôtel de Rive et café Les Négociants
• La Femme au chariot
• Annette Arm
• Retour à Paris : Isabel IV
• Ceux qui ne reviendront pas
• Annette à Paris
• Triptyque dans l'atelier
• La fin du sphinx
• La quête
• 1948 : première exposition à New York
• Mariage
• Eberhard Kornfeld
• De Bâle à New York
• Les Maeght et Louis Clayeux
• La reconnaissance
• Jacques Dupin
• Jean Genet
• Expositions
• Femmes de Venise
• Rétrospective à la Kunsthalle
• Isaku Yanaihara...
• ... Annette
• Giacometti et la modernité
• L'artiste et le philosophe
• Michel Leiris
• Paola Caràla
• Alberta et Diego : la complémentarité
• Un homme qui vit... enfin
• Caroline
• Marlene Dietrich
• Paris sans fin
• Dessins et portraits
• Annette versus Caroline
• Une commande monumentale
• Une voix
• En attendant Godot
• Prix et rétrospectives
• Venise : un été 62
• Impossible convalescence
• Le docteur Corbetta
• Stampa-Paris
• Ruptures : Maeght, Sartre
• Mort de la mère
• Londres, Copenhague, New York
• Nul n'est prophète...
• Trompettes de la renommée
• La Fondation suisse
• L'hôpital de Coire
• 11 janvier 1966
• Alberto Giacometti, et après ?

"Qui était Alberto Giacometti, l'un des artistes majeurs du XXe siècle ? Anca Visdei est partie sur ses pas, dans le Val Bregaglia en Suisse, là où il grandit entre son père, peintre, et sa mère, figure maternelle puissante, à Venise où il fit ses études, puis à Paris où il fut l'une des figures marquantes d'une période artistique particulièrement féconde. Des témoignages privilégiés, des extraits de sa correspondance, une exploration de son oeuvre au plus près du geste de l'artiste nourrissent un récit captivant et émouvant. On y découvre la personnalité d'un Giacometti tout en contrastes qui n'eut de cesse de travailler à "montrer les choses telles qu'il les voyait", soit l'homme qu'il était dans tous les hommes. Un voyage passionnant dans la vie et l'oeuvre d'Alberto Giacometti."--Page 4 of cover.

• Introduction : Une présence émotionnante
• Objet, Semi-objet, Pseudo-objet
• Du tangible à l'insaisissable
• Ces objets naturels qui n'en sont pas
• Le poids lourd des utilitaires
• Les plus qu'objets réfléchissants
• Les objets signalétiques
• Les semi-objets fragmentés
• Les pseudo-objets essentiels
• Une histoire de focalisation
• Expérimentation, Expérience, Impérience
• Une perception subjective
• De l'expérimentation à l'impérience
• Esthétique, Beau, Plaisir
• Les fables de l'esthétique
• Les adieux au dogme
• Esthésie, Inesthésie, Intuition
• De quelques étranges esthésies...
• ... Et autres inesthésies
• Des contenus diversifiés
• Émotion, Sentiment, Pensée
• La cognition des émotions
• Une pensée en acte
• Perception, Conditionnement, Stratégie
• Cognition sémiotique et cognition émotionnelle
• Les conditionnements réceptifs
• Les stratégies relationnelles
• Émotionnel, Sémiotique, Artistique
• Les phases de l'esthésie émotionnelle
• Les phases de la sémiotique artistique
• Les phases de l'esthésie artistique
• Amour, Sujet, Objet
• L'amour pour un sujet
• La magie des projections
• L'amour pour un objet
• Présence, Information, Symptôme
• L'absurdité de toute présence
• L'impossible mutisme de l'objet
• Les objets informationnels
• Signe, Indice, Syntaxe
• Vocabulaire et grammaire artistiques
• Les polysémies informationnelles
• Une impossible communication essentialisée
• Index, Tautologie, Institutionnalisation Le mythe de l'institutionnalisation de l'art
• Objectivité, Subjectivité, Intersubjectivité
• Un seul Art pour quatre modes relationnels
• Instruire, émouvoir et charmer
• Des oeuvres à géométrie variable
• Une défection du système sémantique
• La subjectivité des relationnels ouverts
• Conclusion : Les chairs de l'art
• Entre communion et communication
• Une communication énigmatique
• Des systémiques aux entités émergentes
• Figure n°1 : La synergie artistique
• L'émergence de zones relationnelles flottantes
• L'Art : un fait relationnel complexe
• Figure n°2 : Les faits relationnels
• Les chairs absurdes de l'esthésie artistique.

"Ému aux larmes à l'écoute d'une musique, en arrêt devant ce tableau, vous ressentez un plaisir indéfinissable que n'a su provoquer aucune autre oeuvre. Celle-ci excite vos émotions, captive votre corps, court-circuite votre réflexion. "Que c'est beau !". Perdu en elle, vous fusionnez avec le mystère de sa présence en un acte de communion proche de l'amour romantique ou de l'extase mystique. Vous l'aimez, tout simplement ! Entremêlant objet, culture et sujet, la relation artistique superpose aux significations de tous, un plaisir, des questionnements et des interprétations qui ne dépendent que de vous. Comment la relation esthétique s'y prend-elle pour éveiller tant d'émotions et comment l'art s'y prend-il pour transmettre du sens ? Quel pourrait être l'apport des sciences cognitives à la compréhension de ces problèmes ? Finalement, se pourrait-il que les relations complexes qu'entretiennent l'esthétique, l'artistique et son institutionnalisation, révèlent la nature émergente et systémique de l'Art ?"--Page 4 of cover.

• Contents List of Figures Abbreviations Contributors Acknowledgements Approaching Transformation Renee M. Gondek and Carrie L. Sulosky Weaver
• 1. On the Threshold of Old Age: Perceptions of the Elderly in Athenian Red-Figure Vase-Painting Nicholas A. Harokopos
• 2. The Transformation of the Bride in Attic Vase-Painting Victoria Sabetai
• 3. Transitory Nudity: Life Changes in Etruscan Art Bridget Sandhoff
• 4. Cultural Maneuvering in the Elite Tombs of Ptolemaic Egypt Sara E. Cole
• 5. Octavian Transformed as Pharaoh and as Emperor Augustus Erin A. Peters
• 6. Ethnic Identity, Social Identity, and the Aesthetics of Sameness in the Funerary Monuments of Roman Freedmen Devon Stewart
• 7. Greater in Death: The Transformative Effect of Convivial Iconography on Roman Cineraria Carrie L. Sulosky Weaver
• 8. A Viewer Walks into a Tomb: Transformation in the Cubiculum Leonis Ethan Gannaway
• 9. Protoplasts and Prophets: The Stucco Reliefs in the Orthodox Baptistery in Ravenna Rachel Danford.
• (source: Nielsen Book Data)

The Ancient Art of Transformation: Case Studies from Mediterranean Contexts examines instances of human transformation in the ancient and early Christian Mediterranean world by exploring the ways in which art impacts, aids, or provides evidence for physical, spiritual, personal, and social transitions. Building on Arnold van Gennep's notion of universal rites of passage, papers in this volume expand the definition of "transformation" to include widespread transitions such as shifts in political establishments and changes in cultural identity. In considering these broadly defined "passages, " authors have observed particular changes in the visual record, whether they be manifest, enigmatic, or symbolic. While several papers address transitions that are incomplete, resulting in intermediary, hybrid states, others suggest that the medium itself can be integral to interpreting a transition, and in some cases, be itself transformed. Together, the volume covers not only a broad chronological span (c. 5th century BC to 4th century AD), but also an expansive geographical range (Egypt, Greece, and Italy). Reflecting upon issues central to a variety of Mediterranean cultures (Egyptians, Etruscans, Greeks, Romans, and early Christians), The Ancient Art of Transformation documents how personal, societal, and historical changes become permanently fixed in the material record. The Ancient Art of Transformation examines the visual manifestation of human transformation in the ancient and early medieval Mediterranean world, exploring the role of art and visual culture in enabling, hindering, or documenting physical, spiritual, personal, and social transitions such as pregnancy and birth, initiations, marriage, death and funerals. The definition of "transformation" is also expanded to address instances of less personal and more widespread transitions such as shifts in political establishments and changes in cultural identity in geographic locations. Additionally, although the ancient material record documents certain rites of passage such as marriage and death extensively, artifacts and their accompanying images are often studied simply to reconstruct these social processes. Authors here suggest that material evidence itself can be integral to interpreting a transition, and in some cases, be itself transformed. Further, several papers address transitions that are incomplete, resulting in intermediary, hybrid states that are very often reflected in the visual record such as Athenian vase-painting imagery forecasting the bride as a mother, displays of nudity that reflect intermediate life stages in Etruscan art and Octavian's visual transformation into Pharaoh and Augustus in Egyptian architecture and material culture. At its core the volume establishes current methods for understanding how ancient visual culture shaped, informed, and was affected by processes of transformation. Together, these papers offer a close examination of various types of visual evidence from several cultures and periods (e.g., Etruscan, Greek, Roman, early Christian), and document how personal, societal, historical changes become permanently fixed in the material record.
(source: Nielsen Book Data) 9781789251043 20190325

• Acknowledgments Preface
• 1 Prologue: MoMA's Department of Architecture and Design, 1932-1951
• 2 The Rise of Arthur Drexler, 1925-1951
• 3 Apprenticeship: Drexler as Curator, 1951-1956
• 4 Modernism at High Tide: Drexler as Department Director, 1956-1966
• 5 Creative Destruction: Drexler, MoMA, and the Changing Course of Modern Architecture, 1966-1975
• 6 Modernism under Siege: Drexler, MoMA, and the Postmodernist Challenge, 1975-1985
• 7 Modernism Reconsidered: Drexler and MoMA, 1980-1986 Notes Index.
• (source: Nielsen Book Data)

Arthur Drexler (1921-1987) served as the curator and director of the Architecture and Design Department at the Museum of Modern Art (MOMA) from 1951 until 1986-the longest curatorship in the museum's history. Over four decades he conceived and oversaw trailblazing exhibitions that not only reflected but also anticipated major stylistic developments. Although several books cover the roles of MoMA's founding director, Alfred Barr, and the department's first curator, Philip Johnson, this is the only in-depth study of Drexler, who gave the department its overall shape and direction. During Drexler's tenure, MoMA played a pivotal role in examining the work and confirming the reputations of twentieth-century architects, among them Frank Lloyd Wright, Le Corbusier, Richard Neutra, Marcel Breuer, and Ludwig Mies van der Rohe. Exploring unexpected subjects-from the design of automobiles and industrial objects to a reconstruction of a Japanese house and garden-Drexler's boundary-pushing shows promoted new ideas about architecture and design as modern arts in contemporary society. The department's public and educational programs projected a culture of popular accessibility, offsetting MoMA's reputation as an elitist institution. Drawing on rigorous archival research as well as author Thomas S. Hines's firsthand experience working with Drexler, Architecture and Design at the Museum of Modern Art analyses how MoMA became a touchstone for the practice and study of midcentury architecture.
(source: Nielsen Book Data) 9781606065815 20190325

• Introduction * Chronological Overview * Crete and the Cyclades to the Late Bronze Age * Greece and the Mycenaean World to c.
• 1200 bce * Geometric Greece, c. 1100-c.700 BCE * The "Orientalizing" Period, c. 710-c.
• 600 BCE * Archaic Architecture, Coinage and Luxuries, c. 600-c.
• 520 BCE * Early Archaic Sculpture, c. 600-c.
• 520 BCE * Case Study: Olympia and Delphi, c. 900-c.
• 480 BCE * Late Archaic, c. 520-c.
• 480 BCE * Early Classical, c. 480-c.
• 440 BCE * Case Study: Cyrene and Paestum * Case Study: Athens and the Akropolis, c. 480-c.
• 404 BCE * High Classical, c. 440-c.
• 400 BCE * Late Classical, c. 400-c.
• 323 BCE * The Hellenistic World, c. 323-c.
• 100 BCE * Glossary, Further Reading, Acknowledgments, Sources of Quotations, Sources of Illustrations.
• (source: Nielsen Book Data)

Celebrated for its abundant illustrations and accessible voice, Art & Archaeology of the Greek World arrives in its second edition with more coverage of the earliest Bronze Age and latest Hellenistic periods, and increased archaeological context; the picture of ancient Greek art is expanded to help readers better understand how the subject connects to, and reflects, the historical developments of the time. Richard Neer's clear chronological narrative takes readers through the artistic developments in Greek culture from the Minoans to the Roman conquest. We learn about how art was made and used, and how it can offer a window into the changing social and cultural world of ancient Greece. Still the most visually led book on the subject, the text is supported with highquality photographs, reconstructions, maps and plans that help build a vibrant picture of the ancient world. Each chapter begins with a chronology and map, situating the reader in time and place as we follow the development of an ancient visual culture that still influences us today.
(source: Nielsen Book Data) 9780500052082 20190401

A revised, updated edition of the acclaimed historical overview of Queer art - available for the first time in paperback Art & Queer Culture is an unprecedented survey of visual art and alternative sexualities from the late nineteenth century to the present. Beautifully illustrated and clearly written, this special edition has been updated to include the art and visual culture that has emerged since the publication of its acclaimed first edition in 2013. A group of new contributors - themselves gay, lesbian, queer and trans - join the primary authors in emphasizing the global sweep of queer contemporary art and the newfound visibility of gender non-conforming artists. In a compact, reader-friendly format, this revised volume packs over 130 years of queer art history. Art and Queer Culture features work by famous artists such as Andy Warhol and Robert Mapplethorpe alongside that of AIDS activists, lesbian separatists, and pre-Stonewall photographers and scrapbook-keepers who did not regard themselves as artists at all. The volume traces a spectacular history of queer life and creativity in the modern age.
(source: Nielsen Book Data) 9780714878348 20190415

• Acknowledgements Conventions Introduction Part One: The Peredvizhniki Represent Themselves
• Chapter 1. Commercial institutionalization, 1870-1871
• Chapter 2. Selling the exhibition, 1871-1897
• Chapter 3. Self-fashioning in group photographs, 1886-1897
• Chapter 4. Revealing the art manifesto,
• 1888 Part Two: The Peredvizhniki in the Eyes of the Critics
• Chapter 5. Inaugural success: the first show,
• 1871
• Chapter 6. Split with the Academy: the fifth exhibition,
• 1876
• Chapter 7. Critical point: the eleventh, twelfth, and thirteenth shows, 1883-1885
• Chapter 8. Self-Defence: the Partnership's anniversary reports, 1888,
• 1897 Conclusion: The Peredvizhniki in a broader European context Appendices
• 1. Charter of the Partnership for Touring Art Exhibitions,
• 1870
• 2. The Partnership's fifteenth-anniversary report,
• 1888
• 3. The Partnership's twenty-fifth-anniversary report,
• 1897
• 4. A list of the touring art exhibitions and statistics, 1871-1923 Selected bibliography Index.
• (source: Nielsen Book Data)

Andrey Shabanov's seminal reinterpretation of the Peredvizhniki is a comprehensive study that examines in-depth for the first time the organizational structure, self-representation, exhibitions, and critical reception of this 19th-century artistic partnership. Shabanov advances a more pragmatic reading of the Peredvizhniki, artists seeking professional and creative freedom in authoritarian Tsarist Russia. He likewise demonstrates and challenges how and why the group eventually came to be defined as a critically-minded Realist art movement. Unprecedentedly rich in new primary visual and textual sources, the book also connects afresh the Russian and Western art worlds of the period. A must-read for anyone interested in Russian art and culture, 19th-century European art, and also the history of art exhibitions, art movements, and the art market.
(source: Nielsen Book Data) 9781501335525 20190408

• Form and modernist aesthetics on or about
• 1910
• The science of art criticism after the 1910s
• Mass civilization and minority visual culture
• Design theory and Marxist art writing : for and against mass culture
• Modernism and form in Africa, Britain, and South Asia.

"Explores the rise of formalism in the visual arts. Employs an expanded sense of form to rethink a range of areas, including the history of writing about art, constructions of high and low culture, and the idea of global modernism"--Provided by publisher.

• List of Figures
• List of Plates
• Introduction: Rethinking Art after the Council of Trent (Jesse M. Locker)
• Chapter 1
• On the `Reform' of Painting: Annibale Carracci and Caravaggio (Clare Robertson)
• Chapter 2
• Sculpture, Rupture, and the `Baroque' (Estelle Lingo)
• Chapter 3
• Spanish Artists in the Forefront of the Tridentine Reform (Marcus Burke)
• Chapter 4
• Judgment, Resurrection, Conversion: Art in France During the Wars of Religion (Iara A. Dundas)
• Chapter 5
• Reform after Trent in Florence (Marcia Hall)
• Chapter 6
• Quella inerudita semplicita lombarda: The Lombard Origins of Baroque and Counter-Reformation Affectivity (Anne Muraoka)
• Chapter 7
• The Allure of the Object in Post-Tridentine Spanish Painting (Carmen Ripolles)
• Chapter 8
• Federico Barocci, History, and the Body of Art (Stuart Lingo)
• Chapter 9
• Neither for Trent nor Against: Faith and Works in Hendrick Goltzius's Allegories of the Christian Creed (Walter Melion)
• Chapter 10
• Francisco Ribalta's Last Supper as a Symbol of Reform in Early Modern Valencia (Lisandra Estevez)
• Chapter 11
• Water in Counter-Reformation Rome (Katherine Rinne)
• Chapter 12
• A Missionary Order without Saints: The Extraordinary Case of the Iconography of Unbeatified Jesuits in Italy and South America, 1560-1622 (Gauvin Alexander Bailey)
• Chapter 13
• Bernardo Bitti: An Italian Reform Painter in Peru (Christa Irwin)
• Chapter 14
• Painting as Relic: Giambattista Marino's Dicerie Sacre and the Shroud of Turin (Andrew Casper)
• Chapter 15
• Resisting the Baroque in mid-Seventeenth-Century Florence (Eva Struhal)
• List of Contributors
• Index.
• (source: Nielsen Book Data)

Drawing on recent research by established and emerging scholars of sixteenth- and seventeenth-century art, this volume reconsiders the art and architecture produced after 1563 across the conventional geographic borders. Rather than considering this period a degraded afterword to Renaissance classicism or an inchoate proto-Baroque, the book seeks to understand the art on its own terms. By considering artists such as Federico Barocci and Stefano Maderno in Italy, Hendrick Goltzius in the Netherlands, Antoine Caron in France, Francisco Ribalta in Spain, and Bartolomeo Bitti in Peru, the contributors highlight lesser known "reforms" of art from outside the conventional centers. As the first text to cover this formative period from an international perspective, this volume casts new light on the aftermath of the Renaissance and the beginnings of "Baroque.".
(source: Nielsen Book Data) 9780815393887 20181112

Since the end of the 1980s in India, self-styled representatives of a variety of ascriptive groups (religious, caste, regional, and linguistic among others) have come to routinely damage artwork, disrupt their exhibition, and threaten and assault artists and their supporters. Often, these acts are said to be a protest against the allegedly 'hurtful' or 'offensive' artworks. They are even claimed to be a prescient call to save the identity of the community, in a manner that makes the communal identities hinge entirely on that artistic (mis)representation. Yet, at the time of these attacks, many who indulge in this kind of violence have seldom heard of the artist before or even seen, read, watched, let alone engaged with the artwork. Such is the wrench on the right to freedom of speech and expression in general, and on the physical safety and security of artists in particular, that has inspired fear, anger, and discomfort within the art world, marked by ominous declarations of a 'cultural emergency' owing to the loss of lives and property, and without the due processes of law-a consequence that was hardly synonymous with art practice in India, at least until a few decades ago. This book tells the story of violence against artists in India, marked by the intensifying sense of insecurity, fear, frustration and anger within the art world. But to bring out its complexities-to build an analytical account for understanding what such destructive and, even competitive, attacks on artists convey about India's liberal democracy, given that violence in its many avatars has not so much been an aberration to the form of India's liberal democracy as much as its very condition-the book attempts to map the concrete political transformations that have informed its dynamic unfolding. In other words, as opposed to simply adding to the prevalent commentaries on violent regulation of free speech in India, this work focuses on the dynamics of violence in that regulation. Based on extensive interactions with assailants and artists, I argue that these attacks are not simply 'anti-democratic.' But are dependent in perverse ways on the very logics of democracy's functioning, as much they are contained by it, along with the wider material conditions that have prevented both free speech in India, and India at large, from being immutably locked in a downward spiral.
(source: Nielsen Book Data) 9780199488841 20190408