By Babette Bohn, James M. Saslow
A better half to Renaissance and Baroque paintings presents a various, clean number of available, entire essays addressing key concerns for ecu artwork produced among 1300 and 1700, a interval that would be termed the start of contemporary history.
• offers a suite of unique, in-depth essays from paintings specialists that handle quite a few elements of ecu visible arts made out of circa 1300 to 1700
• Divided into 5 huge conceptual headings: Social-Historical components in creative creation; artistic strategy and Social Stature of the Artist; the item: paintings as fabric tradition; The Message: topics and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse
• Covers many subject matters now not in general integrated in collections of this nature, resembling Judaism and the humanities, architectural treatises, the worldwide Renaissance in arts, the recent typical sciences and the humanities, artwork and faith, and gender and sexuality
• positive factors essays at the arts of the family lifestyles, sexuality and gender, and the artwork and creation of tapestries, conservation/technology, and the metaphor of theater
• specializes in Western and significant Europe and that territory's interactions with neighboring civilizations and far away discoveries
• contains illustrations in addition to hyperlinks to pictures no longer integrated within the book
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Extra resources for A Companion to Renaissance and Baroque Art
Addressing the frequent representation of ploughing in late medieval art, Michael Camille has described the scene as ‘part of a traditional vocabulary of depicting agricultural life in manuscript illumination’,61 the harsh January toil notably introducing the oft-reproduced bas-de-page sequence of agricultural ‘labours of the months’ in the Luttrell Psalter. 62 These manuscript images are certainly not realistic representations of the impoverished agricultural labourers who had been given a voice in the ‘Song of the Husbandman’ and, although appearing far from happy in his lot, even the scowling ploughman of the Luttrell Psalter is in far richer array than that exaggerated example of his estate in the late fourteenth-century Pierce the Ploughman’s Crede, of whom it is said that: His cote was of a cloute that cary was y-called, His hod was full of holes and his heer oute, With his knopped schon clouted full thykke; His ton toteden out as he the londe treddede, His hosen ouerhongen his hokschynes on eueriche a side, Al beslombred in fen as he the plow folwede …63 [His coat was of a poor cloth known as cary, his hood was full of holes and his hair stuck out, with his lumpy shoes wrapped thickly 60 Langland, Piers Plowman, B Prologue 20–2.
22 (1991), 85–102. 87 John Mirk, Festial, ed. s. 96 (London: K. , 1905), p. 23. 88 Susan Powell accounts for this absence by suggesting that it is an example of the omission of ‘dubious and unauthenticated facts asserted by Mirk’,89 yet it is surely equally likely that, in a period during which the suppression of Lollardy was a major concern of the Church, this was the result of uneasiness about an anecdote which could be interpreted as showing God to have singled out the potentially problematic ploughman as a privileged recipient of His word.
254–5b, record the misericords which were relocated from the friary to King Henry VIII’s Grammar School, Coventry. Many of these, including the ploughman, had been damaged or destroyed by the time Mary Dormer Harris made the first study of the Coventry stalls, in which both the surviving misericords and the drawings are reproduced: Mary Dormer Harris, ‘The Misericords of Coventry’, Transactions and Proceedings of the Birmingham Archaeological Society 52 (1927), 246–66. Eng Medieval Misericords txt2_Med Art & Architecture series 10/04/2011 14:58 Page 35 A FA I R F I E L D O F F O L K left leg and right foot of the accompanying figure undertaking this task remain.
A Companion to Renaissance and Baroque Art by Babette Bohn, James M. Saslow