Published in conjunction with an exhibit of works by engraver Hendrick Goltzius (1558-1617) and sculptor Willem Danielsz van Tetrode, probably born in Delft around 1525, that showed at various museums in the US between October 2001 and May 2002. There is no index. Distributed in the US by Yale University Press. Annotation c. Book News, Inc., Portland, OR (booknews.com)
Hendrick Goltzius? 1558 in dem niederrheinischen Ort Bracht bei Venlo geboren? ging 1577 mit seinem im Xantener Exil lebenden lehrer, dem niederländischen Philosophen, Schriftsteller und Kupferstecher Dirck Volckertsz. Coornhert (1522?1590) nach Haarlem. Dort machte sich Goltzius alsbald selbstständig und gründete 1582 einen eigenen Verlag, der schnell mit Spitzenprodukten der Druckgraphik hervortrat und sich länderübergreifend einen Namen machte. Basis hierfür war Goltzius? technische Brillanz und Virtuosität in der Handhabung des Kupferstichs, aber auch des Farbholzschnittes. In seinen sog.?Meisterstichen? stellte er sein technisches Vermögen unter Beweis, indem er Meisterwerke der Renaissance in der Handschrift Dürers, van Leydens, Tizians, Bassanos oder Barroccis täuschend echt nachahmte. Bei diesen Blättern, wie auch bei seinen eindrucksvollen eigenen Bilderfindungen, ging es jedoch nicht nur um bloße Reproduktion oder um Nachahmertum eines Eklektizisten, sondern um kreative Invention. Fast sämtliche Graphiken weisen neulateinische Epigramme von Humanisten auf, die mit moralischen Botschaften die Bilder kommentieren.00Exhibition: Anhaltische Gemäldegalerie, Dessau, Germany (10.11.2017-07.01.2018).
Was the Royal Academy of San Carlos, founded in 1785 by the King of Spain, beneficial or detrimental to the development of a valid, living art in Mexico? The answer lies in the archives of the school, but nobody thought about constructing an aesthetic history from them until Jean Charlot accidentally discovered their extent and interest while searching for other material. In this straightforward, documented account he presents not merely opinions and criticism but evidence, including curricula and contemporary drawings by students and teachers. Since Pre-Conquest art there have been, it is usually assumed, two periods in Mexican art: the Colonial and the Modern. Between these peaks lies the dark Academy-dominated hiatus called Neo-Classicism, an episode that this treatise makes the first attempt to under-stand. The academic canons imported from Europe during this period were undeniably wrong for the indigenous people, and especially wrong at a time when a revolutionary Mexico was struggling for its own identity. But instead of throwing out this strange episode as foreign and imitative, it now becomes possible to see it as a period of acculturation through which the Mexican spirit emerged. Aside from its interest as aesthetic history, this book makes an important contribution to the social history of Mexico. Some provocative ideas emerge: the interrelations between cultural and political attitudes, the historical impact of events and personalities on ideology. In the seesaw of political and financial fortunes, the worst moments of confusion were often the most pregnant artistically, with mexicanidad rising inevitably when official guidance weakened. As social history this account constitutes an interesting parallel to similar cultural experiences in the United States and in other countries of the Americas. Charlot presents this material without special pleading, but not without appraisal. He writes: “... in the periods when the Academy was most strictly run along academic lines, it helped the young, by contrast, to realize the meaning of freedom. When the school was manned by men blind to the Mexican tradition, and sensitive only to European values, their stubborn stand became a most healthy invitation to artistic revolution.”
When David Gorlaeus (1591-1612) passed away at 21 years of age, he left behind two highly innovative manuscripts. Once they were published, his work had a remarkable impact on the evolution of seventeenth-century thought. However, as his identity was unknown, divergent interpretations of their meaning quickly sprang up. Seventeenth-century readers understood him as an anti-Aristotelian thinker and as a precursor of Descartes. Twentieth-century historians depicted him as an atomist, natural scientist and even as a chemist. And yet, when Gorlaeus died, he was a beginning student in theology. His thought must in fact be placed at the intersection between philosophy, the nascent natural sciences, and theology. The aim of this book is to shed light on Gorlaeus’ family circumstances, his education at Franeker and Leiden, and on the virulent Arminian crisis which provided the context within which his work was written. It also attempts to define Gorlaeus’ place in the history of Dutch philosophy and to assess the influence that it exercised in the evolution of philosophy and science, and notably in early Cartesian circles. Christoph Lüthy is professor of the history of philosophy and science at Radboud University Nijmegen, the Netherlands.
"...works of Netherlandish and Italian printmaking from the Renaissance and Baroque eras. ... The prints ... feature imagery that revolves around the mythology of Classical Antiquity..."--page 5.
“Unusually accessible and useful . . . An eye-opener to readers into the universality and importance of myth in human history and culture.”—William E. Paden, Chair, Department of Religion, University of Vermont For as long as human beings have had language, they have had myths. Mythology is our earliest form of literary expression and the foundation of all history and morality. Now, in Parallel Myths, classical scholar J. F. Bierlein gathers the key myths from all of the world's major traditions and reveals their common themes, images, and meanings. Parallel Myths introduces us to the star players in the world's great myths—not only the twelve Olympians of Greek mythology, but the stern Norse Pantheon, the mysterious gods of India, the Egyptian Ennead, and the powerful deities of Native Americans, the Chinese, and the various cultures of Africa and Oceania. Juxtaposing the most potent stories and symbols from each tradition, Bierlein explores the parallels in such key topics as creation myths, flood myths, tales of love, morality myths, underworld myths, and visions of the Apocalypse. Drawing on the work of Joseph Campbell, Mircea Eliade, Carl Jung, Karl Jaspers, Claude Lévi-Strauss, and others, Bierlein also contemplates what myths mean, how to identify and interpret the parallels in myths, and how mythology has influenced twentieth-century psychology, philosophy, anthropology, and literary studies. “A first-class introduction to mythology . . . Written with great clarity and sensitivity.”—John G. Selby, Associate Professor, Roanoke College
This sumptuously illustrated volume examines the impact of Indian art and culture on Rembrandt (1606–1669) in the late 1650s. By pairing Rembrandt’s twenty-two extant drawings of Shah Jahan, Jahangir, Dara Shikoh, and other Mughal courtiers with Mughal paintings of similar compositions, the book critiques the prevailing notion that Rembrandt “brought life” to the static Mughal art. Written by scholars of both Dutch and Indian art, the essays in this volume instead demonstrate how Rembrandt’s contact with Mughal painting inspired him to draw in an entirely new, refined style on Asian paper—an approach that was shaped by the Dutch trade in Asia and prompted by the curiosity of a foreign culture. Seen in this light, Rembrandt’s engagement with India enriches our understanding of collecting in seventeenth-century Amsterdam, the Dutch global economy, and Rembrandt’s artistic self-fashioning. A close examination of the Mughal imperial workshop provides new insights into how Indian paintings came to Europe as well as how Dutch prints were incorporated into Mughal compositions.
