A Companion to Renaissance and Baroque Art by Babette Bohn, James M. Saslow

By Babette Bohn, James M. Saslow

A better half to Renaissance and Baroque artwork offers a various, clean number of available, finished essays addressing key concerns for ecu paintings produced among 1300 and 1700, a interval that will be termed the start of contemporary history.
• provides a suite of unique, in-depth essays from paintings specialists that handle quite a few features of eu visible arts made out of circa 1300 to 1700
• Divided into 5 wide conceptual headings: Social-Historical components in inventive construction; inventive method and Social Stature of the Artist; the thing: artwork as fabric tradition; The Message: matters and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse
• Covers many issues no longer in most cases integrated in collections of this nature, reminiscent of Judaism and the humanities, architectural treatises, the worldwide Renaissance in arts, the hot traditional sciences and the humanities, paintings and faith, and gender and sexuality
• gains essays at the arts of the household existence, sexuality and gender, and the paintings and creation of tapestries, conservation/technology, and the metaphor of theater
• makes a speciality of Western and principal Europe and that territory's interactions with neighboring civilizations and far-off discoveries
• comprises illustrations in addition to hyperlinks to photographs no longer incorporated within the book 

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Angela Rosenthal and Agnes Lugo-Ortiz the Cuban slave poet insistently narrates his experiences of torture as a constant assault against his “face” (“daily receiving blows on the face, that often made the blood spout from both my nostrils”), while covering with a “veil of silence,” as he puts it, the violence wielded against the rest of his body. The body, in Manzano’s autobiography, is insinuated yet concealed from the voyeuristic gaze of his well-intentioned (although perversely fascinated) abolitionist reader, and the drama of his dehumanizing subjection staged as a visualization of the broken face.

The book closes with an essay by Daryle Williams, “The Intrepid Mariner Simão: Visual Histories of Blackness in the Luso-Atlantic at the End of the Slave Trade,” that explores the ambiguous portrayal of the Cape Verdean sailor Simão in the context of the debates concerning the abolition of slavery at the end of the slave trade in nineteenth-century Brazil. Simão was a freeborn man who, during his lifetime, was celebrated as the hero of the Pernambucana, a Brazilian steamer run aground in a storm off the coast of southern Brazil in October 1853, and whose portrait was painted in 1854–55 by one of the most important Brazilian academic painters of the time, José Correia de Lima.

James Smalls’s essay, “Exquisite Empty Shells: Sculpted Slave Portraits and the French Ethnographic Turn,” looks at sculpted slave portraits in early- to mid-nineteenth-century France and discusses their relationship to ethnographic 26 p Introduction discourses. In particular, he analyzes Charles Henri Joseph Cordier’s sculptural busts of highly aestheticized types raciaux in the context of the debates for the abolition of slavery in France (1848), of the Napoleonic colonial expansion into Africa, and of the elusive dynamics between the artist and the real-life African sitter.

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