This volume presents the most noteworthy concepts, artists, and cultural centers of the seventeenth century through a close examination of many of its greatest paintings, sculptures, and buildings. The Baroque, rooted in classicism but with a new emphasis on emotionalism and naturalism, was the leading style of the seventeenth century. The movement exhibited both stylistic complexity and great diversity in its subject matter, from large religious works and history paintings to portraits, landscapes, and scenes of everyday life. Masters of the era included Caravaggio, whose innovations in the dramatic uses of light and shadow influenced many of the century's artists, notably Rembrandt; the sculptor, painter, and architect Bernini, with his combination of technical brilliance and expressiveness; and other familiar names such as Rubens, Poussin, Velázquez, and Vermeer. This was the era of absolute monarchs, including Spain's Habsburgs and Louis XIII and XIV of France, whose artistic patronage helped furnish their opulent palaces. But a new era of commercialism, in which artists increasingly catered to affluent collectors of the professional and merchant classes, also flourished.

The appealing genre paintings of great seventeenth-century Dutch artists - Vermeer, Steen, de Hooch, Dou and others - have long enjoyed tremendous popularity. This comprehensive book explores the evolution of genre painting throughout the Dutch Golden Age, beginning in the early 1600s and continuing through the opening years of the next century. Wayne Franits, a well-known scholar of Dutch genre painting, offers a wealth of information about these works as well as about seventeenth-century Dutch culture, its predilections and its prejudices. The author approaches genre paintings from a variety of perspectives, examining their reception among contemporary audiences and setting the works in their political, cultural and economic contexts. The works emerge as distinctly conventional images, Franits shows, as genre artists continually replicated specific styles, motifs and a surprisingly restricted number of themes over the course of several generations. Luxuriously illustrated and with a full representation of the major artists and the cities where genre painting flourished, this book will delight students, scholars and general readers alike.

Beautifully illustrated, this collection of essays will introduce the reader to a rich, surprising, thought-provoking, and entirely new view of early New England. Eleven essays written by historians, archaeologists, art and architectural historians, and literary scholars recast our understanding of New England by setting its material and visual culture in new contexts. Essays on the archaeology of seventeenth-century Maine settlements, the geographical knowledge of Salem sailors and ship captains, the mid-eighteenth-century cartographic depictions of Boston, and the built environment of Maine in the early nineteenth century all place New England into the broader purview of a transoceanic movement of people, ideas, and objects.

A vivid and exciting account of royal collectors, art dealers, connoisseurs, and the rise of old master paintings Old master paintings are among the most valuable and prestigious of the visual arts, and the best examples command the highest prices of any luxury commodity. In Kings and Connoisseurs, Jonathan Brown tells the story of how painting rose to this exalted status. The transformation of painting from an inexpensive to a costly art form reached a crucial stage in the royal courts of Europe in the seventeenth century, where rulers and aristocrats assembled huge collections, often in short periods of time. By comparing collecting and collectors at these courts, Brown explains the formation of new attitudes toward pictures, as well as the mechanisms that supported the enterprise of collecting, including the emergence of the art dealer, the development of connoisseurship, and the publication of sumptuous picture books of various collections. The result is an exciting narrative of greed and passion, played out against a background of international politics and intrigue.

The first genuinely interdisciplinary study of creativity in early modern England In the seventeenth century, the concept of creativity was far removed from most of the fundamental ideas about the creative act - notions of human imagination, inspiration, originality and genius - that developed in the eighteenthand nineteenth centuries. Instead, in this period, students learned their crafts by copying and imitating past masters and did not consciously seek to break away from tradition. Most new material was made on the instructions of apatron and had to conform to external expectations; and basic tenets that we tend to take for granted-such as the primacy and individuality of the author-were apparently considered irrelevant in some contexts. The aim of this interdisciplinary collection of essays is to explore what it meant to create buildings and works of art, music and literature in seventeenth-century England and to investigate the processes by which such creations came into existence. Through a series of specific case studies, the book highlights a wide range of ideas, beliefs and approaches to creativity that existed in seventeenth-century England and places them in the context of the prevailing intellectual, social and cultural trends of the period. In so doing, it draws into focus the profound changes that were emerging in the understanding of human creativity in early modern society - transformations that would eventually lead to the development of a more recognisably modern conception of the notion of creativity. The contributors work in and across the fields of literary studies, history, musicology, history of art and history of architecture, and their work collectively explores many of the most fundamental questions about creativity posed by the early modern English 'creative arts'. REBECCA HERISSONE is Head of Music and Senior Lecturer in Musicology at the University of Manchester. ALAN HOWARD is Lecturer in Music at the University of East Anglia and Reviews Editor for Eighteenth-Century Music. Contributors: Linda Phyllis Austern, Stephanie Carter, John Cunningham, Marina Daiman, Kirsten Gibson, Raphael Hallett, Rebecca Herissone, Anne Hultzsch, Freyja Cox Jensen, Stephen Rose, Andrew R. Walkling, Amanda Eubanks Winkler, James A. Winn.

Consists of articles by the author, originally published individually between 1968/69 and 1993.

The sermon as crafted by the early New England preachers was the most prominent literary form of its day, yet the earliest Puritan texts have as a rule been available only in rare-book collections. This anthology of sermons of the first generation of preachers fills a serious gap in American literature. The preachers collected here, the most widely published of their time, were among the eighty or more who emigrated to Massachusetts Bay during the 1630s. They are John Cotton of Boston, Thomas Shepard of Cambridge, and Thomas Hooker of Hartford, the three foremost "lights of the western churches," and two eminent colleagues, Peter Bulkeley of Concord and John Davenport, first of New Haven and later of Boston. The selections are chosen to be representative of the lengthy works from which they are drawn, to reflect the major concerns and styles of the preachers' work as a whole, and to demonstrate the genre of the sermon as developed by the early American Puritans. Not only does this anthology represent an important contribution to literary history, but the sermons also illustrate a doctrine uniquely elaborated in this period—a consistent and emphatic narrative, mythlike in its repetition and heroics, of the progress of the soul from a state of nature to a state of salvation. This theme may be seen as a three-stage-development, although individual sermons may vary. These stages—preparation, vocation, and regeneration—determine the order of the selections. The editors' introductory material supplies a comprehensive and thorough discussion of the early New England sermons, concentrating on their role, history, structure, style, and subject matter. A separate essay on the texts of the sermons describes the relationship between the early printed versions and their form as delivered in the pulpit. The introduction preceding each selection presents original research on the historical circumstances of the preaching and publication of the work from which the sermon is drawn. The editors have also provided brief biographies of the preacfiers represented here, an annotated list of recommended background reading, and the most exhaustive checklist available of authoritative editions of the sermons of these five preachers. This book will be useful to colonial specialists as well as to students of early American literature, religion, and history. The texts are critically edited for readability, with modernized spelling and annotations of unfamiliar phrases and allusions.