The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renowned Renaissance artists (such as Botticelli, Leonardo, or Michelangelo) created imaginative syntheses between their art and contemporary cosmology, philosophy, theology, and magic. The Neoplatonism in the books by Marsilio Ficino and Giovanni Pico della Mirandola became widely acknowledged for its lasting influence on art. It thus became common knowledge that Renaissance artists were not exclusively concerned with problems intrinsic to their work but that their artifacts encompassed a much larger intellectual and cultural horizon. This volume brings together historians concerned with the history of their own discipline – and also those whose research is on the art and culture of the Italian Renaissance itself – with historians from a wide variety of specialist fields, in order to engage with the contested field of iconology. The book will be of interest to scholars working in art history, Renaissance history, Renaissance studies, historiography, philosophy, theology, gender studies, and literature.

Did the Florentine philosopher Marsilio Ficino (1433-99) influence the art of his time? This book starts with an exploration of Ficino’s views on the imagination and discusses whether, how and why these ideas may have been received in Italian Renaissance works of art.

Scholars have traditionally viewed the Italian Renaissance artist as a gifted, but poorly educated craftsman whose complex and demanding works were created with the assistance of a more educated advisor. These assumptions are, in part, based on research that has focused primarily on the artist's social rank and workshop training. In this volume, Angela Dressen explores the range of educational opportunities that were available to the Italian Renaissance artist. Considering artistic formation within the history of education, Dressen focuses on the training of highly skilled, average artists, revealing a general level of learning that was much more substantial than has been assumed. She emphasizes the role of mediators who had a particular interest in augmenting artists' knowledge, and highlights how artists used Latin and vernacular texts to gain additional knowledge that they avidly sought. Dressen's volume brings new insights into a topic at the intersection of early modern intellectual, educational, and art history.

In Studies in Iconology, the themes and concepts of Renaissance art are analysed and related to both classical and medieval tendencies.

This book provides new impetus to the study of female art in regional areas. It will expand research beyond studies of women’s lives, careers, socio-political patronage, and specific gender issues to look at emblematic, historical, and spiritual aspects of their work. Through an analysis of the paintings of Barbara Longhi, the book reveals the importance of devotional art and the ample creativity of female painters. It highlights the importance of Longhi’s artistic contribution in the study of iconography and iconology on art and devotion in some of her paintings. Although there is limited information about her personal life, through the records of her two Wills and Testaments, we learn about her administrative ability, family dedication, and, most of all, about her Christian religiosity and devotion to the Virgin Mary (La Madonna).

Through a series of cross-disciplinary and interdisciplinary interventions, leading international scholars of history and art history explore ways in which the study of images enhances knowledge of the past and informs our understanding of the present. Spanning a diverse range of time periods and places, the contributions cumulatively showcase ways in which ongoing dialogue between history and art history raises important aesthetic, ethical and political questions for the disciplines. The volume fosters a methodological awareness that enriches exchanges across these distinct fields of knowledge. This innovative book will be of interest to scholars in art history, cultural studies, history, visual culture and historiography.

Revisiting Shakespeare’s Italian Resources is about the complex dynamics of transmission and transformation of the Italian sources of twelve Shakespearean plays, from The Two Gentlemen of Verona to Cymbeline. It focuses on the works of Sir Giovanni Fiorentino, Da Porto, Bandello, Ariosto, Dolce, Pasqualigo, and Groto, as well as on commedia dell’arte practices. This book discusses hitherto unexamined materials and revises received interpretations, disclosing the relevance of memorial processes within the broad field of intertextuality vis-à-vis conscious reuses and intentional practices.

Modern Art in Cold War Beirut: Drawing Alliances examines the entangled histories of modern art and international politics during the decades of the 1950s and 1960s. Positing the Cold War as a globalized conflict, fraught with different political ideologies and intercultural exchanges, this study asks how these historical circumstances shaped local debates in Beirut over artistic pedagogy, the social role of the artist, the aesthetics of form, and, ultimately, the development of a national art. Drawing on a range of archival material and taking an interdisciplinary approach, Sarah Rogers argues that the genealogies of modern art can never be understood as isolated, national histories, but rather that they participate in an ever contingent global modernism. This book will be of particular interest to scholars in art history, Cold War studies, and Middle East studies.

This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies’ concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.

This book examines the portrayal of themes of boundary crossing, itinerancy, relocation, and displacement in US genre paintings during the second half of the long nineteenth century (c. 1860–1910). Through four diachronic case studies, the book reveals how the high-stakes politics of mobility and identity during this period informed the production and reception of works of art by Eastman Johnson (1824–1906), Enoch Wood Perry, Jr. (1831–1915), Thomas Hovenden (1840–95), and John Sloan (1871–1951). It also complicates art history’s canonical understandings of genre painting as a category that seeks to reinforce social hierarchies and emphasize more rooted connections to place by, instead, privileging portrayals of social flux and geographic instability. The book will be of interest to scholars working in art history, literature, American studies, and cultural geography.