17

Art History

Larry Silver

In current art history, both methodological self-consciousness and rich interdisciplinary dialogue prevail. These perspectives help dispel deep-seated modern biases of a museum culture toward named artists, usually painters. No longer does exclusive or uncritical attention embrace either Italian ideal figures or Flemish verisimilitude as progressive imagery foundational for the illusionism in art of the following four centuries. Today scholars attend more frequently to anonymous craftsmen and to diverse media, such as luxuriously illuminated manuscripts or tapestries, deluxe items that stem from the late medieval court world of Huizinga, which still persisted within wider Europe during the sixteenth century.¹ Greater attention also gets paid now to pictorial novelties other than paintings, especially printed books and independent prints.

Earlier, general neglect of German art, reinforced by the stigma attached to German culture by the justifiable biases of twentieth-century politics, is now being redressed. Even within Germany, other art centers besides Dürer’s Nürnberg now include cities—Augsburg, Cologne, and the Rhineland up to Switzerland—as well as courts (notably those of Emperor Maximilian and the dukes of Saxony and Bavaria).² Major media of monumental sculpture are complemented with bronze medals to provide increased social engagement throughout the sixteenth century.³ Today, Central Europe consists of more than German-speaking countries; specifically, Bohemian and Polish art no longer lie beyond a Cold War Iron Curtain, though they still carry a Slavic language barrier for most scholars. Modern geographical boundaries have been expanded, especially by Thomas Kaufmann, following earlier, more regional apologetics of Jan Bialostocki.

Moreover, French, Spanish, and English art no longer are considered backwaters relative to Flemish art. French art includes interpretive readings of visual works within an emerging national cultural identity, no longer confined to Fontainebleau.⁴ Spanish art is no longer dominated by El Greco studies. Traditional Spanish religious art has been examined, including carved retablos and liturgical manuscripts, as well as monumental projects in Madrid and the Escorial.⁵ Indeed, one great new frontier of art history is Spanish (and Portuguese Brazilian) colonial material, increasingly revisited as a site of tensions from the side of both the indigenous populations and the European settlers.⁶ English connections of art to royal interests and imagery have always been central,⁷ but now English art in all its diversity is receiving expanded attention.⁸ Even Holbein studies now take account of archival sources and the traces of lost works in English visual culture.⁹

Perhaps no other part of Europe has expanded its boundaries and media and range of interests more than Italy. Other urban centers, particularly Siena, have joined the traditional triumvirate of Florence, Rome, and Venice. Vital contributions of courts—Sforza Milan, Este Ferrara, Gonzagan Mantua—finally have received their due.¹⁰ And in no other region have expanded interests in other media played so great a role: manuscripts, tapestries, prints, and even neglected genres of panel painting, such as cassoni.¹¹

Indeed, art historians now are increasingly likely to look at contacts linking different regions of Europe,¹² even the contact between Europe’s art and other regions of the world after 1492—whether Spain with the New World, or else the Portuguese and then the Dutch with Africa and Asia. Such a broader vision already underlies one important anthology, appropriately entitled Reframing the Renaissance.¹³ Groundbreaking exhibitions have devoted catalogues to America and Australia, and even to the entire world around the time of Columbus.¹⁴ International collaborations by Jesuits, both within Europe and abroad, have recently been examined.¹⁵ Reciprocal importance of foreign ventures impinges on Dutch visual culture, particularly in the form of maps and atlases.¹⁶ A 2004 exhibition examined broader interactions of Europe with Asia from both points of view.¹⁷ Such contacts have spurred increasing interest in what is termed cultural geography, recently reexamined by Thomas Kaufmann.¹⁸ In addition, although visual specialists have ignored the profoundly visual world of cartographers, map scholars remind us of the continuity between later sixteenth-century mapmaking and the Dutch golden age, or between territories of Spanish colonies and their representation.¹⁹ The recent volume on early modern maps organized by the late David Woodward will consolidate this important field for art historians as well as other scholars.²⁰

Current art historical research does move into a more inclusive vision of what constellates visual culture in its historical period, permitting attention to objects, often anonymous, that were previously not even considered artworks at all. Jan van der Stock’s close study of sixteenth-century Antwerp archives offers a newly inclusive range of all printed images, including wallpapers and anonymous, cheap religious images, within an encompassing production of visual publications.²¹ Similarly, the basic survey book on Renaissance prints devotes attention to religious images, broadsheets, town plans, and maps, as well as what we would now call scientific illustrations, such as herbals.²² “Counterfeit” images represent nature, especially via replicable printed images, whose verisimilitude made them major contributors to sixteenth-century taxonomy of the natural world.²³ Related contributions to art history have also come from sister disciplines, focusing on fruitful overlaps of interest between imagery and knowledge.²⁴ But in return, art historians have also contributed to understanding scientific knowledge through its visual codification: exhibitions on humors and palmistry.²⁵

Traditional Renaissance emphasis on knowledge of antiquity receives ongoing attention, notably by Leonard Barkan, building on the standard reference by Bober and Rubinstein.²⁶ Pagan mythology retains its scholarly interest.²⁷ This field has expanded to encompass a complementary Venetian fascination with the Levant.²⁸

Concerning religious experience, art has become an ever more important component, including studies of Reformation iconoclasm against the “power of the image.”²⁹ Late medieval spirituality has benefited richly from studies of the use of images, particularly in female piety, and considerations of the altarpiece and icon have become staples of period discussion.³⁰ Pictorial details have been analyzed tellingly for their role in participatory devotion: Passion imagery in relation to contemporary practices of public corporal punishment for criminals, details in landscapes, even fruits and flowers in concert with other senses.³¹ Italian religious art has been reconsidered in terms of its spiritual effectiveness.³² Visual rhetoric as an instrument of devotion has received general treatment,³³ and has also been applied to Lutheran imagery (including prints),³⁴ Jesuit imagery,³⁵ and even Calvinist visuality.³⁶

Wider consideration of visual rhetoric has led to a focus on the dialogue of art with Renaissance verbal rhetoric and visual art, including Netherlandish art.³⁷ Formative texts have always served as a mainstay of art in Italy,³⁸ and abetted the learning of artists,³⁹ including the formative art author Vasari⁴⁰ and his counterpart in the Netherlands, Karel van Mander.⁴¹ The rhetoric of the framed image itself, in isolation and within images of collections, has also been examined.⁴²

Art history has also made contributions to social history and the interpretation of values, especially through the popular medium of prints, which often incorporate accompanying texts. This has been particularly true for images of warfare, especially in Germany and Italy.⁴³ Social groups, especially outsiders, appear in Netherlandish genre images.⁴⁴ Family history has become a topical issue, both in respect to the relations between the sexes and the rearing of children,⁴⁵ complementing feminist interests in sex and gender.⁴⁶ Artistic images of witchcraft, especially in Germany and the Low Countries, have received sensitive analysis.⁴⁷ Images of rape and of eros—straight and gay—also found their most explicit representation during the early modern period.⁴⁸ The significance of clothing has been explicated by literary historians.⁴⁹

Patronage has been a dominant art historical topic, especially for Italy, where city centers,⁵⁰ individuals (e.g., Cosimo de’ Medici or popes),⁵¹ courts,⁵² and corporate confraternities supported the arts.⁵³ The social role of female patrons is enjoying a revival, particularly for sixteenth-century female regents/rulers: Margaret of Austria (Dagmar Eichberger), Catherine de’ Medici (Sheila ffolliott), and Elizabeth I of England (Roy Strong, David Starkey, Louis Montrose).⁵⁴ Moreover, women artists have received new attention, chiefly in Italy.⁵⁵ Portraits combine the emphasis on patronage with the role of the artist, even more closely in the case of self-portraits.⁵⁶

Another social issue that has been garnering increased attention in recent decades is the economics of art history. Research has chiefly focused on the Netherlands, revealing both the market institutions and personal side of art sales through dealer networks.⁵⁷ The work of Montias and De Marchi-Van Miegroet also extends well into the seventeenth century. Considering the implications of the art market for objects, other scholars have analyzed the effects of the money economy, whether in the choice of monetary themes for images, or else new production processes to satisfy a growing consumer culture.⁵⁸ One intriguing, wide-ranging recent anthology, Merchants and Marvels, even brings together art collecting, science, and commerce.⁵⁹

What really characterizes current art history is this kind of strong social or cultural orientation, where groups and their values link research much more closely to historical concerns. As a result the dialogue between art history and sister disciplines in the humanities—religion, literature, history of all kinds—has never been stronger, to the mutual benefit of all scholars. The citations here of contributions by scholars from other academic fields offer testimony that art history has become part of the concern of colleagues, while also offering them new insights for their home disciplines. At the same time, the drive towards interdisciplinary research and to what Clifford Geertz called “local knowledge” has resulted in increasingly specific topics and publications, rather than earlier syntheses. That kind of command of the larger period, combined with the older restriction of interest to painting (sometimes also sculpture or architecture), used to make the Renaissance a period essentially defined by art (especially for Italy), as codified first by Vasari, then for the modern university by Burckhardt. Consequently, there are few reliable, let alone up-to-date, art history references about the Renaissance period today. Even the benchmark art history series by Yale Pelican continues to add titles about other parts of the world, but still lacks credible volumes for this period, either north or south, fifteenth or sixteenth century. But, in rewarding compensation, the increased range of regions and media, and the expanded roster of questions and historical investigations have made art history into an engaged participant within the wider humanities—as together they reconstitute this marvelous era of transition from medieval to modern, now with important, new visual evidence.

Bibliography

Adams, Ann Jensen. Public Faces and Private Identities in Seventeenth-Century Holland. Cambridge: Cambridge University Press, 2007.

Aikema, Bernard, Beverly Brown, and Giovanna Nepi Sciré, eds. Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer, and Titian. Exhibition catalogue. New York: Rizzoli, 2000. Originally published as Il Rinascimento a Venezia: E la pittura del Nord ai tempi di Bellini, Dürer, Tiziano (Milan: Bompiani, 1999).

Alexander, Jonathan. The Painted Page: Italian Renaissance Book Illumination, 1450–1550. New York: Prestel, 1994.

Ames-Lewis, Francis. Intellectual Life of the Early Renaissance Artist. New Haven, CT: Yale University Press, 2000.

Bailey, Gauvin. Art of Colonial Latin America. London: Phaidon, 2005.

——. Art on the Jesuit Missions in Asia and Latin America, 1542–1773. Toronto: University of Toronto Press, 1999.

Barkan, Leonard. Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture. New Haven, CT: Yale University Press, 1999.

Barolsky, Paul. Giotto’s Father and the Family of Vasari’s Lives. University Park: Pennsylvania State University Press, 1992.

——. Michelangelo’s Nose: A Myth and Its Maker. University Park: Pennsylvania State University Press, 1990.

——. Why Mona Lisa Smiles and Other Tales by Vasari. University Park: Pennsylvania State University Press, 1991.

Baskins, Christelle. Cassone Painting, Humanism and Gender in Early Modern Italy. Cambridge: Cambridge University Press, 1998.

Baxandall, Michael. Giotto and the Orators, Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition, 1350–1450. Oxford: Clarendon, 1971.

——. The Limewood Sculptors of Renaissance Germany. New Haven, CT: Yale University Press, 1980.

——. Painting and Experience in Fifteenth Century Italy: A Primer in the Social History of Pictorial Style. Oxford: Oxford University Press, 1988.

Bedaux, Jan Baptist, and Rudi Ekkart, eds. Pride and Joy: Children’s Portraits in the Netherlands 1500–1700. Ghent: Ludion, 2000.

Belozerskaya, Marina. Rethinking the Renaissance. Cambridge: Cambridge University Press, 2002.

Belting, Hans. Likeness and Presence: A History of the Image before the Era of Art. Chicago: University of Chicago Press, 1994.

Bierende, Edgar. Lucas Cranach d. Ä. und der deutsche Humanismus: Tafelmalerei im Kontext von Rhetorik, Chroniken und Fürstenspiegeln. Munich: Deutscher Kunstverlag, 2002.

Bleyerveld, Yvonne. Hoe bedriechelijck dat die vrouwen zijn: Vrouwenlisten in de beeldende kunst in de Nederlanden circa 1350–1650. Leiden: Primavera, 2000.

Bober, Phyllis, and Ruth Rubinstein. Renaissance Artists and Antique Sculpture: A Handbook of Sources. Oxford: Oxford University Press, 1986.

Brown, Paricia Fortini. Venetian Narrative Painting in the Age of Carpaccio. New Haven, CT: Yale University Press, 1998.

——. Venice and Antiquity: The Venetian Sense of the Past. New Haven, CT: Yale University Press, 1996.

Bull, Malcolm. Mirror of the Gods. Oxford: Oxford University Press, 2005

Campbell, Lorne. Renaissance Portraits: European Portrait-Painting in the 14th, 15th, and 16th Centuries. New Haven, CT: Yale University Press, 1990.

Campbell, Stephen, ed. Artists at Court: Image-Making and Identity, 1300–1550. Boston: Isabella Stuart Gardner Museum, 2004.

Campbell, Thomas. Tapestry in the Renaissance. New York: Metropolitan Museum of Art, 2002.

Carboni, Stefano, ed. Venice and the Islamic World 828–1797. New York: Metropolian Museum of Art, 2007.

Chambers, David, and Jane Martineau, eds. Splendours of the Gonzaga. London: The Museum, 1982.

Clifton, James. The Plains of Mars: European War Prints, 1500–1825. Exhibition catalog. Houston: Museum of Fine Arts, forthcoming.

Cole, Alison. Virtue and Magnificence: Art of the Italian Renaissance Courts. New York: H. N. Abrams, 1995.

Cole, Michael, and Mary Pardo, eds. Inventions of the Studio: Renaissance to Romanticism. Chapel Hill: University of North Carolina Press, 2005.

Cranston, Jodi. The Poetics of Portraiture in the Italian Renaissance. Cambridge: Cambridge University Press, 2000.

Cuneo, Pia. Art and Politics in Early Modern Germany. Leiden: Brill, 1998.

——, ed. Artful Armies, Beautiful Battles: Art and Warfare in Early Modern Europe. Leiden: Brill, 2002.

Daston, Lorraine, and Katherine Park. Wonders and the Order of Nature 1150–1750. Cambridge, MA: MIT Press, 1998.

De Marchi, Neil, and Hans Van Miegroet. “Exploring Markets for Netherlandish Paintings in Spain and Nueva España.” Nederlands Kunsthistorisch Jaarboek 50 (1999): 81–111.

——. “Rules versus Play in Early Modern Markets.” Recherches Economiques de Louvain 66 (2000): 145–65.

Dempsey, Charles. Portrayal of Love: Botticelli’s Primavera and Humanist Culture of the Time of Lorenzo the Magnificent. Princeton: Princeton University Press, 1992.

Duffy, Eamon. Stripping of the Altars: Traditional Religion in England c. 1400–c. 1580. 2nd ed. New Haven, CT: Yale University Press, 2005.

Dülberg, Angelica. Privatporträts: Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert. Berlin: Mann, 1990.

Eisler, William, and Bernard Smith. Terra Australis: The Furthest Shore. Sydney: International Cultural Corporation of Australia, 1988.

Erickson, Peter, and Clark Hulse, eds. Early Modern Visual Culture: Representation, Race, Empire in Renaissance England. Philadelphia: University of Pennsylvania Press, 2000.

Falkenburg, Reindert, Fruit of Devotion: Mysticism and the Imagery of Love in Flemish Paintings of the Virgin and Child, 1450–1550. Amsterdam: Benjamins, 1994.

——. Joachim Patinir: Landscape as an Image of the Pilgrimage of Life. Amsterdam: Benjamins, 1988.

Farago, Claire, ed. Reframing the Renaissance: Visual Culture in Europe and Latin America 1450–1650. New Haven, CT: Yale University Press, 1995.

Filipczak, Zirka. Hot Dry Men, Cold Wet Women: The Theory of Humors in Western European Art, 1575–1700. New York: American Federation of Arts, 1997.

Finney, Paul Corby, ed. Seeing Through the Word: Visual Arts and the Calvinist Tradition. Grand Rapids, MI: Eerdmans, 1999.

Foister, Susan. Holbein and England. New Haven, CT: Yale University Press, 2004.

Franits, Wayne. Paragons of Virtue: Women and Domesticity in Seventeenth-Century Dutch Art. Cambridge: Cambridge University Press, 1993.

Freedberg, David. Power of Images: Studies in the History and Theory of Response. Chicago: University of Chicago Press, 1991.

Freedman, Luba. Revival of the Olympian Gods in Renaissance Art. Cambridge: Cambridge University Press, 2003

Fumerton, Patricia. Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament. Chicago: University of Chicago Press, 1991.

Gent, Lucy, and Nigel Llewellyn, eds. Renaissance Bodies: The Human Figure in English Culture, 1540–1660. London: Reaktion Books, 1990.

Grössinger, Chrisa. Picturing Women in Late Medieval and Renaissance Art. Manchester: Manchester University Press, 1997.

Hale, J. R. Artists and Warfare in the Renaissance. New Haven: Yale University Press, 1990.

Hamburger, Jeffrey. Visual and the Visionary: Art and Female Spirituality in Late Medieval Germany. New York: Zone, 1998.

——, and Anne-Marie Bouché, eds. Mind’s Eye: Art and Theological Argument in the Middle Ages. Princeton: Princeton University Press, 2006.

Hearn, Karen, ed. Dynasties: Painting in Tudor and Jacobean England, 1530–1630. London: Tate Publications, 1995.

Holmes, Megan. Fra Filippo Lippi, the Carmelite Painter. New Haven: Yale University Press, 1999.

Honig, Elizabeth. Painting and the Market in Early Modern Antwerp. New Haven, CT: Yale University Press, 1998.

Hood, William. Fra Angelico at San Marco. New Haven: Yale University Press, 1993.

Howard, Deborah. Venice and the East: The Impact of the Islamic World on Venetian Architecture 1100–1500. New Haven: Yale University Press, 2000.

Howarth, David. Images of Rule: Art and Politics in Renaissance England, 1485–1649. Berkeley: University of California Press, 1997.

Hulse, Clark. Rule of Art: Literature and Painting in the Renaissance. Chicago: University of Chicago Press, 1990.

Hults, Linda. Witch as Muse: Art, Gender, and Power in Early Modern Europe. Philadelphia: University of Pennsylvania Press, 2005.

Humfrey, Peter, and Martin Kemp, eds. Altarpiece in the Renaissance. Cambridge: Cambridge University Press, 1990.

Jackson, Anna, and Amin Jaffer, eds. Encounters: The Meeting of Asia and Europe, 1500–1800. London: V & A, 2004.

Jacobs, Fredrika. Defining the Renaissance Virtuosa: Women Artists and the Language of Art History and Criticism. Cambridge: Cambridge University Press, 1997.

Jacobs, Lynn. Early Netherlandish Carved Altarpieces, 1380–1550: Medieval Tastes and Mass Marketing. Cambridge: Cambridge University Press, 1998.

Jones, Ann Rosalind, and Peter Stallybrass, Renaissance Clothing and the Materials of Memory. Cambridge: Cambridge University Press, 2000.

Jongh, Edy de, and Ger Luijten, eds., Mirror of Everyday Life: Genre Prints in the Netherlands, 1550–1700. Exhibition catalog. Amsterdam: Rijksmuseum, 1997.

Kagan, Richard. Urban Images of the Hispanic World, 1493–1793. New Haven, CT: Yale University Press, 2000.

Kaufmann, Thomas Dacosta. Court, Cloister, City: The Art and Culture of Central Europe, 1450–1800. Chicago: University of Chicago Press, 1995.

——. Towards a Geography of Art. Chicago: University of Chicago Press, 2004.

Kemp, Martin. Behind the Picture: Art and Evidence in the Italian Renaissance. New Haven, CT: Yale University Press, 1997.

Kempers, Bram. Painting, Power, and Patronage: The Rise of the Professional Artist in the Italian Renaissance. New York: Penguin, 1992.

Kenseth, Joy, ed. The Age of the Marvelous. Hanover, NH: Hood Museum of Art, 1991.

Kent, D. W. Cosimo de’ Medici and the Florentine Renaissance: The Patron’s Oeuvre. New Haven, CT: Yale University Press, 2000.

Koerner, Joseph. Reformation of the Image. London: Reaktion, 2004.

Krüger, Klaus. Das Bild als Schleier des Unsichtbaren: Aesthetische Illusion in der Kunst der frühen Neuzeit. Munich: Fink, 2001.

Kunzle, David. From Criminal to Courtier: The Soldier in Netherlandish Art, 1550–1672. Leiden: Brill, 2002.

Landau, David, and Peter Parshall. The Renaissance Print, 1470–1550. New Haven, CT: Yale University Press, 1994.

Lavin, Irving. Bernini and the Unity of the Arts. New York: Morgan Library, 1980.

Lawrence, Cynthia. Women and Art in Early Modern Europe: Patrons, Collectors, and Connoisseurs. University Park: Pennsylvania State University Press, 1997.

Levenson, Jay. Encompassing the Globe: Portugal and the World in the 16th and 17th Centuries. Exhibition catalog. Washington: Smithsonian Institution, 2007.

——, ed. Circa 1492: Art in the Age of Exploration. Washington, DC: National Gallery of Art, 1991.

Levy, Evonne. Propaganda and the Jesuit Baroque. Berkeley: University of California Press, 2004.

Lincoln, Evelyn. The Invention of the Renaissance Printmaker. New Haven, CT: Yale University Press, 2000.

Marks, Richard, and Paul Williamson, eds. Gothic: Art for England 1400–1547. London: V & A, 2003.

Meadow, Mark. Pieter Bruegel the Elder’s Netherlandish Proverbs and the Practice of Rhetoric. Zwolle: Waanders, 2002.

Melion, Walter. Shaping the Netherlandish Canon: Karel van Manders Schilder-Boeck. Chicago: University of Chicago Press, 1991.

Merback, Mitchell. The Thief, the Cross, and the Wheel: Pain and the Spectacle of Punishment in Medieval and Renaissance Europe. Chicago: University of Chicago Press, 1999.

Michalski, Sergiusz. Reformation and the Visual Arts: The Protestant Image Question in Western and Eastern Europe. London: Routledge, 1993.

Miedema, Hessel, ed. Karel van Mander, the Lives of the Illustrious Netherlandish and German Painters, from the First Edition of the Schilder-Boeck (1603–1604). Doornspijk: Davaco, 1994–99.

Mignolo, Walter. The Darker Side of the Renaissance: Literacy, Territoriality, and Colonization. Ann Arbor: University of Michigan Press, 1998.

Montias, John Michael. “Socio-Economic Aspects of Netherlandish Art from the Fifteenth to the Seventeenth Century: A Survey.” Art Bulletin 72, no. 3 (Sept. 1990): 358–73.

Montrose, Louis. The Subject of Elizabeth: Authority, Gender, and Representation. Chicago: University of Chicago Press, 2006.

Morrall, Andrew. Jörg Breu the Elder: Art, Culture, and Belief in Reformation Augsburg. Aldershot, UK: Ashgate, 2001.

Moxey, Keith. Peasants, Warriors, and Wives: Popular Imagery in the Reformation. Chicago: University of Chicago Press, 1989.

Mulcahy, Rosemarie. The Decoration of the Royal Basilica of El Escorial. Cambridge: Cambridge University Press, 1994.

Murphy, Caroline. Lavinia Fontana: A Painter and Her Patrons in Sixteenth-Century Bologna. New Haven, CT: Yale University Press, 2003.

Musacchio, Jacqueline. The Art and Ritual of Childbirth in Renaissance Italy. New Haven, CT: Yale University Press, 1999.

Nagel, Alexander. Michelangelo and the Reform of Art. Cambridge: Cambridge University Press, 2000.

Noble, Bonnie J. “‘A work in which the angels are wont to rejoice’: Lucas Cranach’s Schneeberg Altarpiece.” Sixteenth Century Journal 34 (2003): 1011–37.

Norman, Diana, ed.. Siena, Florence, and Padua: Art, Society, and Religion 1280–1400. New Haven, CT: Yale University Press, 1995.

Nuttall, Paula. From Flanders to Florence: The Impact of Netherlandish Painting, 1400–1500. New Haven, CT: Yale University Press, 2004.

O’Malley, John, Gauvin Alexander Bailey, T. Frank Kennedy, eds. The Jesuits: Cultures, Sciences, and the Arts, 1540–1773. Toronto: University of Toronto Press, 1999.

Parshall, Peter. “Imago contrafacta: Images and Facts in the Northern Renaissance.” Art History 16 (1993): 554–79.

——, and Rainer Schoch. Origins of European Printmaking: Fifteenth-Century Woodcuts and Their Public. Washington, DC: National Gallery of Art, 2005.

Parshall, Peter and Linda. Art and the Reformation: An Annotated Bibliography. Boston: G. K. Hall, 1986.

Perlingieri, Ilya. Sofonisba Anguissola: The First Great Woman Artist of the Renaissance. New York: Rizzoli, 1992.

Randolph, Adrian. Engaging Symbols: Gender, Politis, and Public Art in Fifteenth-Century Florence. New Haven, CT: Yale University Press, 2002.

Reiss, Sheryl, and David Wilkins, eds. Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy. Kirksville, MO: Truman State University Press, 2001.

Richter Sherman, Claire. Writing on Hands: Memory and Knowledge in Early Modern Europe. Carlisle, PA: Trout Gallery, Dickinson College, 2000.

Roper, Lyndal. Oedipus and the Devil: Witchcraft, Sexuality, and Religion in Early Modern Europe. New York: Routledge, 1994.

Rosand, David. Myths of Venice: The Figuration of State. Chapel Hill: University of North Carolina Press, 2001.

Rosen, Jochai. “The Dutch Guardroom Scene in the Golden Age: A Definition.” Artibus et Historiae 53 (2006): 151–74.

Rowland, Ingrid. The Culture of the High Renaissance: Ancients and Moderns in Sixteenth-Century Rome. Cambridge: Cambridge University Press, 1998.

Rubin, Patricia. Giorgio Vasari: Art and History. New Haven, CT: Yale University Press, 1995.

Salomon, Nanette. Shifting Priorities: Gender and Genre in Seventeenth-Century Dutch Painting. Stanford: Stanford University Press, 2004.

Saslow, James. Ganymede in the Renaissance: Homosexuality in Art and Society. New Haven, CT: Yale University Press, 1986.

Schade, Sigrid. Schadenzauber und die Magie des Körpers: Hexenbilder der frühen Neuzeit. Worms: Werner, 1983.

Schmidt, Benjamin. Innocence Abroad: The Dutch Imagination and the New World, 1570–1670. Cambridge: Cambridge University Press, 2001.

Scribner, Robert. For the Sake of Simple Folk: Popular Propaganda of the German Reformation. Oxford: Oxford University Press, 1994.

Shearman, John. Only Connect: Art and the Spectator in the Italian Renaissance. Princeton: Princeton University Press, 1992.

Silver, Larry. Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market. Philadelphia: University of Pennsylvania Press, 2006.

Smith, Jeffrey Chipps. German Sculpture of the Later Renaissance c. 1520–1580. Princeton, NJ: Princeton University Press, 1994.

——. Sensuous Worship: Jesuits and the Art of the Early Catholic Reformation in Germany. Princeton, NJ: Princeton University Press, 2002.

Smith, Pamela. The Body of the Artisan: Art and Experience in the Scientific Revolution. Chicago: University of Chicago Press, 2004.

——, and Paula Findlen, eds. Merchants and Marvels: Commerce, Science, and Art in Early Modern Europe. New York: Routledge, 2002.

Sobré, Judith Berg. Behind the Altar Table: The Development of the Painted Retable in Spain, 1350–1500. Columbia: University of Missouri Press, 1989.

Starkey, David, and Susan Doran. Elizabeth: The Exhibition at the National Maritime Museum. London: Chatto and Windus, 2003.

Starn, Randolph and Loren Patridge. Arts of Power: Three Halls of State in Italy, 1300–1600. Berkeley: University of California Press, 1992.

Stock, Jan van der. Printing Images in Antwerp, Fifteenth Century to 1585. Rotterdam: Sound and Vision Interactive, 1998.

Stoichita, Victor. Self-Aware Image: An Insight into Early Modern Meta-Painting. Cambridge: Cambridge University Press, 1997.

——. Visionary Experience in the Golden Age of Spanish Art. London: Reaktion, 1995.

Talvacchia, Bette. Taking Positions: On the Erotic in Renaissance Culture. Princeton, NJ: Princeton University Press, 1999.

Vandenbroeck, Paul. Beeld van de andere, vertoog over zichzelf. Exhibition catalog. Antwerp: Koninklijk Museum, 1987.

——. Bride of the Sun. Antwerp: Royal National Museum, 1992.

Verdon, Timothy, and John Henderson, eds. Christianity and the Renaissance: Image and Religious Imagination in the Quattrocento. Syracuse: Syracuse University Press, 1990.

Vermeylen, Filip. Painting for the Market: Commercialization of Art in Antwerp’s Golden Age. Turnhout: Brepols, 2003.

Welch, Evelyn. Art and Authority in Renaissance Milan. New Haven, CT: Yale University Press, 1995.

Wilson, Jean. Painting in Bruges at the Close of the Middle Ages: Studies in Society and Visual Culture. University Park: Pennsylvania State University Press, 1998.

Wisch, Barbara, and Diane Ahl, eds. Confraternities and the Visual Arts in Renaissance Italy: Ritual, Spectacle, Image. Cambridge: Cambridge University Press, 2000.

Wolf, Gerhard. Schleier und Spiegel: Tradition des Christusbildes und die Bildkonzepte der Renaissance. Munich: Fink, 2002.

Wolfthal, Diane. Images of Rape: The ‘Heroic Tradition and Its Alternatives. Cambridge: Cambridge University Press, 1999.

Woods-Marsden, Joanna. Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist. New Haven, CT: Yale University Press, 1998.

Woodward, David. Cartogaphy in the European Renaissance. Vol. 3 of The History of Cartography. Chicago: University of Chicago Press, 2007.

Yamey, Basil. Art and Accounting. New Haven, CT: Yale University Press, 1989.

Zandvliet, Kees. The Dutch Encounter with Asia 1600–1950. Amsterdam: Rijksmuseum, 2003.

——. Mapping for Money: Maps, Plans, and Topographic Paintings and Their Role in Dutch Overseas Expansion during the 16th and 17th Centuries. Amsterdam: Batavian Lion International, 1998.

Zerner, Henri. Renaissance Art in France. Translated by Deke Dusinberre, Scott Wilson, and Rachel Zerner. Paris: Flammarion, 2003.

Zika, Charles. Exorcising Our Demons: Magic, Witchcraft, and Visual Culture in Early Modern Europe. Leiden: Brill, 2003.

Zorach, Rebecca. Blood, Milk, Ink, Gold: Abundance and Excess in the French Renaissance. Chicago: University of Chicago Press, 2005.