Art and Architecture

art and architecture

PUBLISHING EXCELLENCE 60 SIN C E 1956 penn state university press American Art 6–7, 16–17 Order Information Graphic Passion Architecture ...... 8–9, 11 Individuals: Matisse and the Book Arts Book History 1, 15, 26 We encourage ordering through your local book- John Bidwell Early Modern Art 16–25 store. Payment must accompany orders to Penn “A full and riveting account of Matisse’s evolving Eighteenth-Century Art 8, 25–27 State Press. Use the order form at the back of this relationship with the Book, with all of its atten- Literature ...... 2, 4 catalogue or order online using your credit card at dant (typographical, print-production, literary and Medieval Art 10–15 www.psupress.org. economic) opportunities and pitfalls.” Modernism 1–2, 4–7, 10 Libraries: —Peter Mendelsund, Nineteenth-Century Art 3, 28–29 Please attach your purchase order. New York Times Book Review Photography ...... 2–3, 10 Retailers: “This illuminating book considers Matisse’s illustrat- Primary Sources ...... 8, 18–19 Please contact ed books in admirable detail, giving unprecedented Theory/Criticism ...... 4–5, 18–19, 18–33 Kathleen Scholz-Jaffe, Sales Manager attention to the collaborative nature of Matisse’s Visual Culture ...... 1, 3, 4, 7, 10, 20–21, 27 Penn State University Press book projects and to the relationship between their Selected Backlist ...... 34–35 820 N. University Drive, USB 1, Suite C GRAPHIC aesthetic qualities and the various technical factors Index ...... 36 University Park, PA 16802-1003 PASSION that went into their production.” Order Form ...... 37 814-867-2224; Fax 814-863-1408 MATISSE AND THE BOOK ARTS —Jack Flam, author of Matisse: E-mail: [email protected] The Man and His Art, 1869–1918

Examination Copies: Graphic Passion recounts the publication history Front: Giulio Romano, Ostrich, pen and brown ink with brown wash over black chalk on paper, 1514–46. British Museum, London. Photo © Trust- To receive an examination copy of one of our of nearly fifty books illustrated by Henri Matisse, ees of the British Museum. All rights reserved. books, please see the examination copy policy on including masterworks such as Lettres portugaises, Page 7: Detail from Reginald Marsh, Beach Picnic, 1939. Etching, 7 × 5 our website at http://www.psupress.org/ordering/ in. (17.78 × 12.7 cm). The William Benton Museum of Art, University of Mallarmé’s Poésies, and his own Jazz. It is the first Connecticut, Storrs, 1978.5.19.217. © 2013 Estate of Reginald Marsh / Art order_main.html#Exam. Students League, New York / Artists Rights Society (ARS), New York. comprehensive, in-depth analysis of his book- Page 9: Fairmount Park, Philadelphia, 1868 . . . Showing the trees & woods Titles, publication dates, and prices announced in production ventures and the first systematic survey nearly as now existing, with a study for roads & paths, from the First Annual of this topic in English. Drawing on unpublished Report of the Commissioners of Fairmount Park (Philadelphia: King & Baird, this catalogue are subject to change without notice. 1869). Historical Society of Pennsylvania, Philadelphia. correspondence and business documents, it con- Abbreviations Page 11: Longitudinal section of Toledo cathedral, showing elevations on tains new information about his illustration meth- the south side. Photo: Archivo Municipal de Toledo. tr: trade discount; sh: short discount Pages 12–13: Shrine Madonna, originally from the Roggenhausen town ods, typographic precepts, literary sensibilities, and chapel, ca. 1390, opened. Now at the Germanisches Nationalmuseum, Penn State is an affirmative action, equal opportu- staunch opinions about the role of the artist in the Nuremberg, Germany. Photo: Elina Gertsman. nity University. Page 14: Abyssus, underside of the reading niche, Guarna pulpit, 1153–80, publication process. cathedral of Salerno. Photo: Nino Zchomelidse. U. Ed. LIB 16-504. Pages 16-17: Kress apartment, decorated in Italian Renaissance style, at 264 pages | 165 color illustrations | 9 × 11 | 2015 1020 Fifth Avenue, New York. Washington, D.C., Department of Image isbn 978-0-271-07111-4 | cloth: $65.00 tr Collections, National Gallery of Art Library. Page 19: Francisco de Hollanda, Column, Baths of Diocletian, from the Penn State Series in the History of the Book album commonly known as Antigualhas (1538–40; Escorial, Biblioteca del Co-published with The Morgan Library & Museum Monasterio de San Lorenzo, inv. 28.I.20). Page 22: Tomb of Simone Vespucci, 1376, Ognissanti, Florence. Photo: Julia I. Miller and Laurie Taylor-Mitchell. “I do not Page 25: Fly. Engraving. In Robert Hooke, Micrographia, 182. © Trustees of the British Library. Page 26: Piranesi, Antichità romane, vol. 4, plate 37. Collection of Vincent J. Buonanno. Photo: Digital Production Services, Brown University Library. distinguish between Page 29: Julius Schnorr von Carolsfeld, Shriveled Leaves, 1817. Pen and ink 9 1 over graphite on paper, 3 ⁄16 × 10 ⁄16 in. (9.1 × 25.6 cm). National Gallery of Art, Washington, D.C., Wolfgang Ratjen Collection, purchased as the gift of Ladislaus and Beatrix von Hoffmann, 2007.111.160. the construction of a book Pages 32–33: Panorama of the The Stone Art Theory Institutes seminar participants. Photo: Elise Goldstein. Back: Detail of the ostrich, mixed media, late sixteenth century, Chapel of Adam and Eve, Sacro Monte, Varallo. Photo: Una Roman D’Elia. and that of a painting.” —Henri Matisse The Photography of Crisis Disillusioned The Photo Essays of Weimar Germany Victorian Photography and the Discerning Subject Daniel H. Magilow Jordan Bear

New in Paperback “In an impressive and timely counterpoint to recent emphasis on the archival appropriations of photog- “As an introduction to the field and a bold statement raphy, Jordan Bear turns conventional assumptions of the photo-essay’s central significance, Magilow’s about belief in photographic realism on their head, book is a valuable piece of scholarship.” showing that, throughout the nineteenth cen- —Jonathan Long, Source tury, claims for photographic verisimilitude were “The Photography of Crisis is the first full account of greeted with doubt, distrust, disappointment, and the photo essay as a ubiquitous presence in Weimar even ridicule, opening the way to other photo- culture and a driving force behind the visual turn in daniel h. magilow graphic practices—and, indeed, as exemplified by German modernism. Daniel Magilow’s examination Disillusioned, to another history of photographic of new text-image relations in the illustrated press production and consumption and to important and the photobook not only complicates traditional new insights into the historical formation of the accounts of avant-garde photography and modern discerning liberal subject.” photojournalism but also allows us to situate the THE PHOTOGRAPHY —John Tagg, Binghamton University famous photographers August Sander and Albert the photo essays of weimar germany Disillusioned is a new book in the Art History Publi- Renger-Patzsch within the emerging logics of visual- OF CRISIS cation Initiative (AHPI), a collaborative grant from ity, physiognomy, and shock that would continue the Andrew W. Mellon Foundation. Thanks to the to haunt photography throughout the twentieth AHPI grant, this book will be available in popular century. This book is required reading for all photo e-book formats. historians and scholars of modern visual culture.” —Sabine Hake, 224 pages | 7 × 10 | 2015 University of Texas at Austin isbn 978-0-271-06501-4 | cloth: $74.95 sh

“ 200 pages | 45 illustrations | 7 × 10 | 2012 isbn 978-0-271-06707-0 | paper: $34.95 sh I

t r ” i . e d d a

t b o s a “AS IS THE GARDENER, SO sh o w w at IS THE GARDEN.” —Thomas Fuller w h ha e w t w id r as d h de good an an — ejl Osc tave R 2 | penn state press ar Gus www.psupress.org | 3 Modernism and Its Merchandise Cold Modernism The Curatorial Avant-Garde The Spanish Avant-Garde and Material Culture, Literature, Fashion, Art Surrealism and Exhibition Practice in France, 1920–1930 Jessica Burstein 1925–1941 Juli Highfill Adam Jolles “Burstein’s book makes a major claim on our atten- “Modernism and Its Merchandise draws together, tion as a lunar Baedeker to the dark side of mod- New in Paperback relates, and interprets an astonishing variety of ernism. It is a tightly argued and original case for “Jolles discusses the Surrealists’ own exhibitions, literary, plastic, commercial, and discursive artifacts considering literature, fine art, and manufactured with which writers and artists possessing no formal created between the end of World War I and the objects together, and it helps one to understand curatorial training attempted to wrest control back declaration of the Second Spanish Republic. Cul- how ahumanism might reflect the relationship from the high art establishment, with wild results. tural studies scholarship is sometimes faulted for between consciousness and individuality on one Exhibitions centered on Surrealism are currently being an inch deep and a mile wide. Juli Highfill’s hand and the very idea of humanism on the other. having a moment, making it the perfect time to look is as deep as it is wide. Philosophy, art, etymology Burstein’s book should help bring her obdurately at the way these artists displayed their own art.” (in French, Latin, and Spanish), literature, fashion, ahuman aesthetic and commercial subjects to —Zoë Lescaze, ARTNews economics, history, technology, and commerce: at further critical attention. It may seem paradoxical one point or another, Highfill delves into primary to say this, but never mind: however chilly, artificial, All too often, the historical avant-garde is taken to and secondary texts in all of these fields in order to and (in the best sense) superficial its subject matter, be incommensurate with and antithetical to the present her interpretation of avant-garde culture Cold Modernism deserves a warm welcome.” world inhabited by the museum. In The Curatorial in Spain. Her book is a tour de force, and I have no —Scott W. Klein, Modernism/Modernity Avant-Garde, by contrast, Adam Jolles demon- doubt it will become the standard work of refer- strates the surrealists’ radical transformation of the “Cold Modernism is a wonderful book—insightful, ence, or jumping-off point for further research, for ways in which spectators encountered works of art erudite, and witty beyond words. I think it will have this period in Spanish culture.” between the wars. Through interdisciplinary analy- an enormous impact on modernist studies.” —Geraldine Cleary Nichols, ses of particular exhibitions and works of art in re- —Douglas Mao, Johns Hopkins University University of Florida lation to the manner in which they were displayed, Jolles addresses this public face of surrealism. He 336 pages | 30 illustrations | 6.75 × 9.5 | 2012 288 pages | 44 illustrations | 7 × 9.5 | 2014 isbn 978-0-271-05376-9 | paper: $77.95 sh directs attention to the venues, the contemporary isbn 978-0-271-06345-4 | cloth: $79.95 sh Refiguring Modernism Series debates those venues engendered, and the critical Refiguring Modernism Series discourses in which they participated. In so doing, he shines new light on the movement’s artistic and intellectual development, revealing both the political stakes attached to surrealism within the histori- COLD MODERNISM cal context of interwar Europe and the movement’s instrumental role in the trajectory of modernism.

288 pages | 25 color/68 b&w illustrations | 9 × 9.5 | 2013

JulI HIGHfIll isbn 978-0-271-05939-6 | paper: $34.95 sh Refiguring Modernism Series Modernism and Its Merchandise

The Spanish Avant-Garde and Material Culture, 1920-1930

J ESSICa BuRSt EIN “CRITICISM IS NO LONGER UP TO THE TASK.” —ANDRÉ BRETON

4 | penn state press 1-800-326-9180 | 5 Joseph Cornell and Surrealism The Urban Scene Joseph Cornell and Surrealism Edited by Matthew Affron and Sylvie Ramond Race, Reginald Marsh, and American Art Carmenita Higginbotham Joseph Cornell (1903–1972), the American pioneer of collage, montage, and assemblage art, is sometimes “The Urban Scene skillfully re-creates for readers the regarded as a solitary star within the constellation social and racial contexts in which Reginald Marsh’s of great surrealists. The essays in Joseph Cornell and paintings first circulated. The book deftly explores Surrealism consider connections between Cornell early twentieth-century artistic practice, urban and the surrealist group during the 1930s and development, consumerism, and racial identity 1940s, during Cornell’s artistic development and to help readers better understand how white and the heyday of surrealism in the United States. He black audiences made sense of the artist’s canvases shared with the surrealists his basic conception of of blacks.” —Martin Berger, The Fralin Museum of Art the visual image as the product of poetic juxtaposi- University of California, Santa Cruz tion. In his best-known works—the collages, small Joseph Cornell and Surrealism “Readers of this finely nuanced interpretation of constructions of found objects, and classic shadow Reginald Marsh’s African American imagery will Edited by Matthew Affron and Sylvie Ramond boxes—heISBN 9780983505976 took key surrealist methods in new direc- 90000 > gain a clear sense of the artist’s positive—and nega- tions. The essays also examine Cornell’s achievement tive—contributions to American Scene painting’s

in other7809839 formats,505976 including his groundbreaking col- portrayal of race during the Depression. With close lage film and the open-ended and nonlinear archives attention to stylistic, critical, and social contexts, of printed materials that he called “explorations,” Carmenita Higginbotham cogently reveals Marsh’s as well as the art, literature, music, and dance that pictorial balancing act. His integrated portrayals of nourished his unconventional artistic output. New York’s subways, beaches, Harlem nightclubs, Aside from the editors, the contributors are Stephen and Bowery dives intimated a more democratic Bann, Emmanuel Guigon, Lynda Roscoe Hartigan, opening of the urban scene. But they simultaneous- Jodi Hauptman, Howard Hussey, Ségolène Le Men, ly offered visual containment to keep blacks in place. Camille Lévêque-Claudet, François-René Martin, Such pictorial strategies, Higginbotham argues, Patrick Mauriès, and Anne Morra. provided a comfortable and negotiable imagery for Marsh’s white upper-middle-class audience.” 180 pages | 66 color/27 b&w illustrations | 6.75 × 9 | 2015 —Ellen Wiley Todd, George Mason University isbn 978-0-9835059-7-6 | paper: $34.95 sh

Distributed for The Fralin Museum of Art, 224 pages | 36 color/44 b&w illustrations | 8 × 10 | 2015 University of Virginia isbn 978-0-271-06393-5 | cloth: $79.95 sh

6 | penn state press www.psupress.org | 7 Remarks on Architecture The Grid and the River The Vitruvian Tradition in Enlightenment Poland Philadelphia’s Green Places, 1682–1876

Ignacy Potocki THE GRID Elizabeth Milroy Edited and translated by Carolyn C. Guile and THE RIVER “The Grid and the River is magisterial. It is both an “This publication of Ignacy Potocki’s treatise on immensely erudite history and a compelling narra- architecture makes an important contribution to philadelphia’s green places, tive of the shaping of Philadelphia, whose famous 1682–1876 our understanding of Enlightenment ideas about grid plan and immense park system are among the elizabeth milroy architecture, aesthetics, and classicism, while world’s most distinctive man-made environments. further elucidating the complex relation of Polish Philosophy, sociology, technology, politics, and art ideas to the European Enlightenment as a whole. are all shown to have been actors in the making of Carolyn Guile has provided an excellent transla- Philadelphia’s spaces from the city’s founding until tion and a fascinating introduction to Potocki, his the end of the nineteenth century. In telling their treatise, and its significance for the history of art, complex story, Elizabeth Milroy has written the architecture, and aesthetics.” best general history of the city in a generation.” —Larry Wolff, —David B. Brownlee, New York University University of Pennsylvania

One of the best-preserved examples of early modern The Grid and the River is the product of Elizabeth Polish architectural thought, published and trans- Milroy’s quest to understand the history of public lated here for the first time, Remarks on Architecture green spaces in Philadelphia. In this monumental announces itself as a project of national introspec- work of urban history, Milroy traces efforts to tion, with architecture playing a direct role in the keep William Penn’s city “green” from the time of betterment of the nation. In it, Potocki addresses its founding to the late nineteenth century. She his remarks to the contemporary Polish nobility chronicles how patterns of use and representations and conveys the lessons of a Vitruvian canon that of green spaces informed notions of community shaped Continental classical architectural theory and identity in the city. In particular, Milroy exam- and practice throughout the early modern period. ines the history of how and why the district along He argues that architecture is a vessel for cultural the Schuylkill River came to be developed both in values and that it plays an important part in the for- opposition to and in concert with William Penn’s mation and critique of broader national traditions. original designations of parks in his city plan.

“BEWARE. “Let every house be placed . . . the same fate to which other so that there may be ground fields are subject befalls on each side for gardens or orchards, or fields, that architecture. all the tomes . . . it may be a greene country serve the master more than towne, which will never be burnt & always wholesome.” the student.” —William Penn 8 | penn state press —Ignacy Potocki 1-800-326-9180 | 9 Zodiaque Toledo Cathedral Making Medieval Modern, 1951–2001 Building Histories in Medieval Castile Janet T. Marquardt TOLEDO Tom Nickson CATHEDRAL “Janet Marquardt reveals the ideological agendas “A masterly exploration and minute analysis of a behind the Zodiaque book series’ creation of a soaring masterpiece, Tom Nickson’s revelatory photographic record of Romanesque architecture and study directs new and penetrating light onto the sculpture and its capacity to shape our ideas of the social importance—and architectural significance— past. Rather than simply juxtapose past and present, of his subject.” —Peter Linehan, she articulates the means by which the present must St. John’s College, University of Cambridge inevitably affect our conception of the past. Richly “With this imposing study of the primatial cathedral nuanced in its analysis of both the form and the con- of Spain, Tom Nickson has written one of the out- tent of these images, her book gives articulate expres- standing architectural monographs in the history sion to their role in the creation of cultural memory.” Building Histories in Medieval Castile of Spanish (and European) Gothic. But, as Nickson —Keith Moxey, Columbia University tom nickson underlines, the book is as much concerned with “In this richly layered account, Janet Marquardt un- the building of history as the history of building. It packs the remarkable publication venture of a remote reconciles many separate studies on the cathedral Burgundian abbey. From 1951 until the venture’s and blends new Spanish art-historical scholarship demise half a century later, the beautifully illustrated with close documentary archaeology. Above all, it Zodiaque volumes programmed readers to view presents a rich overlay of Roman, Visigothic, and Romanesque art through a modernist, quasi-abstract, Islamic cultures and integrates them into Toledo’s and spiritually rejuvenating lens. By masterfully active communities of Jews, Muslims, Christians, contextualizing the choices made by the publishers, and confessional converts—questions of ethnic writers, and photographers, Zodiaque goes beyond identity that still dominate our own concerns. reception history to reveal a great deal about the cul- Spain, at last, has the cathedral it deserves.” tural assumptions and aspirations of postwar France.” —Paul Crossley, —Brigitte Buettner, Smith College “Any refusal The Courtauld Institute of Art 256 pages | 16 color/71 b&w illustrations | 6.5 × 8.5 | 2015 324 pages | 60 color/80 b&w illustrations | 9 × 10 | 2015 isbn 978-0-271-06506-9 | cloth: $74.95 sh to indulge in isbn 978-0-271-06645-5 | cloth: $89.95 sh illusionist realism appeals to the modern eye.” —André Malraux, The Voices of Silence 10 | penn state press Icons and Power Worlds Within The Mother of God in Byzantium Opening the Medieval Shrine Madonna Bissera V. Pentcheva Elina Gertsman

New in Paperback Finalist, 2016 Charles Rufus Morey Book Award, College Art Association Winner, 2010 John Nicholas Brown Prize, Medieval Academy of America “Spanning vast temporal and topographical geog- raphies, Elina Gertsman’s fascinating new account “This insightful study of the role of Marian icons in of the Shrine Madonnas demonstrates how their Byzantine society, with a particular focus on their performative and anatomical disclosures respond imperial resonances and underpinnings, has as its to medieval theology, image theory, the science foundation a profound knowledge of both written of medicine, and ritual. As it draws on phenom- and visual texts. . . . [The] presentation is hand- enology, performance studies, and new advances some and the text error free, enhanced by copious in affective neuroscience, this provocative book illustrations, many full page and some twenty in challenges us to rethink the way medieval art is color. Pennsylvania State University Press is to displayed in museums today.” be congratulated on the production of another —Bissera Pentcheva, Stanford University outstanding art-historical book, one that most medievalists will need to read.” —John Osborne, “This thoughtful, sophisticated, and at times dar- Speculum: A Journal of Medieval Studies ing book offers important new insights into the simultaneous popularity and controversiality of the “[This] book is both complex in terms of scholarly Vierge ouvrante in late medieval Europe. Spring- research and important for non-experts, in order to ing dynamically between medieval theological, understand that the material artifacts of Christian- devotional, and scientific discourse and modern ity are polysemous. This study, beyond the mere scholarship on ritual, reception, performance, and pleasure of its many illustrations, was also enlight- play, Elina Gertsman’s wide-ranging argument ening in what it told me about the ever-unfolding illuminates, with elegance and verve, the animated story of devotion to the Mother of God.” and animating role that these distinctive sculptures —Lawrence S. Cunningham, played in late medieval religious practice.” Cistercian Studies Quarterly —Pamela Patton, Southern Methodist University 312 pages | 20 color/100 b&w illustrations | 7 × 10 | 2006 312 pages + gatefold | 48 color/106 b&w illus. | 9 × 10 | 2015 isbn 978-0-271-06400-0 | paper: $44.95 sh isbn 978-0-271-06401-7 | cloth: $79.95 sh

12 | penn state press 1-800-326-9280 | 13 Art, Ritual, and Civic Identity in Painting the Hortus deliciarum Medieval Southern Italy Medieval Women, Wisdom, and Time Danielle B. Joyner Nino Zchomelidse Danielle B. Joyner

Winner, 2015 Howard R. Marraro Prize, “Expanding positivist scholarship, Danielle Joyner American Catholic Historical Association considers the Hortus deliciarum’s function and the intellectual currents that generated its illustrations. “This remarkable book transforms our understand- Sensitive to slippages in the copying of pictorial, ing of the meaning and function of the liturgical scientific, and textual sources, she argues that Her- art of Italy: the pulpits and ambos, monumental painting the rad not only compiled an encyclopedia of tradition- sculpted candlesticks, pavements, and chancel Hortus deliciarum al knowledge but also taught her community ways screens that are among the greatest masterpieces to seek new information from it and to formulate of medieval sculpture. Nino Zchomelidse is the original ideas.” first scholar to fully utilize the visual and textual —Herbert L. Kessler, evidence of the Exultet rolls to explicate medieval Medieval Women, Wisdom, and Time Johns Hopkins University ritual within church interiors prior to the Coun- cil of Trent. Her deeply learned and insightful “Painting the ‘Hortus deliciarum’ breaks new ground interpretation is a milestone for scholarship on the by addressing the central role of time—historical, dynamic roles of art, ritual, theatrical presentation, cosmological, exegetical, and liturgical—in Herrad’s and patronage in central and southern Italy.” vision. Joyner brings to her art-historical analysis —Caroline Bruzelius, Duke University an exceptional grasp of both the intricate techni- calities and the rich moral, ascetic, and theological “Examining local and continuously changing prac- resonances of time and time-reckoning for the tices, multiple uses of single monuments, music, Middle Ages. Her portrait of Herrad reveals a cre- burial customs, iconography, the relation of words ative ‘visual theologian’ who is also deeply rooted in to images, church reform, the meaning of unfold- the learned traditions of her age.” ing, the significance of darkness (and light), and —Faith Wallis, McGill University myriad other issues that enliven the appreciation of specific works, Art, Ritual, and Civic Identity in Medi- 256 pages | 34 color/64 b&w illustrations | 8 × 10 | 2016 eval Southern Italy provides a subtle overall account isbn 978-0-271-07088-9 | cloth: $89.95 sh of how design and decoration not only framed but also fashioned the real activities that took place in medieval churches.” —Herbert L. Kessler, Johns Hopkins University “I collected from the various flowers of sacred 308 pages | 61 color/149 b&w illustrations | 9 × 10 | 2014 isbn 978-0-271-05973-0 | cloth: $84.95 sh Scripture and philosophic writings this book, which is called the

and I brought it together to theHortus praise and deliciarum, honor of Christ and the church and for the sake of your love as if into a single sweet honeycomb.” —Herrad of Landsberg

www.psupress.org | 15 Holland’s Golden Age in America Quodbach A Market for Merchant Princes

1 | The Frick CollectingCollection Studies in the the Art of Rembrandt, Vermeer, Holland’s Golden Age in America Collecting Italian Renaissance Paintings in History of Art Collecting in America Collecting the Art of Rembrandt, Vermeer, and Hals Esmée Quodbach is Assistant Director of the and Hals Americans have long had a taste for the art and America Holland’s Golden Age in America Center for the History of Collecting at culture of Holland’s Golden Age. As a result, the The Frick Collection and Frick Art Reference United States can boast extraordinary holdings Library in New York. Edited by Esmée Quodbach of Dutch paintings. Celebrated masters such as Edited by Inge Reist Rembrandt van Rijn, Johannes Vermeer, and Frans Hals are exceptionally well represented, but many fine paintings by their contemporaries can be found “This book provides answers for anyone who has as well. In this groundbreaking volume, fourteen “Thousands of Italian Renaissance paintings began to noted American and Dutch scholars examine the allure of seventeenth-century Dutch painting to ever wondered why there are so many great Dutch Americans over the past centuries. find their way to America in the nineteenth century,

paintings in U.S. collections. Essays by leading The authors of Holland’s Golden Age in America and the majority of these pictures—by artists great explain in lively detail why and how American collectors as well as museums turned to the Dutch curators and scholars draw on the history of art, as masters to enrich their collections. They examine or obscure—can now be enjoyed in public art collec- the role played by Dutch settlers in colonial America and their descendants, the evolution of well as an understanding of cultural, economic, and American appreciation of the Dutch school, the tions. In this single volume, we are given an over- “This book provides answers for anyone who has ever wondered why circumstances that led to the Dutch school swiftly there are so many great Dutch paintings in U.S. collections. Essays becoming one of the most coveted national schools by leadingpolitical curators and scholars conditions, draw on the history of art, toas well illuminate as the American view of this remarkable story of the importation of painting, and, finally, the market for Dutch an understanding of cultural, economic, and political conditions, to pictures today. illuminatetaste the American for taste for seventeenth-century seventeenth-century Dutch painting.” Dutch painting.” of art—indeed, of culture. Notable experts such as Emilie Gordenker Richly illustrated, this volume is an invaluable Director, Mauritshuis, The Hague contribution to the scholarship on the collecting —Emilie Gordenker, history of Dutch art in America, and it is certain to David Brown and Inge Reist recuperate this episode “Drawing on the experience and insights of many of her colleagues in inspire further research. museums and the academy, Esmée QuodbachDirector, brings us an impressively Mauritshuis, The Hague 1 of art history, introduce us to the collectors, their broad overview of the early collectors of Dutch art in America. This Co-published with The Frick Collection In addition to the editor, the contributors are Jacket illustrations: (front) Johannes Vermeer (1632–1675), essential volume provides illuminating context for major figures such The Pennsylvania State University Press Ronni Baer, Quentin Buvelot, Lloyd DeWitt, Mistress and Maid, 1666–67. Oil on canvas, 90.2 × 78.7 cm. penn s as J. P. Morgan and welcomes unsung heroes such as Robert Gilmor, University Park, Pennsylvania The Frick Peter Hecht, Lance Humphries, Walter Liedtke, New York, The Frick Collection. Henry Clay Frick Bequest motives, and their methods, and depict the early Jr., onto this stage, but also lifts the curtain on early colonial as well as (1919.1.126). Copyright The Frick Collection. “Drawing on the experience andwww.psupress.org insights of many Louisa Wood Ruby, Catherine B. Scallen, Annette T

(back) Willem Claesz. Heda (1594–1680), Still Life, 1632. contemporary collections. These varied accounts are spiked with color, a Stott, Peter C. Sutton, Dennis P. Weller, Arthur K. T e press Oil on panel, 58.4 × 76.2 cm. Boston, Historic New drama, and highlights, including the story of the wealthy collector who c moments of American museums. The complicated

isbn 978-0-271-06201-3 ollec Wheelock, Jr., and Anne T. Woollett. England. Bequest of Dorothy S. F. M. Codman (1969.850). has to ofask, ‘Who her is Vermeer?’” colleagues in museums and the academy, Edited by Photo: Peter Harholdt. Courtesy of Historic New England. T Esmée Quodbach David de Witt ion competing interests of connoisseurship and busi- Jacket design: Jo Ellen Ackerman EsméeBader Curator of European Quodbach Art, Queen’s University brings us an impressively broad ness, optimistic attributions, deceit, and mistakes overview of the early collectors of Dutch art in born of a newly developing expertise are all in these America. This essential volume provides illuminat- pages. Once these collectors—Henry Clay Frick, ing context for major figures such as J. P. Morgan Samuel H. Kress, Isabella Stewart Gardner—were and welcomes unsung heroes such as Robert Gil known for their great fortunes, but it was the mor Jr. onto this stage, but also lifts the curtain on important art that they acquired and their cultural early colonial as well as contemporary collections. philanthropy that ultimately ensured their fame and These varied accounts are spiked with color, drama, brought to American shores more Italian pictures and highlights, including the story of the wealthy than can be found anywhere else except Italy.” collector who has to ask, ‘Who is Vermeer?’” —Gail Feigenbaum, Getty Research Institute —David de Witt, Bader Curator of European Art, Queen’s University 168 pages | 38 color/13 b&w illustrations | 8 × 10 | 2015 isbn 978-0-271-06471-0 | cloth: $69.95 sh 264 pages | 89 color/20 b&w illustrations | 8 × 10 | 2014 The Frick Collection Studies in the History of Art Collecting isbn 978-0-271-06201-3 | cloth: $69.95 sh in America Series | Co-published with The Frick Collection The Frick Collection Studies in the History of Art Collecting in America Series | Co-published with The Frick Collection

16 | penn state press 1-800-326-9180 | 17 Idea of the Temple of Painting Lorenzo de’ Medici at Home On Antique Painting Giovan Paolo Lomazzo The Inventory of the Palazzo Medici in 1492 Francisco de Hollanda Edited and translated by Jean Julia Chai Edited and translated by Richard Stapleford Translated by Alice Sedgwick Wohl, with introductory essays by Joaquim Oliveira “Chai’s nuanced introductory essay deftly places this “This translation will be welcomed by teachers and late effort by the blind artist into both the context scholars in every corner of the English-speaking Caetano and Charles Hope and notes by

of Lomazzo’s life and interests (the mascot of his world, and will provide a useful and, in many ways, on Antique pAinting Hellmut Wohl deliberately unfashionable academy was a wine inexhaustible resource for many years to come.” New in Paperback porter), and the complicated strands of sixteenth- —Brian A. Curran, “[Alice Sedgwick Wohl] is an experienced, sensi- century society and books. An abstruse author with The Pennsylvania State University tive and reliable translator. . . . She is alive both to a taste for allegory and the occult, Lomazzo, hith- At his death, Lorenzo il Magnifico de’ Medici was literal sense and to the difficulties posed by usage erto scarcely available in English, is presented with master of the largest and most famous private palace and stylistic conventions as employed in a language sympathy and clarity. Highly recommended.” in Florence, a building crammed full of the house- written four and a half centuries ago. With Hol- —P. Emison, Choice hold goods of four generations of Medici as well as landa she has taken on an especially difficult task, Idea of the Temple of Painting (1590) shows why art is the most extraordinary collections of art, antiquities, and has succeeded with colours flying. We now have all about expressing an individual style or maniera. books, jewelry, coins and cameos, and rare vases in for the first time in English the whole of Hollanda’s As the ultimate expression of the artist, style (nei- private hands. His heirs undertook an inventory of treatise. . . . We are all indebted to Sedgwick Wohl ther spontaneous nor unconscious) seeks to adapt the estate. The original document has been lost, but and her collaborators for an invaluable contribution the elements of painting into a coherent, harmoni- a copy was made in 1512. Richard Stapleford’s critical to Renaissance studies.” —Charles Dempsey, FrA nciS co d e h ollA ndA ous whole. This is the first of Lomazzo’s treatises to translation of this document offers the reader a win- The Burlington Magazine Translated by Alice Sedgwick w ohl, with introductory essays by be translated into English. dow onto the world of the Medici family, their palace, JoA quim o liveirA cAetA n o and c h A rleS h ope and notes by h ellmut w ohl “As the only English translation of this significant and the material culture that surrounded them. 276 pages | 39 illustrations | 7 × 10 | 2014 Renaissance treatise, On Antique Painting marks isbn 978-0-271-05954-9 | paper: $34.95 sh 232 pages | 34 illustrations | 6 × 9 | 2013 a contribution not only to the field of Portuguese isbn 978-0-271-05642-5 | paper: $24.95 sh literature but also to the study of humanism during the Renaissance.” —Barbara von Barghahn, George Washington University

312 pages | 10 illustrations | 6 × 9 | 2013 Stapleford isbn 978-0-271-05966-2 | paper: $39.95 sh made by another clerk in 1512. Richard Lorenzo il Magnifico de’ Medici was the Stapleford’s critical translation of this Lorenzo de’ Medici head of the ruling political party at the “This book will be of considerable interest to art historians document offers the reader a window apogee of the golden age of Quattrocento onto the world of the Medici family, concerned with the social history of art, especially scholars of Florence. Born in 1449, his life was their palace, and the material culture Lorenzo il Magnifico and his milieu. It will also be invaluable shaped by privilege and responsibility, that surrounded them. at Home and his deeds as a statesman were to scholars concerned with clothing and jewelry. In short, it y The Inventory of the Palazzo Medici in 1492 legendary even while he lived. At his Lorenzo de’ Medici at home richard stapleford is Professor of will be a useful addition to the bibliographies of undergraduate The Inventory of the Palazzo Medici in 1492 death he was master of the largest and Art History at Hunter College, City and graduate courses in Renaissance art history. The notes are most famous private palace in Florence, a y building crammed full of the household University of New York. rich and highly instructive.” y y y y y y y y y y y y y y Edited and translated by goods of four generations of Medici as Jacket illustration: Studiolo from the du- —paul barolsky, university of virginia Richard Stapleford well as the most extraordinary collections cal palace in Gubbio, fifteenth century (ca. of art, antiquities, books, jewelry, coins, 1478–82). Rogers Fund, 1939 (39.153), The cameos, and rare vases in private hands. Metropolitan Museum of Art, New York. IDEA OF THE His heirs undertook an inventory of the Image copyright © The Metropolitan Muse- “This translation will be welcomed by teachers and scholars in estate, a usual procedure following the um of Art. Photo: Art Resource, New York. everyTEMPLE corner of the English-speaking OF worldPAINTING and will provide demise of an important head of family. An anonymous clerk, pen and paper in a useful and, in many ways, inexhaustible resource for many hand, walked through the palace from years to come.” room to room, counting and recording —brian a. curran, pennsylvania state university the barrels of wine and the water urns; opening cabinets and chests; unfolding and examining clothes, fabrics, and tapestries; describing the paintings he

Edited and translated by saw on the walls; and unlocking jewel giovan paolo lomazzo the pennsylvania state university press jean julia chai boxes and weighing and evaluating university park, pennsylvania coins, medals, necklaces, brooches, rings, www.psupress.org isbn 978-0-271-05641-8 and cameos. The original document he

produced has been lost, but a copy was t penn state press

18 | penn state press www.psupress.org | 19 Painting as Medicine in Early Raphael’s Ostrich Modern Rome Una Roman D’Elia Giulio Mancini and the Efficacy of Art Painting as Medicine “This is a delightful, massively erudite, well-written, Frances Gage r a p h a e l’ s in e arly Modern r o M e and well-composed treatise on an unexpected sub- “Many scholars have noted the originality and value ject. It will be of interest to art historians, classicists, Giulio Mancini and the Efficacy of Art Ostrich of the papal physician Giulio Mancini’s writings as a medievalists, literary scholars, social historians, source for artists and artistic thinking in seven- iconographers, scholars of the classical revival, his- teenth-century Rome, but Frances Gage is the first torians of science, experts in Renaissance emblems, to devote attention to his therapeutic and histori- and (above all) scholars of sixteenth-century art, frances gage cal theories regarding painting and its display as especially scholars of the grotesque. It is the history contributing to the maintenance of good health. of a particular bird, along with its various meanings She presents an absorbing view of the relations and implications, and deals with the tension between between art and medical thought of the period, and naturalism and allegory, carrying us from ancient una roman d’elia in so doing contributes significantly to the histories Egypt and Israel through Greece and Rome to the of both art and science.” Middle Ages, the High Renaissance, and beyond.” —Charles Dempsey, —Paul Barolsky, University of Virginia Johns Hopkins University “Raphael’s Ostrich is a learned, ambitious, and very “Mancini’s treatises are regarded as precious, if baf- original book. Taking as its starting point a curious fling, testimony about the early modern display of detail in a painting generally credited to Raphael, art. Frances Gage’s original approach illuminates it throws new light on Italian sixteenth-century how Mancini’s mentality and training as a physi- ideas about artistic invention and about the ways in cian colored his writing. Mancini focused on the ef- which works of art were meant to be understood or fects of beholding paintings, especially in domestic “The Lacedemonians . . . “There are in Rome some enjoyed by the audience for which they were made.” settings. Aesthetic criteria are considered alongside —Charles Hope, values aligned with humanist medicine, as Mancini were also most desirous to people who care nothing The Warburg Institute, University of London attends to how the various genres and qualities of painting should be deployed to affect a viewer—to beget handsome children, for pictures and statues, 296 pages | 70 color/130 b&w illustrations | 9 × 10 | 2015 isbn 978-0-271-06640-0 | cloth: $74.95 sh influence his health, shape the beauty of eventual or even handsome boys or progeny, exercise or tire the eye, or inspire virtue by representing unto their presenting models of civil order.” great bellied wives, the women exposed for sale, —Gail Feigenbaum, but haunt the monster- Getty Research Institute images of Apollo and market, and make eager 232 pages | 30 color/30 b&w illustrations | 8 × 10 | 2016 Bacchus, the fairest among isbn 978-0-271-07103-9 | cloth: $89.95 sh inquiries about people the gods.” who have no calves, or —Franciscus Junius, three eyes, or arms like The Painting of the Ancients weasels, or heads like ” Ostriches.—Plutarch 20 | penn state press 1-800-326-9180 | 21 From Giotto to Botticelli Pieter Bruegel’s Historical The Artistic Patronage of the Humiliati in Imagination Florence Stephanie Porras Julia I. Miller and Laurie Taylor-Mitchell “A thoughtful, intelligent, and learned book. Stepha- “From Giotto to Botticelli presents a comprehensive nie Porras culminates many (lesser but) related study of the Church of the Ognissanti in Florence as studies on Pieter Bruegel with new material and a a way to better understand the ideology and inter- defining argument and provides the most current ests of the Humiliati, a religious order whose art pa- assessment of the painter’s peasant subjects. For tronage has been unjustly neglected. This fascinating Pieter Bruegel’s art historians it will serve as a rich mine of cultural study sheds new light on how the Humiliati shaped From Historical Imagination history, literary history, intellectual history, and art to suit their changing goals as they moved from GIOTTO to even music history about Flemish culture on the poverty and humility to secular pleasures and BOTTICELLI eve of the Dutch Revolt.” The ArTisTic PATronAge wealth. Sumptuously illustrated, thoroughly re- of The humiliATi in florence Julia i. Miller u —Larry Silver, laurie Taylor-MiTchell searched, and well written, this book convinces the University of Pennsylvania reader of the critical importance of an order whose “By situating Bruegel’s work within his culture’s patronage was momentous for the history of art.” Stephanie Porras search for a Flemish ‘vernacular antiquity,’ Stepha- —Diane Wolfthal, Rice University nie Porras gives us a new sense of how history could “From Giotto to Botticelli is a major contribution to be visually conceptualized, manipulated, and de- the history of Florentine churches. Julia Miller and ployed in the mid-sixteenth century and invites us Laurie Taylor-Mitchell’s fascinating book eluci- to see familiar aspects of Bruegel’s work as operating dates how the paintings created for the Humiliati in an important context that has never been fully monks at the Church of the Ognissanti represented explored before. An engaging and important book.” their religious ideals of charity and humility, even —Elizabeth Alice Honig, though their monastic order did not always adhere University of California, Berkeley to its stated convictions, was often plagued by con- troversy, and rarely submitted to reforms.” 216 pages | 34 color/48 b&w illustrations | 8 × 10 | 2016 —Jeryldene M. Wood, isbn 978-0-271-07089-6 | cloth: $79.95 sh University of Illinois at Urbana–Champaign

264 pages | 34 color/47 b&w illus./3 maps | 9 × 10 | 2015 isbn 978-0-271-06503-8 | cloth: $74.95 sh

“the very great achievement of a painter is not a colossus but the HISTORIA; the praise of genius is, in fact, greater in a HISTORIA than in a colossus.”

—Leon Battista Alberti, On Painting

22 | penn state press www.psupress.org | 23 Picturing Space, Displacing Bodies Vision and Its Instruments Anamorphosis in Early Modern Theories Art, Science, and Technology in Early Modern (continued from front flap) Picturing Space, Displacing Bodies

of Perspective Massey Picturing Space, Displacing Bodies Europe important reassessment of the standard view In Picturing Space, Displacing Bodies, Lyle Massey of Renaissance perspective. While many Lyle Massey Edited by Alina Payne argues that we can only learn how and why scholars have maintained that perspective certain kinds of spatial representation rationalized the relationships among optics, New in Paperback prevailed over others by carefully considering “This remarkable collection of essays, gathered space, and painting, Picturing Space, Displacing how Renaissance artists and theorists Bodies asserts instead that Renaissance and early together with an illuminating introduction by Alina “Lyle Massey has done what very few art historians interpreted perspective. Combining detailed modern theorists often revealed a disjunction historical studies with broad theoretical and Payne, ranges from Dante to Alfred Hitchcock, from between geometrical ideals and practical have attempted, which is to develop an expertise philosophical investigations, this book applications. In some cases, they not only challenges basic assumptions about the way Leonardo da Vinci to Marcel Duchamp. Yet, though identified but also exploited these discrepancies. that encompasses the history of science, philosophy, early modern artists and theorists represented This discussion of perspective shows that the the particular focus continually shifts, the central and art, in keeping with the organization of knowl- their relationship to the visible world and how painter’s geometry did not always conform to This is a strong, well-articulated argument for the place of embodiment and bodily experience in they understood these representations. By questions remain the same: What is the relation- the explicitly rational, Cartesian formula that edge during the early modernRenaissance perspective. and Lyle Enlightenment Massey is a very unusual analyzing technical feats such as anamorphosis so many have assumed, nor did it historically scholar, well-informed about phenomenological, Lacanian, and structuralist readings of perspective, (the perspectival distortion of an object to ship between seeing and knowing? Between image unfold according to a standard account of era, while also demonstrating considerable expertise but just as conversant with the history of geometry make it viewable only from a certain angle), scientific development. and its connections to Enlightenment philosophy. and reality? Between art and science? Vision and in contemporary philosophyThis book is a tonic,and just culturalwhat the field needs theory.” to drawing machines, and printed diagrams, restore some balance and help heal the rift between each chapter highlights the moments when lyle massey is assistant professor poststructuralist, psychoanalytic readings, and Its Instruments is an important book for anyone technical, geometric interpretations.—Claire Farago, perspective theorists failed to unite a singular, in the Department of Art History and interested in these questions and in the particular Communication Studies at McGill —james elkinsRenaissance, The Art Institute of Chicago Quarterly ideal viewpoint with the artist’s or viewer’s University in Montreal. She is the editor Anamorphosis in Early Modern Theories of Perspective viewpoint or were unsuccessful at conjoining of The Treatise on Perspectives Published and changes that Renaissance art brought to the repre- fictive and lived space. Unpublished, Studies in the History of Art “This is a strong, well-articulatedThe Pennsylvania State Universityargument Press for the lyle massey Showing how these “failures” were Series, vol. 59 (2003). University Park, Pennsylvania sentation of the visible and invisible world.” place of embodiment and bodily experience in Re- subsequently incorporated rather than rejected Jacket designed by Jane Huschka www.psupress.org by perspective theorists, the book presents an —Stephen Greenblatt, ISBN 978-0-271-02980- 1 naissance perspective.9 0 0 0 0 Lyle Massey is a very unusual penn (continued on back flap) winner of the 2012 Pulitzer Prize state scholar,9 7 8 0 2 7 1 0 2 9 8 0well1 informed about phenomenological, press and 2011 National Book Award for Lacanian, and structuralist readings of perspective, The Swerve: How the World Became Modern but just as conversant with the history of geometry “Alina Payne and the polymath contributors to Vi- and its connections to Enlightenment philosophy. sion and Its Instruments open new perspectives on This book is a tonic, just what the field needs to the art and the science of vision. Artists, botanists, restore some balance and help heal the rift between zoologists, and astronomers mix freely in this post-structuralist, psychoanalytic readings and fascinating history. We learn about prosthetic tech- technical, geometric interpretations.” nologies of sight, about physiognomies shared by —James Elkins, plants and people, and about brushes and fingers The Art Institute of Chicago with brains and libido. Did you know how finger- 192 pages | 43 illustrations | 7 × 10 | 2007 tips can see the shape of color? Or how quincuncial isbn 978-0-271-07212-8 | paper: $34.95 sh and other naturally recurring patterns underpin a natural language of ornament and construction? I didn’t before reading Vision and Its Instruments.” —Philip Sohm, University of Toronto

304 pages | 64 color/39 b&w illustrations | 9 × 10 | 2015 isbn 978-0-271-06389-8 | cloth: $89.95 sh

24 | penn state press 1-800-326-9180 | 25 Piranesi’s Lost Words Framing Majismo Heather Hyde Minor Art and Royal Identity in Eighteenth-Century Spain “Heather Hyde Minor has written an entirely new Tara Zanardi kind of book about Piranesi. Here we can assess Piranesi not primarily as an architect or as an “Through a thorough and cogent analysis of multiple engraver but as a maker of books. Minor gives images of majas and majos by canonical artists from emphasis to Piranesi’s words and how they amplify Goya to Picasso, in fashion catalogs, costumbrista the long-recognized originality of his images. She PIRANESI’S illustrations, and tapestry cartoons, Tara Zanardi also gives us an immediate feeling for Piranesi the lost words traces the cultural phenomenon of majismo among obstinate, sometimes disputatious scholar-artist eighteenth-century Spanish elites, which came to who did not shrink from debate with the socially be associated with ‘true’ Spanish identity into the mighty among his foreign patrons.” twentieth century. Despite attempts to connect to —Alden R. Gordon, Spanish tradition, majismo ultimately projected Trinity College FRAMING MAJISMO ambiguous national, gender, and class identities Art and Royal Identity in Eighteenth-Century Spain that can still be seen in Spain today.” “With scholarly poise and forensic flair, Heather TARA ZANARDI —Elizabeth Franklin Lewis, Hyde Minor restores the corpuscules to Piranesi’s HEATHER HYDE MINOR University of Mary Washington corpo—the body of work extending from Roman Antiquities to Different Ways of Ornamenting Chim- Majismo “[Tara Zanardi’s Framing Majismo] is a work of admi- neys. Piranesi’s Lost Words makes a compelling case rable erudition and complexity, bringing together for understanding this eccentric genius as an artist a broad range of sources—primary and secondary, akin to William Blake, one for whom writing and historical and theoretical. A model of interdisciplin- image-making were closely intertwined.” ary research, Zanardi’s book has implications for —Bruce Redford, eighteenth-century studies more generally—for author of Dilettanti: The Antic and the people interested in monarchy, questions of iden- Antique in Eighteenth-Century England tity, gender studies—and will generate a great deal of additional discussion and research, always the 264 pages | 130 duotone illustrations | 8 × 10 | 2015 sign of a truly important publication. It stands as a isbn 978-0-271-06549-6 | cloth: $79.95 sh defining study for art history of the period.” “A —Melissa Hyde, University of Florida 264 pages | 40 color/35 b&w illustrations | 8 × 10 | 2016 slap isbn 978-0-271-06724-7 | cloth: $94.95 sh from a maja is better than all the sweet flattery of the ladies; the first is a proof of love and the second, sham.” —Ramón de la Cruz, El careo de los majos

26 | penn state press www.psupress.org | 27 The Vienna School of Art History The Nazarenes Empire and the Politics of Scholarship, 1847–1918 Romantic Avant-Garde and the Art of the Concept Matthew Rampley Cordula Grewe

New in Paperback “This beautifully produced and written book provides an overarching history of a misunderstood “Matthew Rampley’s status as one of the foremost and easily pigeonholed group of artists. But Cordu- scholars of the historiography of art is on full display la Grewe goes on to mount an impressive project of in this meticulously researched and detailed account historical understanding that makes the Nazarene of the rise of the first Vienna School of art history. . . . artist group accessible by returning them to the Rampley’s book is a necessary corrective and addition history of art, from which they have been largely to the existing scholarship on the Vienna School.” absent. Grewe challenges the reigning conception —Max Koss, CritCom: of modernity to make room for something modern- A Forum for Research and Commentary on Europe ist critics have been happy to use as a foil.” “Most art historians know a little about the Vienna —David Morgan, Duke University School of art history, and many of them have read “Revisions of modernism seem perpetually in the a couple of essays from that formative period, espe- works these days. But there is perhaps none more cially those by Riegl or Dvořák. Yet none, I wager, has persuasive and stimulating than Cordula Grewe’s ever attempted to envision an entire social and intel- The Nazarenes. An exciting new history of this lectual biography of this complicated and contradicto- nineteenth-century Germanic movement—and a ry culture that spawned the serious beginnings of the rare one in English—the book’s narrative offers a history of art. A learned historiographer to the core, fresh critical take on the Nazarenes’ retrospective Matthew Rampley has accomplished just that feat. vanguard art. Along the way, Grewe convincingly Packed with erudition (not to mention endnotes!), places the Nazarenes at the beginning of a geneal- this hefty text (in more ways than one) serves to ogy of conceptualism in art, arguing for the lasting provide telling episodes from early German-speaking “It will hardly effects of their self-reflective picture theory.” art history across the imperial Habsburg map.” —André Dombrowski, University of Pennsylvania —Michael Ann Holly, Sterling and Francine Clark Art Institute have escaped 400 pages | 74 color/14 b&w illustrations | 9 × 10 | 2015 isbn 978-0-271-06414-7 | cloth: $89.95 sh 296 pages | 18 illustrations | 7 × 10 | 2013 isbn 978-0-271-06159-7 | paper: $39.95 sh the notice of the attentive observer that scholarship is . . . undergoing a crisis.”

—Max Dvořák 28 | penn state press The Journal of Decorative and Rage and Denials Collectivist Philosophy, Politics, and Art Propaganda Arts “Rage and Denials makes a highly innovative contribution to the Rage and d Issue 27: Souvenirs and Objects of Remembrance debate over holism versus individualism. Focusing on German Historiography, 1890–1947

historiography from 1890 to 1947, it documents the outrageous

Edited by Jonathan Mogul and bizarre claims made in the name of collectivism by highly Branko Mitrovic´

respected—and respectable—scholars of the period. by examin- Objects have always been and continue to be carri- CONTINu ED fR O m fR ONT fLAP “Rage and Denials makes a highly innovative contri- ing the logic and pathology of historical explanation, it has deep Rage and denials in Rage and Denials, philosopher and architectural implications for the practice of history and the social sciences enials ers of personal and communal memories. Although the authors’ positions, the intricacies and implica- COLLECTIVIST PHILOSOPHY, POLITICS, AND ART HISTORIOGRAPHY, 1890–1947 bution to the debate over holism versus individual- historian branko mitrovi´c examines in detail the his- tions of their arguments, and the rise and domi- today. it should be on every intelligent academic’s reading list.” the significance of objects for personal and collective ism.toriography Focusing of art and architecture on German in the twentieth historiography from 1890 nance of collectivist art historiography after the —RICHARD W OODf IELD, branko mitrovic´ century, with a focus on the debate between the memory is not in any way a phenomenon of recent 1890s. He centers his study on the key art-historical editor of the Journal of Art Historiography to 1947, it documents the outrageous and bizarre understanding of society as a set of individuals and figures Erwin Panofsky, Ernst Gombrich, and Hans COLLECTIVIST PHILOSOPHY, POLITICS, AND ART HISTORIOGRAPHY, 1890–1947 claimsthe understanding made of individuals in the as mere name manifesta -of collectivism by highly times, objects of remembrance have proliferated Sedlmayr while drawing attention to the writings of “Rage and Denials combines an exhaustive historical survey with tions of the collectives to which they belong. the the less well-known vasiliy Pavlovich Zubov. Rage since the eighteenth century, speaking to a widely philosophical acumen to provide an impassioned statement about respected—and respectable—scholars of the period. conflict betweenthese two views constitutes a core and Denials offers a valuable window onto how the ethics of historiography.” methodological problem of the philosophy of histo- felt desire for tangible markers of both fleeting key aspects of modern research in the humanities By examining the logic and pathology of historical ry and was intensely debated by twentieth-century took shape over the course of the twentieth century. —IAN VERSTEGEN, explanation, it has deep implications for the practice personal experiences and significant public events. University of Pennsylvania art historians—one of the few art-historical debates Over the same period, new production processes ofwith history a wide range and of implications the social for the entire sciences today. It should be field of the humanities. mitrovi ´c presents the most

and technologies and the expansion of national and onsignificant every positions intelligent and arguments in academic’s this dispute reading list.” branko mitrovi´c is Professor at the norwegian Uni- as they were articulated in the art- and architectural- international markets have made such objects more versity of Science and technology. He is the author —Richard Woodfield, historical discourse as well as in the wider context of Philosophy for Architects (2011). widely and cheaply available than ever before. of the historiographyeditor and philosophy of of the history Journalof of Art Historiography

the era. He explores the philosophical content of The ten essays in issue 27 of The Journal of Decora- “Ragescholarship and engaged Denials in these debates, combines examining an exhaustive histori-

isbn 978-0-271-06678-3 cal survey with philosophical acumen to provide tive and Propaganda Arts offer an interdisciplinary T HE PENNSYLVANIA S TATE uNIVERSITY PRESS ISBN 978-0-271-06678-3 CONTINu ED ON b ACk fLAP 90000 uNIVERSITY PARk, PENNS YLVANIA PENN an impassioned statement about the ethics of approach to objects of remembrance during the STATE WWW. PSu PRESS. ORG modern era. The essays address the particular no- 9 780271 066783 PRESS historiography.” —Ian Verstegen, tions and experiences of time that called forth a de- University of Pennsylvania mand for souvenirs, postcards, photograph albums, clothing, and a wide variety of other objects that 256 pages | 6 × 9 | 2015 isbn 978-0-271-06678-3 | cloth: $89.95 sh could serve as devices of memory. They investigate the roles such items played in individual lives and “Take a Kodak with You— larger communities, and the strategies that artists, designers, and manufacturers used to produce objects that could serve these functions. It will perpetuate

232 pages | 185 color illustrations | 10 × 7.25 | 2015 the pleasure of isbn 978-1-930776-19-7 | paper: $44.95 sh Distributed for The Wolfsonian, Florida International University your summer trip” —1891 Kodak advertisement

“A nation is a metaphysical and not a social being.”

Thomas Mann

30 | penn state press What Do Artists Know? Beyond the Aesthetic and the Farewell to Visual Studies Edited by James Elkins Anti-Aesthetic Edited by James Elkins, Gustav Frank, Edited by James Elkins and t h e s t o n e a r t t h e o r y i n s t i t u t e s : v o l u m e f i v e and Sunil Manghani “This book asks one of the most important ques- Harper Montgomery tions in contemporary art, and James Elkins’s way “Farewell to Visual Studies is astonishing and impres- of asking it is idiosyncratic, original, and inclusive. New in Paperback sive. It opens the field to self-critical questions Anyone who is interested in the intelligence of art, about its history, objects, and methods (in contrast Each of the five volumes in the Stone Art Theory -In or in the idea of art as a process of enquiry, will to art history and German Bildwissenschaft). The stitutes series brings together a range of scholars who find this book informative and engrossing. What Do statements of the editors at the beginning, the are not always directly familiar with one another’s Artists Know? is a must for graduate art students, open-minded and self-critical discussion among work. The outcome of each of these convergences is emerging artists, and those faculty who currently the participants in the Chicago seminar, and the an extensive and “unpredictable conversation” on FAREWELL TO think they know all they need to know.” contributions of the experts at the end deliver a knotty and provocative issues about art. This fourth —Timothy Emlyn Jones, deep impression of how such a self-assessment may volume in the series focuses on questions revolving VISUAL STUDIES Dean of the Burren College of Art, Ireland lead to new shores.” —Martina Sauer, around the concepts of the aesthetic, the anti- Deutsche Gesellschaft für Semiotik (DGS) What Do Artists Know? is about the education aesthetic, and the political. The book is about the fact Edited by James Elkins, Gustav Frank, and Sunil Manghani of artists. The MFA degree is notoriously poorly that now, almost thirty years after Hal Foster defined “In looking back at the whole field of visual stud- conceptualized, and now it is giving way to the PhD the anti-aesthetic, there is still no viable alternative ies, the collection offers a lively contribution to in art practice. Meanwhile, conversations on fresh- to the dichotomy between aesthetics and anti- or the history of the inter/trans/in/discipline. It is a man courses in studio art continue to be bogged nonaesthetic art. The impasse is made more difficult wonderful example of how understanding and new down by conflicting agendas. This book is about the by the proliferation of identity politics, and it is made thinking are produced by performing intellectual theories that underwrite art education at all levels, less negotiable by the hegemony of anti-aesthetics clarification and innovation on the page, giving the pertinent history of art education, and the most in academic discourse on art. The central question of readers the sense of mediated participation in the promising current conceptualizations. this book is whether artists and academicians are free Stone Center seminars.” —Jon Simons, of this choice in practice, in pedagogy, and in theory. Indiana University Bloomington 240 pages | 7 × 10 | 2012

t h e s t o n e a r t t h e o r y i n s t i t u t e s : v o l u m e t h r e e

WHAT DO ARTISTS KNOW?

Edited by James Elkins

32 | penn state press 1-800-326-9180 | 33 Gunnar Asplund’s Gothenburg The Dark Side of Genius The Visual Culture of Catholic Mosaics of Faith The Transformation of Public Architecture in The Melancholic Persona in Art, ca. 1500–1700 Enlightenment Floors of Pagans, Jews, Samaritans, Interwar Europe Laurinda S. Dixon Christopher M. S. Johns Christians, and Muslims in the Holy Land Nicholas Adams Rina Talgam 264 pages | 62 color/77 b&w illustrations | 9 × 10 | 2013 440 pages | 56 color/104 b&w illustrations | 9 × 11 | 2014 288 pages | 152 illustrations | 9 × 10 | 2014 isbn 978-0-271-05936-5 | paper: $39.95 sh isbn 978-0-271-06208-2 | cloth: $89.95 sh 600 pages | 360 color/144 b&w illustrations | 9 × 11 | 2014 isbn 978-0-271-05984-6 | cloth: $64.95 sh isbn 978-0-271-06084-2 | cloth: $129.95 sh Buildings, Landscapes, and Societies Series Portraiture and Politics in The Bernward Gospels Co-published with the Yad Ben-Zvi Institute Revolutionary France Art, Memory, and the Episcopate in Medieval Jewish Artists and the Bible in Amy Freund Germany The Politics of the Provisional Twentieth-Century America Art and Ephemera in Revolutionary France 312 pages | 43 color/58 b&w illustrations | 9 × 10 | 2014 Jennifer P. Kingsley Samantha Baskind Richard Taws isbn 978-0-271-06194-8 | cloth: $84.95 sh 228 pages | 18 color/34 b&w illustrations | 8 × 10 | 2014 260 pages | 45 color/78 b&w illustrations | 8 × 10 | 2014 isbn 978-0-271-06079-8 | cloth: $79.95 sh 288 pages | 24 color/66 b&w illustrations | 9 × 10 | 2013 isbn 978-0-271-05983-9 | cloth: $39.95 sh Critical Shift isbn 978-0-271-05419-3 | paper: $35.95 sh Rereading Jarves, Cook, Stillman, and the Gorgeous Beasts Art and the Religious Image in Narratives of Nineteenth-Century American Art Animal Bodies in Historical Perspective Architecture and Statecraft Charles of Bourbon’s Naples, 1734–1759 El Greco’s Italy Karen L. Georgi Edited by Joan B. Landes, Paula Young Lee, Robin L. Thomas Andrew R. Casper 152 pages | 8 illustrations | 6 × 9 | 2013 and Paul Youngquist 236 pages | 34 color/50 b&w illustrations | 8 × 10 | 2014 isbn 978-0-271-06067-5 | paper: $34.95 sh 258 pages | 12 color/38 b&w illustrations | 7 × 9 | 2012 248 pages | 120 illustrations | 9 × 10 | 2013 isbn 978-0-271-06054-5 | cloth: $79.95 sh isbn 978-0-271-05402-5 | paper: $29.95 sh isbn 978-0-271-05639-5 | cloth: $89.95 sh In Michelangelo’s Mirror Animalibus: Of Animals and Cultures Buildings, Landscapes, and Societies Series Critical Perspectives on Roman Perino del Vaga, Daniele da Volterra, Baroque Sculpture Pellegrino Tibaldi Picturing Dogs, Seeing Ourselves Grand Themes Emanuel Leutze, Washington Crossing the Edited by Anthony Colantuono Morten Steen Hansen Vintage American Photographs Delaware, and American History Painting and Steven F. Ostrow 236 pages | 42 color/109 b&w illustrations | 9 × 10 | 2013 Ann-Janine Morey Jochen Wierich 288 pages | 110 illustrations | 9 × 10 | 2014 isbn 978-0-271-05640-1 | cloth: $94.95 sh 248 pages | 123 illustrations | 8 × 9 | 2014 240 pages | 50 illustrations | 6 × 9 | 2011 isbn 978-0-271-06172-6 | cloth: $84.95 sh isbn 978-0-271-06331-7 | cloth: $34.95 sh Manuscripta Illuminata Animalibus: Of Animals and Cultures isbn 978-0-271-05033-1 | paper: $34.95 sh A Sisterhood of Sculptors Approaches to Understanding Medieval and American Artists in Nineteenth-Century Rome Renaissance Manuscripts Picturing Experience in the Early Melissa Dabakis Edited by Colum Hourihane Printed Book Breydenbach’s Peregrinatio from Venice to 286 pages | 168 color/10 b&w illustrations | 8.5 × 11 | 2014 304 pages | 100 illustrations/3 maps | 9 × 10 | 2014 Jerusalem isbn 978-0-271-06220-4 | paper: $29.95 sh isbn 978-0-9837537-3-5 | paper: $35.00 sh This project is made possible through support from the The Index of Christian Art: Occasional Papers Series Elizabeth Ross Terra Foundation for American Art Distributed by Penn State University Press for 256 pages + gatefold | 27 color/84 b&w illus. | 9 × 10 | 2014 The Index of Christian Art, Princeton University isbn 978-0-271-06122-1 | cloth: $79.95 sh selected backlist

34 | penn state press www.psupress.org | 35 art16

Adams, Nicholas ...... 34 Manghani, Sunil ...... 33 Personal Information Affron, Matthew ...... 6 Manuscripta Illuminata ...... 34 Architecture and Statecraft ...... 35 A Market for Merchant Princes ...... 17 Art, Ritual, and Civic Identity in Medieval Southern Italy ...... 14 Marquardt, Janet T...... 10 Name Art and the Religious Image in El Greco’s Italy ...... 34 Massey, Lyle ...... 24 Baskind, Samantha ...... 34 Miller, Julia I...... 22 Bear, Jordan ...... 3 Milroy, Elizabeth ...... 9 Address The Bernward Gospels ...... 35 Minor, Heather Hyde ...... 26 Beyond the Aesthetic and the Anti-Aesthetic ...... 32 Mitrović, Branko ...... 31 City/State/Zip Bidwell, John ...... 1 Modernism and Its Merchandise ...... 4 Burstein, Jessica ...... 4 Mogul, Jonathan ...... 30 Caetano, Joaquim Oliveira ...... 19 Montgomery, Harper ...... 32 Telephone Casper, Andrew R...... 34 Morey, Ann-Janine ...... 35 Chai, Jean Julia ...... 18 Mosaics of Faith ...... 35 Colantuono, Anthony ...... 34 The Nazarenes ...... 29 Payment method: check/money order (payable to Penn State University) VISA MasterCard American Express Discover Cold Modernism ...... 4 Nickson, Tom ...... 11 Critical Perspectives on Roman Baroque Sculpture ...... 34 On Antique Painting ...... 19 Account Number Exp. Date Critical Shift ...... 34 Ostrow, Steven F...... 34 The Curatorial Avant-Garde ...... 5 Painting as Medicine in Early Modern Rome ...... 20 Dabakis, Melissa ...... 34 Painting the Hortus deliciarum ...... 15 Signature The Dark Side of Genius ...... 34 Payne, Alina ...... 25 D’Elia, Una Roman ...... 21 Pentcheva, Bissera V...... 12 Disillusioned ...... 3 The Photography of Crisis ...... 2 QTY ISBN AUTHOR/TITLE PRICE Dixon, Laurinda S...... 34 Picturing Dogs, Seeing Ourselves ...... 35 Elkins, James ...... 32, 33 Picturing Experience in the Early Printed Book ...... 35 Farewell to Visual Studies ...... 33 Picturing Space, Displacing Bodies ...... 24 Framing Majismo ...... 27 Pieter Bruegel’s Historical Imagination ...... 23 Frank, Gustav ...... 33 Piranesi’s Lost Words ...... 26 Freund, Amy ...... 34 The Politics of the Provisional ...... 35 From Giotto to Botticelli ...... 22 Porras, Stephanie ...... 23 Gage, Frances ...... 20 Portraiture and Politics in Revolutionary France ...... 34 Georgi, Karen L...... 34 Potocki, Ignacy ...... 8 Gertsman, Elina ...... 13 Quodbach, Esmée ...... 16 Gorgeous Beasts ...... 35 Rage and Denials ...... 31 Grand Themes ...... 35 Ramond, Sylvie ...... 6 Graphic Passion ...... 1 Rampley, Matthew ...... 28 Grewe, Cordula ...... 29 Raphael’s Ostrich ...... 21 The Grid and the River ...... 9 Reist, Inge ...... 17 Guile, Carolyn C...... 8 Remarks on Architecture ...... 8 SUBTOTAL Gunnar Asplund’s Gothenburg ...... 34 Ross, Elizabeth ...... 35 Hansen, Morten Steen ...... 34 A Sisterhood of Sculptors ...... 34 LESS 20% DISCOUNT (art16) Higginbotham, Carmenita ...... 7 Stapleford, Richard ...... 18 Return form with payment to: SHIPPING & HANDLING* Highfill, Juli ...... 4 Talgam, Rina ...... 35 Penn State University Press Hollanda, Francisco de ...... 19 Taws, Richard ...... 35 820 N. University Drive, USB 1, Suite C PA RESIDENTS, 6% SALES TAX; CANADIANS, 5% GST Holland’s Golden Age in America ...... 16 Taylor-Mitchell, Laurie ...... 22 University Park, PA 16802-1003 Hope, Charles ...... 19 Thomas, Robin L...... 35 TOTAL Toll Free Order: (800) 326-9180 Hourihane, Colum ...... 34 Toledo Cathedral ...... 11 Icons and Power ...... 12 The Urban Scene ...... 7 Toll Free Fax: (877) 778-2665 Idea of the Temple of Painting ...... 18 The Vienna School of Art History ...... 28 In Michelangelo’s Mirror ...... 34 Vision and Its Instruments ...... 25 *SHIPPING: Jewish Artists and the Bible in Twentieth-Century America ...... 34 The Visual Culture of Catholic Enlightenment ...... 35 U.S.: $8.00 for first book, $4.00 each additional Johns, Christopher M. S...... 35 What Do Artists Know? ...... 32 Canada: $12.00 for first book, $6.00 each additional Jolles, Adam ...... 5 Wierich, Jochen ...... 35 Outside U.S. or Canada: $20.00 for first book, $5.00 each additional Joseph Cornell and Surrealism ...... 6 Wohl, Alice Sedgwick ...... 19 The Journal of Decorative and Propaganda Arts ...... 30 Wohl, Hellmut ...... 19 Individuals: We encourage ordering through your local bookstore. Payment must accompany direct orders. Joyner, Danielle B...... 15 Worlds Within ...... 13 Kingsley, Jennifer P...... 35 Youngquist, Paul ...... 35 Libraries: Please attach your purchase order. Landes, Joan B...... 35 Zanardi, Tara ...... 27 Retailers: Please contact Kathleen Scholz-Jaffe, Sales Manager, 814-867-2224, [email protected]. Lee, Paula Young ...... 35 Zchomelidse, Nino ...... 14 Lomazzo, Giovan Paolo ...... 18 Zodiaque ...... 10 Lorenzo de’ Medici at Home ...... 18 Magilow, Daniel H...... 2 index order form

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