DOCSLIB.ORG

Writing New Worlds

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Writing New Worlds Writing New Worlds Writing New Worlds: The Cultural Dynamics of Curiosity in Early Modern Europe By Marília dos Santos Lopes Writing New Worlds: The Cultural Dynamics of Curiosity in Early Modern Europe By Marília dos Santos Lopes Translation from the Portuguese (except for articles 11, 13 and 14): Kevin Rose This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Marília dos Santos Lopes All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9030-8 ISBN (13): 978-1-4438-9030-4 With the support of the Research Centre for Communication and Culture (CECC), financed by the Fundação para a Ciência e a Tecnologia (FCT), Portugal under the reference UID/ELT/00126/2013 CONTENTS List of Figures........................................................................................... viii Introduction ................................................................................................ xi The Cultural Dynamics of Curiosity in Early Modern Europe I Collecting News Chapter One ................................................................................................. 2 Alvise Cadamosto and the Discovery of a New World Chapter Two ................................................................................................ 9 Hans Staden: The “True History” of a 16th Century Voyage to Brazil Chapter Three ............................................................................................ 17 Between Forced Settledness and Expulsion: The Situation of the Khoikhoi in the Cape Colony Chapter Four .............................................................................................. 35 Otto Friedrich von der Groeben: A Voyage across the Atlantic on behalf of Brandenburg Chapter Five .............................................................................................. 52 The Non-travelling Voyager: Gomes Eanes de Zurara Chapter Six ................................................................................................ 63 “We saw today marvellous things”: Valentim Fernandes and the Portuguese Discoveries Chapter Seven ............................................................................................ 74 (Re)Discovering the World in Books, Magazines and Newspapers: Hamburg and the News from Overseas (1650-1700) vi Contents II Voyages, the Visual and the Arts Chapter Eight ............................................................................................. 82 The Maritime Voyages and the Art of Images Chapter Nine ............................................................................................ 100 Turquerie in the Iconography of the 16th Century Chapter Ten ............................................................................................. 109 The Portuguese in Christoph Weiditz’s Trachtenbuch Chapter Eleven ........................................................................................ 115 The Voyager as a Scholar: Amerigo Vespucci in Early Modern Graphical Representation Chapter Twelve ....................................................................................... 131 Seeing, Hearing, Speaking: Early Modern Representations of Missionaries Chapter Thirteen ...................................................................................... 145 Peregrinação by Fernão Mendes Pinto: A Source of Knowledge Chapter Fourteen ..................................................................................... 157 Writing New Worlds: Eberhard Werner Happel and the Invention of a Genre III Travel, Experience and Knowledge Chapter Fifteen ........................................................................................ 166 Translation and Imagination: ‘The Calicut People’ within the Context of 16th Century Cosmographies Chapter Sixteen ....................................................................................... 178 Building Knowledge: Sebastian Münster and his Cosmography Chapter Seventeen ................................................................................... 195 Mapping Goa: Spaces and Scenarios in Representing the Oriental World Chapter Eighteen ..................................................................................... 212 The Plant Revelation: Garcia da Orta, Carolus Clusius and Asian Species in Europe Writing New Worlds vii Chapter Nineteen ..................................................................................... 236 “To the smell of this cinnamon”: Notes on the History of a Rare Spice Chapter Twenty ....................................................................................... 249 On How the “Savage” became Ever More Savage: Perspectives on Africa in Early Modern Europe Editorial Note .......................................................................................... 261 Bibliography ............................................................................................ 264 LIST OF FIGURES Cover Johann Stradanus: Nova reperta, (New inventions and discoveries of modern times), The Invention of the Compass, plate 2, ca. 1530– 1581 Fig. 1 Johannes Vermeer: The Geographer, c. 1668–1669; Städel, Frankfurt/M. Fig. 2 Newe unbekanthe landte, 1508; HAB Wolfenbüttel Fig. 3, 4, 5, 6 Otto Friedrich von der Groeben: Guinesische Reise=Beschreibung, 1694 Fig. 7 Theodor de Bry: Ander Theil der Orientalische Indien, Frankfurt/M., 1598; Staatsbibliothek Bamberg Fig. 8 Johan Nieuhof: Die Gesantschaft der Ost=Indischen Geselschaft, Amsterdam, 1669; Staatsbibliothek Bamberg Fig. 9 Johan Nieuhof: Gedenkwürdige Brasilianense Zee- en Landt-Reize, Amsterdam, 1684; Staatsbibliothek Bamberg Fig. 10 Hans Leonhard Schäufelein, The wild man, ca. 1530; Kupferstichkabinett, Staatliche Museen zu Berlin, Preußischer Kulturbesitz Fig. 11 Theodor de Bry: Wunderbarliche doch Wahrhafftige Erklärung der Gelegenheit und Sitten der Wilden in Virginia..., Frankfurt/M., 1600; Staatsbibliothek Bamberg Fig. 12 Johan Nieuhof: Die Gesantschaft der Ost=Indischen Geselschaft, Amsterdam, 1669; Staatsbibliothek Bamberg Fig. 13 Theodor de Bry: Dritte Buch Americae (Hans Staden), Frankfurt/M., 1593; Staatsbibliothek Bamberg Fig. 14 Olfert Dapper: Umbständliche und eigentliche Beschreibung von Africa, Amsterdam, 1670; Staatsbibliothek Bamberg Fig. 15 Levin Hulsius: Kurtze Wunderbare Beschreibung. Deß Goldreichen Königsreichs Guianae in America..., Nürnberg 1603; Staatsbibliothek Bamberg Fig. 16 Johann Ludwig Gottfried: Neue Archontologia Cosmica, Frankfurt/M., 1646; Staatsbibliothek Bamberg Fig. 17 Ludovico di Varthema: Die ritterliche vnd lobwirdig rayss..., Augsburg, 1515; Staatsbibliothek Bamberg Fig. 18 Albrecht Dürer: Book of Hours Maximilian I, 1515; Bayerische Staatsbibliothek München Writing New Worlds ix Fig. 19 Albrecht Dürer: Katherina, 1521 Fig. 20 Albrecht Dürer: Oriental knight, 1494 Fig. 21 Albrecht Dürer: Turkish Emperor, 1523 Fig. 22 Jobst Amman: 12 Men with turbans, ca. 1600 Fig. 23 Jost Amman: The four continents, 1577; Kupferstichkabinett Kunstsammlungen Veste Coburg Fig. 24 Melchior Lorch: Sultan Soliman, 1574 Fig. 25 Francisco Álvares: Die reis zu des christlichen Königs im hohen Ethiopien..., Frankfurt/M., 1581; Staatsbibliothek Bamberg Fig. 26 Christoph Weiditz: Trachtenbuch, ca. 1530; Germanisches Nationalmuseum Nürnberg Fig. 27 Amerigo Vespucci, De ora antarctica per regem Portugallie pridem inuenta, Strasburg, 1505 Fig. 28 Matthias Ringmann and Martin Waldseemüller, Mappa mundi, St Dié, 1507 Fig. 29 Francazano Montalbodo, Paesi Novamente retrovati per la Navigatione di Spagna in Calicut, Venezia, 1501 Fig. 30 Amerigo Vespucci, Von der new gefunden Region so wol ein welt genenpt mag werden, durch den Cristenlichen Künig von Portugal, wunderbarlich erfunden, Nürnberg, 1506 Fig. 31 Amerigo Vespucci, Das sind die new gefunde[n] mensche[n] od[er] volcker Jn form vn[d] gestalt Als sie hie stend durch de[n] Cristenlichen Künig von Portugall/ gar wunnderbarlich erfunden, Leipzig, 1505 Fig. 32 Johann Stradanus, America retectio, 1589 Fig. 33 Johann Stradanus, Americus Vespuccius Florentinus portentosa navigatione, c. 1599-1603 Fig. 34 Theodore Galle / Johann Stradanus, America, c. 1599–1603 Fig. 35 Johann Stradanus, Nova reperta, (New inventions and discoveries of modern times), c. 1599-1603 Fig. 36 Johann Stradanus, Nova reperta, (New inventions and discoveries of modern times), c. 1599-1603 Fig. 37 Arnold Montanus, De Nieuwe en Onbekende Weereld..., Amsterdam, 1671 Fig. 38 Martin Waldseemüller: Carta Marina Navigatoria Portugallen..., 1516; Bayerische Staatsbibliothek München Fig. 39, 40 Honorius Philoponus, Nova typis transacta navigatio, s.l. 1621; Staatsbibliothek Bamberg Fig. 41, 42 Cornelius Hazart: Kirchen=Geschichte..., Wien, 1678; Staatsbibliothek Bamberg x List of Figures Fig. 43 Dionisius Carli, Der nach überbrachte Mohr oder curieuse und warhaffte Erzehlung und Beschreibung aller Curiositäten und Denckwürdigkeiten... Augsburg, 1692; Staatsbibliothek Bamberg Fig. 44 Simão de Vasconcellos: Vida do venerável Padre Ioseph de Anchieta, Lisboa 1672, BNP Fig. 45 André de Barros: Vida do apostólico Padre António Vieyra…, Lisboa 1746, BNP Fig. 46 Jan Sadeler: Four continents
Load more

Recommended publications
  • Redalyc.Blackness and Heathenism. Color, Theology, and Race in The
    Anuario Colombiano de Historia Social y de la Cultura ISSN: 0120-2456 [email protected] Universidad Nacional de Colombia Colombia MARCOCCI, GIUSEPPE Blackness and Heathenism. Color, Theology, and Race in the Portuguese World, c. 1450- 1600 Anuario Colombiano de Historia Social y de la Cultura, vol. 43, núm. 2, julio-diciembre, 2016, pp. 33-57 Universidad Nacional de Colombia Bogotá, Colombia Available in: http://www.redalyc.org/articulo.oa?id=127146460002 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Blackness and Heathenism. Color, Theology, and Race in the Portuguese World, c. 1450-1600 doi: 10.15446/achsc.v43n2.59068 Negrura y gentilidad. Color, teología y raza en el mundo portugués, c. 1450-1600 Negrura e gentilidade. Cor, teologia e raça no mundo português, c. 1450-1600 giuseppe marcocci* Università della Tuscia Viterbo, Italia * [email protected] Artículo de investigación Recepción: 25 de febrero del 2016. Aprobación: 30 de marzo del 2016. Cómo citar este artículo Giuseppe Marcocci, “Blackness and Heathenism. Color, Theology, and Race in the Portuguese World, c. 1450-1600”, Anuario Colombiano de Historia Social y de la Cultura 43.2: 33-57. achsc * Vol. 43 N.° 2, jul. - dic. 2016 * issN 0120-2456 (impreso) - 2256-5647 (eN líNea) * colombia * págs. 33-58 giuseppe marcocci [34] abstract The coexistence of a process of hierarchy and discrimination among human groups alongside dynamics of cultural and social hybridization in the Portuguese world in the early modern age has led to an intense historiographical debate.
    [Show full text]
  • American Settings for François De Belleforest's Tragic Histories
    Framing the Early Modern French Best Seller: American Settings for François de Belleforest’sTragicHistories HERVÉ-THOMAS CAMPANGNE, University of Maryland, College Park This article shows how François de Belleforest (1530–83) adapted a variety of historical and geo- graphical sources to meet the demands of the histoire tragique genre in composing three narratives set in the Americas. One recounts the destiny of conquistador Francisco Pizarro; another is the story of Marguerite de Roberval, who was allegedly marooned on a Canadian island; the third concerns Taino cacique Enriquillo’s heroic rebellion in 1520s Hispaniola. These narratives fostered a tragic im- age of the Americas that had a considerable influence on early modern readers, inviting them to ponder essential questions about European encounters with the American continent and its inhabitants. INTRODUCTION IN THE PRELIMINARY epistle to his famous anthology of Histoires tragiques (Tragic histories, 1559), a compilation of six narratives borrowed from Matteo Bandello’s (ca. 1485–1561) Novelle (1554), French author Pierre Boaistuau (1517–66) thanked his collaborator François de Belleforest (1530–83) for his work on a translation that “would probably not have been published without his help.”1 Boaistuau also announced the imminent publication of Belleforest’s Continuation des Histoires tragiques (1559),2 which would mark the beginning of one of the most successful literary collections in late sixteenth-century France and Europe. Between 1559 and 1582, Belleforest published five volumes of histoires tragiques,compris- ing ninety-eight stories of passion, murder, and revenge that were reissued sev- eral times by printers in Paris, Lyon, Rouen, and Torino. These early modern best I would like to thank those who helped me improve this article, especially the two anonymous read- ers at RQ, and my University of Maryland colleague Lauretta Clough.
    [Show full text]
  • FROM the PORTOLAN CHART to the LATITUDE CHART the Silent Cartographic Revolution
    FROM THE PORTOLAN CHART TO THE LATITUDE CHART The silent cartographic revolution by Joaquim Alves Gaspar Centro Interuniversitário de História das Ciências e da Tecnologia Pólo Universidade de Lisboa faculdade de Ciências Campo Grande 1759-016 Lisboa Portugal [email protected] This paper explains how, following the introduction of astronomical navigation, the transition between the por - tolan-type chart of the mediterranean and the latitude chart of the Atlantic was facilitated by the small values of the magnetic declination occurring in western Europe during the Renaissance. The results of two prelimi - nary cartometric studies of a sample of charts of the sixteenth century are presented, focused on the latitude accuracy in the representation of northern Europe and on the evolution of the longitudinal width of the mediterranean and Africa. Cet article explique comment, après l’apparition de la navigation astronomique, la transition entre la carte- portulan caractéristique de la méditerranée et la carte avec latitude de l’océan Atlantique a été facilitée par la faiblesse de la déclinaison magnétique en Europe occidentale, à la Renaissance. Les résultats de deux études cartographiques antérieures sont appliqués à un échantillon de cartes du XVI e siècle, en centrant le propos sur la précision des latitudes des pays de l’Europe de nord et sur l’étendue longitudinale de la méditerranée et de l’Afrique. 1 Introduction respect: that it was much easier to go than to come back, due to the action of those same elements. In 1434, after thirteen years during which there were several frustrated attempts involving various At the time Cape Bojador was first rounded by the pilots in the service of Prince Henry of Portugal, Gil Portuguese, the ships used in the voyages of explo - Eanes finally succeeded in rounding Cape Bojador.
    [Show full text]
  • Women in Vermeer's Home Mimesis and Ideation
    Women in Vermeer's home Mimesis and ideation H. Perry Chapman Johannes Vermeer (1632-1675) is widely regarded as a definer of the Dutch detail domestic interior at its height in the 1660s. Vet comparison ofhis oeuvre to Johannes Vermeer, The art ofpainting, those of his contemporaries Pieter de Hooch (1629-1684), Jan Steen (1626­ c. 1666-1667, oi! on canvas, 120 x 100 cm. Kunsthistorisches Museum, Vienna 1679), Gabriel Metsu (1629-1669), Nicolaes Maes (1634-1693), and others, (photo: museum). reveals that his pictures of home life are unusual in their omission ofwhat were quickly becoming stock features of the imagery of domesticity. The domestic ideal that flourished in the art ofmid-seventeenth century Holland entailed preparation for marriage, homemaking, housewifery, nurturing, and the virtues of family life, values that were celebrated, too, in popular household manuals ofwhich Jacob Cats' Houwelyck is the best known. 1 But Vermeer painted no families, the stock and trade ofJan Steen, master ofboth the dissolute household (fig. 11) and the harmonious, pious family saying grace. 2 Nor did he paint mothers tending to children in the absence of fathers, a popular theme that increasingly cast the home and child rearing as mothers' moral domain, which was the subject ofsome ofthe most engaging pictures by Pieter de Hooch, his Delft contemporary (see fig. 17).3 For that matter, with two small and somewhat anonymous exceptions (see fig. I), Vermeer painted no children, which is noteworthy not so much for its con­ trast with his own full household but because it shows him going against a pictorial grain ofendearing sentimentality.4 Also unusual in Vermeer's image of domesticity is the absence of essential furnishings and accoutrements of home life.
    [Show full text]
  • Arts, Propaganda and Politics in Contemporary Africa
    Wageningen University - Department of Social Sciences MSc. Thesis Chair Group: Rural and Environmental History (RHI) Arts, Propaganda and Politics in Contemporary Africa: The role of Music and Musicians in Entrenching Dictatorship in The Gambia during the Jammeh’s Regime (1994-2016) October, 2020 Abdoulie Sawo 911020728020 MSc. International Development Studies Specialization: Politics and Governance of Development Supervisor: Prof. Dr. EHP Frankema Second reader: Dr. Michiel de Haas Thesis code: RHI-80436 Abstract The art of music permeates many aspects of human societies including the politics and governance arena. One of the most important aspects of music in politics is that it serves as a popular means to express societal issues and communicate political messages. Musicians use the art to produce political songs praising or opposing political authorities or political climate. A number of political songs involve propaganda geared toward propagating and entrenching political rulers thus placing music and musicians at the core of politics and governance systems of our societies. The influence of music makes numerous African politicians including dictators use the domain for their political objectives. This thesis explores how musicians help in building and entrenching dictators by using the regime of Yahya Jammeh in The Gambia (1994 to 2016) as a case. This research relies on related scholarly works and in-depth semi-structured interviews with eleven respondents (six influential musicians, two DJs (TV/radio presenters) and three top (former) government officials) as primary sources of data. Five political hit songs were also selected and analyzed to understand the discourses they propagated. The interview results and propaganda song lyrics praising Jammeh are analyzed using Maarten Hajer‟s (2006) discourse analysis.
    [Show full text]
  • Knowing and Decorating the World Illustrations and Textual Descriptions in the Maps of the Fourth Edition of the Mercator-Hondius Atlas (1613)
    OTTO LATVA AND JOHANNA SKURNIK Knowing and decorating the world Illustrations and textual descriptions in the maps of the fourth edition of the Mercator-Hondius Atlas (1613) his article analyses the Mercator-Hondius Atlas depicted on the maps authored by Mercator and maps in the context of constructing knowl- Hondius. We investigate the illustrations and textual Tedge of the world. In what follows, we analyse descriptions Mercator and Hondius used to represent the elem ents of continental geographies and ocean the world and its regions. These two men each applied spaces on the maps presented in the atlas. We take as very different principles when preparing maps: our starting point the tension between empirical and Mercator considered himself to be a scholar aiming theoretical knowledge and examine the changes occur- to produce the most accurate maps and emphasizing ring in the ways of representing land and sea on atlas their informative content. Hondius, however, evolved maps which are evident in the Mercator-Hondius Atlas. from an engraver to a publisher of atlases and globes, Consequently, we investigate how the world was rep- turning them into a profitable business (van der resented through information in pictorial and textual Krogt 1997: 35; Zuber 2011: 516). We argue that the form. We argue that the maps in the Mercator-Hondius maps in the Mercator-Hondius Atlas can be read as a Atlas make explicit not only the multiple carto­­graphical demonstration of the layered nature of the atlas as an trad itions and the layered nature of atlases as artefacts. epistemological artefact. They also exemplify the various coexisting functions of The principles and practices employed by dif- the atlas.
    [Show full text]
  • From the Old Ages to Mercator
    14 The World Image in Maps – From the Old Ages to Mercator Mirjanka Lechthaler Institute of Geoinformation and Cartography Vienna University of Technology, Austria Abstract Studying the Australian aborigines’ ‘dreamtime’ maps or engravings from Dutch cartographers of the 16 th century, one can lose oneself in their beauty. Casually, cartography is a kind of art. Visualization techniques, precision and compliance with reality are of main interest. The centuries of great expeditions led to today’s view and mapping of the world. This chapter gives an overview on the milestones in the history of cartography, from the old ages to Mercator’s map collections. Each map presented is a work of art, which acts as a substitute for its era, allowing us to re-live the circumstances at that time. 14.1 Introduction Long before people were able to write, maps have been used to visualise reality or fantasy. Their content in \ uenced how people saw the world. From studying maps conclusions can be drawn about how visualized regions are experienced, imagined, or meant to be perceived. Often this is in \ uenced by social and political objectives. Cartography is an essential instrument in mapping and therefore preserving cultural heritage. Map contents are expressed by means of graphical language. Only techniques changed – from cuneiform writing to modern digital techniques. From the begin- nings of cartography until now, this language remained similar: clearly perceptible graphics that represented real world objects. The chapter features the brief and concise history of the appearance and develop- ment of topographic representations from Mercator’s time (1512–1594), which was an important period for the development of cartography.
    [Show full text]
  • Venice and the New Oikoumene: Cartography in the 15Th Century
    Venice and the new Oikoumene: Cartography in the 15th century Venedig, Oct 8–09, 2013 Report by: Lena Thiel, Universität Kassel, Mittelalterliche Geschichte On October 8 and 9, 2013, an international, interdisciplinary conference funded by the Fritz Thyssen Foundation was held at the Marciana National Library (BNM) and the German study cen- ter in Venice (DSZV). The organizers, INGRID BAUMGÄRTNER (Kassel) and PIERO FALCHETTA (Venice), as well as the director of the BNM, MAURIZIO MESSINA (Venice), emphasized as the conference's central concern the transformation of geographic and cartographic paradigms that Ptolemy's work provoked in the Latin West from the early 15th century on. Venice harbored at the time most diverse cultural phenomena that came to be of great importance for Renaissance art and thought. According to Baumgärtner, the cartography of this period interlinked multiple compe- tences, proficiencies, traditions, and orientations. Only through an analysis of those factors is it possible to appreciate the impact of Ptolemy's Geographia as the actual catalyst of major changes during the 15th and early 16th centuries. The conference's first section dealt with maps as well as with text-based concepts of space. After an introduction by GHERARDO ORTALLI (Venice), LAURA FEDERZONI (Bologna) discussed manuscripts and prints of Ptolemy's Geographia from the 15th and 16th centuries. She examined the interplay between the rediscovery and translation of the text and the flourishing of geography as a humanistic science. Next ANGELO CATTANEO (Lisbon) presented his research on a little-- known, and so far unexplored geographical compilation preserved in an anonymous 15th-century-- manuscript of the BNM, MS It.
    [Show full text]
  • Authorship, Availability and Validity of Fish Names Described By
    ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Stuttgarter Beiträge Naturkunde Serie A [Biologie] Jahr/Year: 2008 Band/Volume: NS_1_A Autor(en)/Author(s): Fricke Ronald Artikel/Article: Authorship, availability and validity of fish names described by Peter (Pehr) Simon ForssSSkål and Johann ChrisStian FabricCiusS in the ‘Descriptiones animaliumÂ’ by CarsSten Nniebuhr in 1775 (Pisces) 1-76 Stuttgarter Beiträge zur Naturkunde A, Neue Serie 1: 1–76; Stuttgart, 30.IV.2008. 1 Authorship, availability and validity of fish names described by PETER (PEHR ) SIMON FOR ss KÅL and JOHANN CHRI S TIAN FABRI C IU S in the ‘Descriptiones animalium’ by CAR S TEN NIEBUHR in 1775 (Pisces) RONALD FRI C KE Abstract The work of PETER (PEHR ) SIMON FOR ss KÅL , which has greatly influenced Mediterranean, African and Indo-Pa- cific ichthyology, has been published posthumously by CAR S TEN NIEBUHR in 1775. FOR ss KÅL left small sheets with manuscript descriptions and names of various fish taxa, which were later compiled and edited by JOHANN CHRI S TIAN FABRI C IU S . Authorship, availability and validity of the fish names published by NIEBUHR (1775a) are examined and discussed in the present paper. Several subsequent authors used FOR ss KÅL ’s fish descriptions to interpret, redescribe or rename fish species. These include BROU ss ONET (1782), BONNATERRE (1788), GMELIN (1789), WALBAUM (1792), LA C E P ÈDE (1798–1803), BLO C H & SC HNEIDER (1801), GEO ff ROY SAINT -HILAIRE (1809, 1827), CUVIER (1819), RÜ pp ELL (1828–1830, 1835–1838), CUVIER & VALEN C IENNE S (1835), BLEEKER (1862), and KLUNZIN G ER (1871).
    [Show full text]
  • African Art at the Portuguese Court, C. 1450-1521
    African Art at the Portuguese Court, c. 1450-1521 By Mario Pereira A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History of Art and Architecture at Brown University Providence, Rhode Island May 2010 © Copyright 2010 by Mario Pereira VITA Mario Pereira was born in Boston, Massachusetts in 1973. He received a B.A. in Art History from Oberlin College in 1996 and a M.A. in Art History from the University of Chicago in 1997. His master’s thesis, “The Accademia degli Oziosi: Spanish Power and Neapolitan Culture in Southern Italy, c. 1600-50,” was written under the supervision of Ingrid D. Rowland and Thomas Cummins. Before coming to Brown, Mario worked as a free-lance editor for La Rivista dei Libri and served on the editorial staff of the New York Review of Books. He also worked on the curatorial staff of the Isabella Stewart Gardner Museum where he translated the exhibition catalogue Raphael, Cellini and a Renaissance Banker: The Patronage of Bindo Altoviti (Milan: Electa, 2003) and curated the exhibition Off the Wall: New Perspectives on Early Italian Art in the Gardner Museum (2004). While at Brown, Mario has received financial support from the Graduate School, the Department of History of Art and Architecture, and the Program in Renaissance and Early Modern Studies. From 2005-2006, he worked in the Department of Prints, Drawings and Photographs at the Museum of Art, Rhode Island School of Design. In 2007-2008, he received the J. M. Stuart Fellowship from the John Carter Brown Library and was the recipient of an Andrew W.
    [Show full text]
  • Magmatic Evolution of the Cadamosto Seamount, Cape Verde: Beyond the Spatial Extent of EM1
    Contrib Mineral Petrol (2012) 163:949–965 DOI 10.1007/s00410-011-0708-2 ORIGINAL PAPER Magmatic evolution of the Cadamosto Seamount, Cape Verde: beyond the spatial extent of EM1 A. K. Barker • V. R. Troll • R. M. Ellam • T. H. Hansteen • C. Harris • C. J. Stillman • A. Andersson Received: 18 April 2011 / Accepted: 5 November 2011 / Published online: 26 November 2011 Ó Springer-Verlag 2011 Abstract The Cadamosto Seamount is an unusual vol- preservation of mantle source signatures by Nd–Pb iso- canic centre from Cape Verde, characterised by dominantly topes despite extensive magmatic differentiation provides evolved volcanics, in contrast to the typically mafic vol- new insights into the spatial distribution of mantle heter- canic centres at Cape Verde that exhibit only minor vol- ogeneity in the Cape Verde archipelago. Magmatic dif- umes of evolved volcanics. The magmatic evolution of ferentiation from nephelinite to phonolite involves Cadamosto Seamount is investigated to quantify the role of fractional crystallisation of clinopyroxene, titanite, apatite, magma-crust interaction and thus provide a perspective on biotite and feldspathoids, with extensive feldspathoid evolved end-member volcanism of Cape Verde. The accumulation being recorded in some evolved samples. Clinopyroxene crystallisation pressures of 0.38–0.17 GPa for the nephelinites constrain this extensive fractional Submitted to Contributions to Mineralogy and Petrology, 16th April crystallisation to the oceanic lithosphere, where no crustal 2011. assimilants or rafts of subcontinental lithospheric mantle are available. In turn, magma-crust interaction has influ- Communicated by J. Hoefs. enced the Sr, O and S isotopes of the groundmass and late Electronic supplementary material The online version of this crystallising feldspathoids, which formed at shallow crustal article (doi:10.1007/s00410-011-0708-2) contains supplementary depths reflecting the availability of oceanic sediments and material, which is available to authorized users.
    [Show full text]
  • Meet the Masters Johannes Vermeer
    Meet The Masters Johannes Vermeer • October 1632 --- December 1675 • Dutch painter who lived and worked in Delft • Created some of the most exquisite paintings in Western art. • His works are rare. • He is known to have done only 35 or 36 paintings • Most portray figures inside. • All show light and color The Netherlands Delft China Family History • He began his career in the arts when his father died and Vermeer inherited the family art dealing business. • He continued to work as an art dealer even after he had become a respected painter because he needed the money. Married • Vermeer married a Catholic woman named Catharina Bolnes, even though he was a Protestant. • Catholics in Delft lived in a separate neighborhood than the Protestants and the members of the two religions did not usually spend much time together A Big Family! • Vermeer and his wife had 14 children but not nearly enough money to support them all. Catharina’s mother gave them some money and let the family live with her but Vermeer still had to borrow money to feed his children Patron • Patron: someone who supports the arts • Pieter van Ruijven, one of the richest men in town, became Vermeer’s patron. • He bought many of Vermeer’s paintings and made sure he had canvas, paints, and brushes so he could work. • Having a patron meant that Vermeer could use the color blue in his paintings, a very expensive color in the 1600s because it was made out of the semi-precious stone, lapis lazuli. Not Famous Until Later • After his death Vermeer was overlooked by all art collectors and art historians for more than 200 years.
    [Show full text]