Since its origin in the nineteenth century, the borders of the discipline of art history have been fluid. Art history absorbed theories and methods from other disciplines such as philosophy, film and gender studies, and, of course, history; and in turn it influenced these disciplines. The history of art history itself reflects the intellectual history of the last two centuries. What counts as an art historical object and how it is theoretically approached and interpreted echoes the intellectual and cultural background of the art historian. In this sense, a work of art is more than merely its reconstructed history. The interpretation of a work of art must activate the self-reflective capacity of art historical inquiry. The subseries Brill’s Studies on Art, Art History, and Intellectual History is dedicated to the study of historical and contemporary works of art, in which a reflection on the history of art, its theories and methods, and the relation to its contemporary milieu of cultural and intellectual ideas is implied.
Brill's Studies on Art, Art History, and Intellectual History
Edited by Robert Zwijnenberg, Leiden University
Maximilian Sternberg, University of Cambridge
In Cistercian Architecture and Medieval Society Max Sternberg offers an account of the social functions of the built environment in medieval monasticism, focusing in particular on the white order of the Languedoc in the 13th century.
Edited by Matthew Rampley, University of Birmingham, Thierry Lenain, Université Libre de Bruxelles, Hubert Locher, Philipps University, Marburg, Andrea Pinotti, Università degli Studi, Milan, Charlotte Schoell-Glass, University of Hamburg, and Kitty Zijlmans, Leiden University
This book undertakes a critical survey of art history across Europe, examining the recent conceptual and methodological concerns informing the discipline as well as the political, social and ideological factors that have shaped its development in specific national contexts.
Edited by Renée van de Vall and Robert Zwijnenberg
The central question of this interdisciplinary volume is, whether present day medical visualisation techniques like ultrasound, endoscopy, CT, MRI and PET-scans mark a significant shift in the historical and cultural construction and experience of bodily interiority.
The tenacity of medieval animal iconography in the Renaissance, disguised under the veil of genre, narrative and allegory, is demonstrated in this book. A comprehensive introduction to sources precedes case studies illustrating traditional animal symbolism in Renaissance masterpieces.
Drawing on the fifteenth century theology of Saint Joseph, classical visual sources, Ficino’s commentary on the Phaedrus and Symposium, and Dante’s rime petrose, this book interprets Michelangelo’s Tondo Doni as a model of Ephesians’ ‘great sacrament’ of marriage for the new Florentine republic.
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