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Record Nr. |
UNINA9910494606203321 |
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Titolo |
Ut pictura amor : the reflexive imagery of love in artistic theory and practice, 1500-1700 / / edited by Walter S. Melion, Joanna Woodall, Michael Zell |
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Pubbl/distr/stampa |
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Leiden, The Netherlands ; ; Boston, [Massachusetts] : , : Brill, , 2017 |
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©2017 |
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ISBN |
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Descrizione fisica |
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1 online resource (812 pages) : illustrations (some color) |
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Collana |
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Intersections, , 1568-1181 ; ; Volume 48 |
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Disciplina |
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Soggetti |
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Love in art |
Sex in art |
Image (Philosophy) |
Art - Philosophy |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references at the end of each chapters and index. |
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Nota di contenuto |
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Introduction: Picturing Love and Artifice / Walter S. Melion , Joanna Woodall and Michael Zell -- Vision, Imagination, and Erotic Desire -- Figments of the Imagination: Medical and Moral Discourses on Love in the Counter-Reformation* / Wietse de Boer -- The Gods of Water—Baths, Country Houses, and Their Decoration in Sixteenth- and Seventeenth-Century Flanders* / Ursula Härting -- Hishikawa Moronobu and the Imprinting of ‘Love’ in Early Modern Japan / Joshua S. Mostow -- Chinese ‘Paintings of Beautiful Women’ and Images of Asia in a Jesuit Text / Dawn Odell -- Metamorphic Imagery of Love -- Enacting the Erotic Body: Pictorial and Spectatorial Evocations of Corporeality among Jan Gossaert and His Patrons / Haohao Lu -- The Trope of Anthropomorphosis in Hendrick Goltzius’s Venus and Cupid (1590), Venus, Bacchus, and Ceres (1593), and Portrait of Frederick de Vries (1597) / Walter S. Melion -- Optics, Aesthetics, and the Visual Poetics of Desire -- Between the Human and the Divine: The Majālis al-ushshāq and the Materiality of Love in Early Safavid Art / Kishwar Rizvi |
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-- The Painting Looks Back: Reciprocal Desire in the Seventeenth Century / Thijs Weststeijn -- Amorous Desire, Domestic Virtue, and Love’s Mirror -- Agape, Caritas, and Conjugal Love in Paintings by Rembrandt and Van Dyck / Stephanie S. Dickey -- Vermeer’s Milkmaid in the Discourse of Love* / H. Rodney Nevitt Jr. -- The Mirror as Rival: Metsu, Mimesis, and Amor in Seventeenth-Century Dutch Genre Painting / Michael Zell -- Portrayals of Spousal Love -- What’s Love Got to Do with It? Unlacing the Love Knots in Margaret of Austria’s Royal Monastery at Brou / Laura D. Gelfand -- Rubens, Rembrandt, and the Spousal Model/Muse / H. Perry Chapman -- Youth, Friendship, and Other Inflections of Divine Love -- The Dynamics of Divine Love: Francis de Sales’s Picturing of the Biblical Mystery of the Visitation* / Joseph F. Chorpenning -- Intimacy and Longing: Jacob Cornelisz van Oostsanen and the Distance of Love / Henry Luttikhuizen -- Amor Dei in Emblems for Dutch Youth / Els Stronks -- Desire, Fellowship, and Marian Mimesis -- Marten de Vos and the Virgin Mary: Love, Mimesis and Music / Margit Thøfner -- Bernardo Accolti, Raphael, and the Sistine Madonna: The Poetics of Desire and Pictorial Generation / Jonathan Unglaub -- Picturing Love in the Marketplace -- “For Love and Money. The Circulation of Value and Desire in Abraham Ortelius’s Album amicorum” / Joanna Woodall -- Frans Francken the Younger’s Discovery of Achilles: Desire, Deception, and Inalienable Possession / Lisa Rosenthal -- Desire by Candlelight: Body and Coin in Gerrit van Honthorst’s Old Woman With Coins* / Natasha Seaman. |
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Sommario/riassunto |
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Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500-1700 examines the related themes of lovemaking and image-making in the visual arts of Europe, China, Japan, and Persia. The term ‘reflexive’ is here used to refer to images that invite reflection not only on their form, function, and meaning, but also on their genesis and mode of production. Early modern artists often fashioned reflexive images and effigies of this kind, that appraise love by exploring the lineaments of the pictorial or sculptural image, and complementarily, appraise the pictorial or sculptural image by exploring the nature of love. Hence the book’s epigraph— ut pictura amor —‘as is a picture, so is love’. |
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