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Record Nr. |
UNINA9910796061403321 |
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Titolo |
Indecent Bodies in Early Modern Visual Culture / / edited by Fabian Jonietz, Mandy Richter, and Alison G. Stewart |
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Pubbl/distr/stampa |
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Amsterdam : , : Amsterdam University Press, , [2023] |
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©2023 |
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ISBN |
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Edizione |
[First edition.] |
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Descrizione fisica |
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1 online resource (294 pages) |
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Collana |
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Visual and Material Culture, 1300-1700 Series ; ; Volume 40 |
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Disciplina |
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Soggetti |
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Art, European |
Human beings in art |
Obscenity (Aesthetics) |
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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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Note generali |
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Nota di contenuto |
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Cover -- Table of Contents -- Indecent Bodies in Early Modern Visual Culture: An Introduction -- Fabian Jonietz, Mandy Richter, Alison G. Stewart -- 1. Taste, Lust, and the Male Body: Sexual Representations in Early Sixteenth-Century Northern Europe -- Alison G. Stewart -- 2. Private Viewings: The Frankfurt Context of Sebald Beham's Die Nacht -- Miriam Hall Kirch -- 3. To Show or Not to Show? Marcantonio Raimondi and the Representation of Female Pubic Hair -- Mandy Richter -- 4. Treating Bodily Impurities: Skin, Art, and Medicine -- Romana Sammern |
5. Indecent Exposure and Honourable Uncovering in Renaissance Portraits of Women -- Bette Talvacchia -- 6. Lust in Translation: Agency, Sexuality, and Gender Configuration in Pauwels Franck's Allegories of Love -- Ricardo De Mambro Santos -- 7. 'So This Guy Walks into a Forest...:' Obscenity, Humour, Sex, and the Equine Body in Hans Baldung's Horses in a Forest Woodcuts (1534) -- Pia F. Cuneo -- 8. Indecent Creativity and the Tropes of Human Excreta -- Fabian Jonietz -- 9. 'It All Turns to Shit' -- The Land of Cockaigne in Sixteenth-Century German Woodcuts -- Susanne Meurer |
10. Noëls and Bodily Fluids: The Business of Low-Country Ceremonial Fountains -- Catherine Emerson -- Index -- List of Illustrations -- Figure 0.1: Isaac Cruikshank, Indecency, coloured etching, 1799, Washington, D.C., Library of Congress Prints and Photographs Division, |
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PC 3 -- 1799 -- Indecency (A size) [P&P], https://www.loc.gov/item/2003652525/. -- Figure 0.2: Master of the Hours of Henri II, Francis I as Minerva, parchment on oak, c. 1545, 234 × 134 mm, Paris, Bibliotheque nationale de France, Estampes, Res. Na 255. |
Figure 0.3: Hans Liefrinck after Leonardo da Vinci, Two Grotesque Heads, engraving, 1538, 115 × 157 mm, New York, Metropolitan Museum of Art, acc. no. 2008.577.3, Gift of Leo Steinberg, 2008. -- Figure 0.4: Domenico Ghirlandaio, Old Man and his Grandson, tempera on wood, c. 1490, 62.7 × 46.3 cm, Paris, Musee du Louvre, inv. RF 266, RMN-Grand Palais (Musee du Louvre) / Franck Raux, https://collections.louvre.fr/en/ark:/53355/cl010064987. |
Figure 0.5: German painter, The Giant Anton Frank with the Dwarf Thomele, canvas, end of sixteenth century, 266.8 × 162.5 cm, Vienna, Kunsthistorisches Museum, inv. Gemäldegalerie, 8299 KHM-Museumsverband. -- Figure 0.6: Master of the Crucifixion of Kempten, detail of Crucifixion, panel painting, c. 1460/70, Nuremberg, Germanisches Nationalmuseum, loan of the Bayerischen Staatsgemäldesammlungen Munich, inv. Gm879. |
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Sommario/riassunto |
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The life-like depiction of the body became a central interest and defining characteristic of the European Early Modern period that coincided with the establishment of which images of the body were to be considered ‘decent’ and representable, and which disapproved, censored, or prohibited. Simultaneously, artists and the public became increasingly interested in the depiction of specific body parts or excretions. This book explores the concept of indecency and its relation to the human body across drawings, prints, paintings, sculptures, and texts. The ten essays investigate questions raised by such objects about practices and social norms regarding the body, and they look at the particular function of those artworks within this discourse. The heterogeneous media, genres, and historical contexts north and south of the Alps studied by the authors demonstrate how the alleged indecency clashed with artistic intentions and challenges traditional paradigms of the historiography of Early Modern visual culture. |
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