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"In the nineteenth century France became fixated on infant sleep. Pictures of sleeping babies proliferated in paintings, posters, and advertisements for cradles and toys. Childcare manuals and medical writings insisted on the importance of sleep as a measure of a child’s future health and vigour. Infant sleep was transformed from an unremarkable event to a precarious stage of life that demanded monitoring, support, and, above all, the constant presence and attention of mothers. Hush Little Baby uncovers the cultural, medical, and economic forces that came to shape Western ideas about infants’ sleeping patterns, rituals, and settings. By the mid-nineteenth century doctors were advising that infant sleep should be carefully controlled by caregivers according to medical guidelines, and that to do otherwise would risk compromising a child’s development. A sleeping baby was seen as the sign of a good mother--an idea that was reinforced through countless pictures of mothers watching vigilantly over their sleeping children, even as the reality of postpartum depression was known to doctors. The medical advice literature also helped to create a commercial infant industry, encouraging the production of clothing, bedding, cradles, and accessories designed to foster sleep, and providing new ways for families to demonstrate social status. In Hush Little Baby Gal Ventura shows how these images and ideas about babies’ sleep created many of the standards and expectations that keep parents awake today."--

Infants --- Sleeping customs --- Motherhood --- Infants' supplies industry --- Sleep --- History --- Care --- Iconography --- material culture [discipline] --- iconography --- infants --- maternity --- child care equipment --- sleeping --- anno 1800-1899 --- France

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Sleep in art --- Sleep in literature --- Sleep --- Sleeping --- Slumber --- Health --- Psychophysiology --- Rest --- Sleep-wake cycle --- Subconsciousness --- Dreams --- Hypnagogia --- Symbolic aspects --- Iconography --- Literature --- literature [discipline] --- iconography --- literary studies

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John Shearman makes the plea for a more engaged reading of art works of the Italian Renaissance, one that will recognize the presuppositions of Renaissance artists about their viewers. His book is the first attempt to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. He takes the lead from texts and artists of the period, for these artists reveal themselves as spectators. Among modern historiographical techniques, Reception Theory is closest to the author's method, but Shearman's concern is mostly with anterior relationships with the viewer--that is, relationships conceived and constructed as part of the work's design, making, and positioning. Shearman proposes unconventional ways in which works of art may be distinguished one from another, and in which spectators may be distinguished, too, and enlarges the accepted field of artistic invention. Furthermore, His argument reflects on the Renaissance itself. What is created in this period tends to be regarded as conventional, or inherent in the nature of painting and sculpture: he maintains that this is a careless, disengaged view that has overlooked the process of discovery by immensely inventive and visually intelllectual artists. John Shearman is William Door Boardman Professor of Fine Arts at Harvard University. Among his works are Mannerism (Hardmondsworth/Penguin), Raphael's Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel (Phaidon), The Early Italian Paintings in the Collection of Her Majesty the Queen (Cambridge). and Funzione e Illusione (il Saggiatore).The A.W. Mellon Lectures in the Fine Arts, 1988Bollingen Series XXXV: 37Originally Publsihed in 1992The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Art, Italian. --- Art, Renaissance --- Audiences --- Psychology. --- Art, Italian --- -Audiences --- -Audiences, Communication --- Communication audiences --- Communication --- Spectators --- Italian art --- Bamboccianti (Group of artists) --- Corrente (Group of artists) --- Cracking Art (Group of artists) --- Fronte nuovo delle arti (Group of artists) --- Geometria e ricerca (Group of artists) --- Girasole (Group of artists) --- Gruppo 1 (Group of artists) --- Gruppo Aniconismo dialettico (Group of artists) --- Gruppo di Como (Group of artists) --- Gruppo di Scicli (Group of artists) --- Gruppo Enne (Group of artists) --- Gruppo Forma uno (Group of artists) --- Italiens de Paris (Group of artists) --- Mutus Liber (Group of artists) --- Novecento italiano (Group of artists) --- Nuovi-nuovi (Group of artists) --- Origine (Group of artists) --- Sei pittori di Torino (Group of artists) --- Transvisionismo (Group of artists) --- Renaissance art --- Psychology --- Social aspects --- -Psychology --- History --- Renaissance --- Painting --- Art --- anno 1400-1499 --- anno 1500-1599 --- Italy --- Art italien --- Art de la Renaissance --- Audiences, Communication --- Art, Renaissance - Italy. --- Audiences - Psychology. --- Italiaanse school --- Adolf von Hildebrand. --- Albrecht Dürer. --- Altarpiece. --- Andrea Fulvio. --- Andrea Mantegna. --- Andrea Solari. --- Andrea del Sarto. --- Antonello da Messina. --- Antonio Rossellino. --- Aretino. --- Bacchus and Ariadne. --- Baptistery. --- Baroque architecture. --- Basilica. --- Bembo. --- Camera degli Sposi. --- Caravaggio. --- Catullus. --- Cecilia Gallerani. --- Chiaroscuro. --- Christ among the Doctors (Dürer). --- Conceit. --- Cosimo de' Medici. --- Counter-Reformation. --- Cristofano Allori. --- Della Rovere. --- Diego Velázquez. --- Donatello. --- Duke of Florence. --- Edward Burne-Jones. --- Epigram. --- Famulus. --- Feast of the Gods (art). --- Filarete. --- Filippino Lippi. --- Galleria Borghese. --- Ginevra de' Benci. --- Giorgio Vasari. --- Giorgione. --- Giovanni Bellini. --- Giovanni Pisano. --- Giulio Romano. --- Grand manner. --- Hercules and Cacus. --- Heroides. --- High Renaissance. --- High place. --- Hyperbole. --- Intentionality. --- Jan van Eyck. --- Las Meninas. --- Lateran Baptistery. --- Lodovico Dolce. --- Madonna of the Harpies. --- Mario Equicola. --- Mario Praz. --- Marriage of the Virgin (Perugino). --- Masaccio. --- Master of the Virgo inter Virgines. --- Michelangelo. --- Mona Lisa Smile. --- Mystery play. --- National Gallery of Art. --- Orlando Furioso. --- Paragone. --- Parmigianino. --- Persius. --- Pesaro Madonna. --- Petrarch. --- Phrenology. --- Pietro da Cortona. --- Poetry. --- Poliziano. --- Pontormo. --- Pope Julius II. --- Pseudo-Bonaventura. --- Putto. --- Reginald Pole. --- Religion. --- Renaissance art. --- Richard Wollheim. --- Rokeby Venus. --- Romanticism. --- Ruggiero (character). --- Sack of Rome (1527). --- Saint Roch. --- Sandro Botticelli. --- Simone Martini. --- Sistine Chapel. --- Sleeping Venus (Giorgione). --- The Feast of the Gods. --- The Fire in the Borgo. --- The Philosopher. --- The School of Athens. --- The Spirit of the Laws. --- The Vision of the Cross. --- The Worship of Venus. --- Tintoretto. --- Titian. --- Work of art.