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In The Riddle of Jael , Peter Scott Brown offers the first history of the Biblical heroine Jael in medieval and Renaissance art. Jael, who betrayed and killed the tyrant Sisera in the Book of Judges by hammering a tent peg through his brain as he slept under her care, was a blessed murderess and an especially fertile moral paradox in the art of the early modern period. Jael's representations offer insights into key religious, intellectual, and social developments in late medieval and early modern society. They reflect the influence on art of exegesis, the Reformation and Counter-Reformation, humanism and moral philosophy, misogyny and the battle of the sexes, the emergence of syphilis, and the Renaissance ideal of the artist.
Renaissance --- Medieval [European] --- iconography --- History of Europe --- Art --- Jael --- Personnages bibliques --- Iconography --- heroines --- Art, Medieval --- Art médiéval --- Art, Renaissance --- Art de la Renaissance --- Art and society --- Themes, motives. --- Thèmes, motifs --- History --- Aspect social --- Yaël, --- Art. --- Thèmes, motifs. --- Art and society. --- Art and sociology --- Society and art --- Sociology and art --- Renaissance art --- Subjects --- Social aspects --- To 1599 --- Europe. --- Council of Europe countries --- Eastern Hemisphere --- Eurasia --- Themes, motives
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Color has recently become the focus of scholarly discussion in many fields, but the categories of art, craft, science and technology, unreflectively defined according to modern disciplines, have not been helpful in understanding color in the early modern period. ‘Color worlds’, consisting of practices, concepts and objects, form the central category of analysis in this volume. The essays examine a rich variety of ‘color worlds’, and their constituent engagements with materials, productions and the ordering and conceptualization of color. Many color worlds appear to have intersected and cross-fertilized at the beginning of the seventeenth century; the essays focus especially on the creation of color languages and boundary objects to communicate across color worlds, or indeed when and why this failed to happen. Contributors include: Tawrin Baker, Barbara H. Berrie, Fokko Jan Dijksterhuis, Karin Leonhard, Andrew Morrall, Doris Oltrogge, Valentina Pugliano, Anna Marie Roos, Romana Sammern (Filzmoser) and Simon Werrett.
Color in art --- Art, Modern --- Art, Renaissance --- Couleur dans l'art --- Art --- Art de la Renaissance --- colors [hues or tints] --- color [perceived attribute] --- Aesthetics of art --- Optics. Quantum optics --- anno 1600-1699 --- anno 1500-1599 --- Europe --- Couleur --- Couleurs --- Optique. --- Couleur (art) --- Vision des couleurs. --- Color --- Symbolism of colors. --- Optics. --- Color in art. --- Color vision. --- Histoire. --- Aspect symbolique. --- History. --- Optique --- Vision des couleurs --- Color. --- Color symbolism --- Symbolic colors --- Colors --- Physics --- Light --- Chromatic vision --- Color discrimination --- Color perception --- Color-sense --- Visual perception --- Colors in art --- Monochrome art --- Chromatics --- Colour --- Chemistry --- Optics --- Thermochromism --- Psychological aspects --- kleurenleer
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Early modern art features a remarkable fascination with ornament, both as decorative device and compositional strategy, across artistic media and genres. Interestingly, the inventive, elegant manifestations of ornament in the art of the period often include layers of disquieting paradoxes, creating tensions - monstrosities even - that manifest themselves in a variety of ways. In some cases, dichotomies (between order and chaos, artificiality and nature, rational logic and imaginative creativity, etc.) may emerge. Elsewhere, a sense of agitation undermines structures of statuesque control or erupts into wild, unruly displays of constant genesis. The monstrosity of ornament is brought into play through strategies of hybridity and metamorphosis, or by the handling of scale, proportion, and space in ambiguous and discomforting ways that break with the laws of physical reality. An interest in strange exaggeration and curious artifice allows for such colossal ornamental attitude to thrive within early modern art.
Art, European --- Art, Renaissance --- Art --- Decoration and ornament --- Monsters in art --- grotesques --- ornaments [object genre] --- monsters [legendary beings] --- anno 1500-1799 --- Europe --- Art, Renaissance. --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Renaissance art --- Art, Decorative --- Decorative art --- Decorative design --- Design, Decorative --- Nature in ornament --- Ornament --- Painting, Decorative --- Decorative arts --- Arts and crafts movement --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- Early modern and Renaissance art, artificiality, playfulness, ambiguity, anxiety, ornament. --- Art européen --- Art de la Renaissance --- Art, Primitive --- Decoration and ornament, Primitive --- Art, European - 16th century --- Art - Europe - 16th century --- Decoration and ornament - Europe - 16th century --- Monsters in art - 16th century
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