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This volume deals with the question: how did scholars and artists in the early modern period represent, or rather, recreate (Greek and Roman) history? It appears that ancient history was not just studied so as to reconstruct the past, it was used as a way of understanding and legitimizing the present. Sixteen authors from various disciplines have studied the works of scholars and artists in different media so as to reveal how they used ancient history as a rich field of raw material, that could be used, recycled and adapted to new needs and purposes. The studies in this volume are important for historians of the early modern period from all disciplines, and for all those interested in the reception of classical antiquity. Contributors include: Maria Berbera, Jan Bloemendal, Anton Boschloo, Jeanine De Landtsheer, Jan L. de Jong, Karl Enenkel, Marc Laureys, Olga van Marion, Alicia Montoya, Mark Morford, Bettina Noak, Sjaak Onderdelinden, Paul Smith, Wilfried Stroh, Francesca Terrenato, Arnoud Visser, and Bart Westerweel. This publication has also been published in paperback, please click here for details.

Civilization, Classical, in art --- History in art --- Physician, Contemporary --- Historical art --- Art and history

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History in art. --- Tapestry --- Textile industry --- History. --- 745.522 --- Wandtapijten --- Tapijtkunst. Tapisserie. Gobelins --- 745.522 Tapijtkunst. Tapisserie. Gobelins --- History in art --- Historical art --- Art and history --- History

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William Molyneux's question to John Locke about whether a blind man restored to sight could name the difference between a cube and a sphere without touching them shaped fundamental conflicts in philosophy, theology and science between empirical and idealist answers that are radically alien to current ways of seeing and feeling but were born of colonizing ambitions whose devastating genocidal and ecocidal consequences intensify today. This Element demonstrates how landscape paintings of unfamiliar terrains required historical and geological subject matter to supply tactile associations for empirical recognition of space, whereas idealism conferred unmediated but no less coercive sensory access. Close visual and verbal analysis using photographs of pictorial sites trace vividly different responses to the question, from those of William Hazlitt and John Ruskin in Britain to those of nineteenth-century authors and artists in the United States and Australia, including Ralph Waldo Emerson, Thomas Cole, William Haseltine, Fitz Henry Lane and Eugene von Guérard.

Landscape painting. --- Landscape painting --- Composition (Art) --- History in art. --- Geology in art. --- Appreciation. --- Historical art --- Art and history --- Art --- Proportion (Art) --- Painting --- Composition

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Art --- History as a science --- History in art. --- Art and history. --- 930.2 --- Methoden en technieken van de geschiedwetenschap --- 930.2 Methoden en technieken van de geschiedwetenschap --- Art and history --- History in art --- Historical art --- History and art --- History

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Art and history --- History in art. --- Myth in art --- Art et histoire --- Histoire dans l'art --- Mythe dans l'art --- Art, Ancient --- Myth in art. --- History in art --- Historical art --- History and art --- History