A Companion to Renaissance and Baroque Art -- Copyright -- Contents -- Contributors -- Preface -- Acknowledgments -- Introduction -- Defining the Subject -- Scope and Content -- Historiography -- Conclusion -- References and Further Reading: The History of Early Modern Art History -- Part 1 The Context: Social-Historical Factors in Artistic Production -- 1 A Taxonomy of Art Patronage in Renaissance Italy -- Corporate Patronage, Sacred and Secular -- Patronage by Individuals and Families -- Papal and Curial Patronage -- Conclusion -- Acknowledgments -- Notes -- Bibliography -- 2 Judaism and the Arts in Early Modern Europe: Jewish and Christian Encounters -- Art and Jewish Religious Life -- Grotesque Images of Degradation -- Christian and Jewish Relations Inside and Outside the Ghetto -- Conclusion -- Notes -- Bibliography -- 3 Religion, Politics, and Art in Late Medieval and Renaissance Italy -- Thirteenth Century: Mendicants and their Influence -- Fourteenth Century: The Virgin as Queen of Siena -- Fifteenth Century: The Franciscan Message Appropriated -- Fifteenth Century: Papal Authority Underscored -- Sixteenth Century: Artistic Imagination versus the Church -- Conclusion -- Notes -- Bibliography -- 4 Europe's Global Vision -- The Americas -- Asia/East Indies -- The Muslim World and the Middle East -- Conclusion: Europe's Global Iconography -- Notes -- Bibliography -- 5 Italian Art and the North: Exchanges, Critical Reception, and Identity, 1400-1700 -- The Opposition of the Natural and the Ideal -- Copying as Artistic Training and the Canon of Ancient Sculpture -- Travel and Patronage -- Italian Collectors' Receptivity to Northern Art -- Italian Artists' Responses to Northern Art -- Contacts across the Alps -- The Critical Response -- Suggestions for Further Study -- Acknowledgments -- Notes -- Bibliography.

6 The Desiring Eye: Gender, Sexuality, and the Visual Arts -- Mars and Samson: The Heterosexual Male Ideal -- Venus, Eve, and Mary: The Heterosexual Woman -- Ganymede and Sebastian: The Homosexual Male -- Diana and the Witch: Lesbian Women -- Conclusion: The Splitting Image -- Notes -- Bibliography -- Part 2 The Artist: Creative Process and Social Status -- 7 The Artist as Genius -- Notes -- Bibliography -- 8 Drawing in Renaissance Italy -- Materials and Techniques -- Drawing Types and Functions -- Drawing as Invention -- Collecting of Drawings -- Notes -- Bibliography -- 9 Self-Portraiture 1400-1700 -- Witness and Participant -- Origins of the Autonomous Self-Portrait -- Albrecht Dürer -- Painters as Painters -- The Seventeenth Century -- From Courtier to Artist -- Rembrandt -- Toward the Modern Autonomous Painter -- Notes -- Bibliography -- 10 Recasting the Role of the Italian Sculptor: Sculptors, Patrons, Materials, and Principles for the New Early Modern Age -- Purposes of Sculpture -- Materials and Methods -- Antiquity's Role in the Evolution of Sculpture -- Patronage -- Invenzione -- Conclusion -- Notes -- Bibliography -- 11 From Oxymoron to Virile Paintbrush: Women Artists in Early Modern Europe -- Italian Artists -- Northern Europe -- Conclusion -- Notes -- Bibliography -- Part 3 The Object: Art as Material Culture -- 12 The Birth of Mass Media: Printmaking in Early Modern Europe -- Techniques -- Woodcuts -- Book Illustrations and Printed Books -- Engravings -- Etchings -- Paper -- Printing on Demand -- Subjects -- Print Collections -- What was a Print? -- Notes -- Bibliography -- 13 The Material Culture of Family Life in Italy and Beyond -- Conclusions -- Notes -- Bibliography -- 14 Tapestry: Luxurious Art, Collaborative Industry -- The Costliness of Tapestry -- France and the Low Countries, 1380-1510.

Brussels Renaissance Tapestry, 1510-70 -- Flemish Producers and Designers in Europe, 1570-1620/30 -- Brussels and Parisian Baroque Tapestry, 1620-60 -- Brussels, Paris, and Beauvais, 1660-1750 -- Conclusion -- Notes -- Bibliography -- 15 The New Sciences and the Visual Arts -- Painting the Heavens -- Medicine and Embodied Knowledge -- Natural History and the Limits of Visual Information -- Emergent Theories of Color -- Notes -- Bibliography -- 16 Seeing Through Renaissance and Baroque Paintings: Case Studies -- First Case Study: X-radiography and Poussin -- Second Case Study: Autoradiography and La Tour -- Third Case Study: Infrared Reflectography and Bouts -- Fourth Case Study: Infrared Reflectography, Gas Chromatography, Polarizing Light Microscopy, X-radiography, and Fernando Gallego -- Fifth Case Study: Infrared Reflectography and Michelangelo -- Sixth Case Study: X-radiography and Titian -- Conclusion -- Notes -- Bibliography -- Part 4 The Message: Subjects and Meanings -- 17 Iconography in Renaissance and Baroque Art -- The Iconography of St. Peter: A Case in Point -- Other Saints -- Biblical Narratives: Crucifixions and Annunciations -- Disguised Symbolism -- Meaning in Seventeenth-Century Dutch Genre Painting -- Iconology and Allegory -- Notes -- Bibliography -- 18 Renaissance Landscapes: Discovering the World and Human Nature -- Origins: Landscapes as Settings in Fourteenth-Century Painting -- Landscape in Early Netherlandish Painting -- The World Landscape of the Sixteenth-Century Netherlands -- German Landscapes and the Danube School -- The Venetian Landscape -- Pieter Bruegel the Elder and the Traditions of Netherlandish Landscape -- Dutch and Flemish Landscape 1590-1650 -- Dutch Landscapes 1650-1700 -- The Classical Landscape -- Conclusion -- Notes -- Bibliography -- 19 The Nude Figure in Renaissance Art -- Sacred Nudity -- New Media.

The Netherlandish Fifteenth-Century Nude -- The Female Nude in Italy -- Nude Portraits -- Michelangelo -- The Female Nude in Sixteenth-Century Northern Europe -- The Scandal of the Last Judgment -- Conclusion -- Notes -- Bibliography -- 20 Genre Painting in Seventeenth-Century Europe -- The Early Seventeenth Century (ca. 1600-40) -- The Middle of the Seventeenth Century (ca. 1640-70) -- The Late Seventeenth Century (ca. 1670-ca. 1700) -- Notes -- Bibliography -- 21 The Meaning of the European Painted Portrait, 1400-1650 -- The Single Figure -- Pendant Portraits -- Group Portraits -- Conclusion -- Acknowledgments -- Notes -- Bibliography -- 22 All the World's a Stage: The Theater Conceit in Early Modern Italy -- The Philosophical Foundations of the Renaissance Theatrum Mundi -- Evocations of the Theater in Renaissance Architectural Theory and Practice -- Performance Spaces of the Early Renaissance -- The Theater Conceit in Villa Architecture and Decoration -- The Baroque Era -- Conclusion -- Notes -- Bibliography -- 23 Intensity and Orthodoxy in Iberian and Hispanic Art of the Tridentine Era, 1550-1700 -- Church Reform in Spain -- Art after the Council of Trent -- Iconography -- The Religious Orders -- Art in Daily Life -- Additional Participatory Elements -- Devotion to the Virgin -- Secular Arts -- Conclusion -- Notes -- Bibliography -- Part 5 The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse -- 24 Historians of Northern European Art: From Johann Neudörfer and Karel van Mander to the Rembrandt Research Project -- Establishing the Canon -- Writing History and Defining Oeuvres -- Nationalism and the Rise of Art History -- Methodological Trends -- Conclusion -- Notes -- Bibliography -- 25 Artistic Biography in Italy: Vasari to Malvasia -- Notes -- Bibliography.

26 With a Critical Eye: Painting and Theory in France, 1600-43: The Case of Simon Vouet and Nicolas Poussin -- Morality and Presence in Vouet's Italian Period: What Natural Subjects Demand -- Vouet and the Light Manner -- Poussin in Paris -- Décor and Decorum: Poussin's The Miracle of St. Francis Xavier -- Conclusion -- Notes -- Bibliography -- 27 The Italian Piazza: From Gothic Footnote to Baroque Theater -- The Problem of Periodization -- The Textual Construction of the Piazza -- Theatrum Mundi -- "Quel gran teatro attorno la piazza" -- Conclusion: The Embodied Piazza -- Notes -- Bibliography -- 28 Building in Theory and Practice: Writing about Architecture in the Renaissance -- Architectural Books before Printing: The Example of Vitruvius -- Leon Battista Alberti (1404-72) and the First Printed Architectural Book -- Manuscript Architectural Treatises after Alberti: The Real and the Ideal -- Images and Text in Printed Architectural Books -- Standard Deviations: The Orders in Architectural Books -- Notes -- Bibliography -- Index.