Art, a user's guide: interactive and sculptural printmaking in the Renaissance
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | IX, 637 S. Ill. 23 cm |
Internformat
MARC
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Datensatz im Suchindex
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|---|---|
| adam_text | Art
—
A User s Guide: Interactive and Sculptural Printmaking in the Renaissance
A Dissertation
Presented to the Faculty of the Graduate School
of
Yale University
in Candidacy for the Degree of
Doctor of Philosophy
by
Suzanne Kathleen
Karr
Schmidt
Dissertation Director: Dr. Christopher S. Wood
May
2006
Contents
Volume One
Abstract
Contents
Acknowledgments
Introduction
Chapter One:
Revelatory Playthings: The Religious Origins of the Interactive Print
I:1
Introduction
16
1:2
Sensory Ritual
23
I:
2a Handling Religion
24
1:
2b Seeing is Believing:
29
Monstrances to : tIovable
Christs
I:
2c Touch
38
1:3
Triptychs
42
1:
3a Reliquary Origins
42
1:
3b Printed Reliquaries
46
1:
3c Paper Triptychs
49
I: 3d
Printed Tripychs: Bridget
51
1:
3e Canon Tables
53
1:
3f Disordered Crucifixion
62
1:4
Dials and the Printed Host
65
I:
4a Angel Calendars
65
I:4b The Printed Host
71
1:
4c Christian Lotteries
78
1:
4d Conclusion
87
Chapter Two:
Anatomy Of The Refonnation:
Nosce
Antichristum
2: 1
Introduction
88
2: 2
Anatomies Both Normal and Deformed
90
2:2a Theater Of Tbe Body
93
2:
2b Protesting the Body
103
2:2c Bodily Shame
115
2:2d Elzgred
121
2:
2e Shaming the Papacy and Its Opponents
126
2: 3
From Indecent Exposure to the Anatomically Incorrect
135
2:
3a The Interim Devil
137
2:
3b The Headless Swiss Clergy
147
2:
3c The Pope is the Devil (and the Antichrist)
158
2:3d Anatomizing Luther
169
2:
3e Luther Triurnphant
175
2:4
Conclusion
178
Chapter Three:
Instrumentle Auff
Papir:
Georg
Hartrnann
Of
Nürnberg
And The Printed Scientific Instrument Irade
3: I
Introduction
180
3:2
Georg
Hartmann As
Sculptural Printmaker
185
3:3
Hartmann s Collections
188
3: 4
Hartmann
And
Nürnberg s
Culture Of Sundials
196
3: 5
Instrument Printmaking Before
Hartmaml
209
3:5a Horoscopes and Calendars
213
3:
5b Maps
221
3:5c Globe Gores
224
3:
5d
Nürnberg Polyhedra 233
3: 6
Hartmann s Prints In Book Form
236
3:
6a First Atternpts
242
3:
6b Cornpeting Forms
244
3:6c Block Sundial
250
3: 7
Hartmann s Printing Process
255
3:7a Engravings and Innovation
255
3:7b
Hartmann
as Collaborator
259
3: 8
Hartmann s Anno Obsidionis:
266
Tirnekeeping in the Service of Religion
3:9
Conclusion
273
Chapter Four:
Consumption and Exploitation:
The International Expansion of the Interactive Book
4: I
Introduction
275
4:2
Conspicuous Consurnption and Private Presses
281
4:
2a Artists versus Authors
293
4:
2b Southern Dialing Secrets
297
4:3
Lotteries, Gaming, and the Public Reaction
303
4:
3a Reconciling the BookiGarne
316
4:3b Gifts for Wornen
321
4: 4
Liftable Skirts, Deadly Secrets and the Single User
326
4:
4a
Pietro Bertelli s
Flap Erotica
329
4:4b Venetian M;1hs of Antiquity
339
4:
4c Bitter Love
343
4:
4d Memento Mori
346
4:5
Conclusion
355
Afterword: A User s Guide to Art?
357
VI
Volume
Two
Back Matter:
Appendices:
Catalogue A:
Interactive and Sculptural Single-Sheet Prints
1466-—1700
368
Catalogue B:
Interactive Books
1474—
ca
1750 399
Catalogue C:
Georg
Hartmann
Prints,
1526·1562 414
Catalogue D:
Anatomy Flap Broadsides
1538-1658 423
Bibliography
432
List of Illustrations
452
Illustrations
462
vii
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| title | Art, a user's guide interactive and sculptural printmaking in the Renaissance |
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