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"Written by the poet-painter Karel van Mander, who finished it in June 1603, the Grondt der edel, vry schilderconst (Foundation of the Noble, Free Art of Painting) was the first systematic treatise on schilderconst (the art of painting / picturing) to be published in Dutch (Haarlem: Paschier van Wes[t]busch, 1604). This English-language edition of the Grondt, accompanied by an introductory monograph and a full critical apparatus, provides unprecedented access to Van Mander's crucially important art treatise. The book sheds light on key terms and critical categories such as schilder, manier, uyt zijn selven doen, welstandt, leven and gheest, and wel schilderen, and both exemplifies and explicates the author's distinctive views on the complementary forms and functions of history and landscape"--

Art History. --- Art Theory. --- Early Modern History. --- History. --- Literature and Cultural Studies. --- Literature, Arts & Science. --- Mander, Carel van, --- Art history --- History of art --- Art theory. --- Painting

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"Written by the poet-painter Karel van Mander, who finished it in June 1603, the Grondt der edel, vry schilderconst (Foundation of the Noble, Free Art of Painting) was the first systematic treatise on schilderconst (the art of painting / picturing) to be published in Dutch (Haarlem: Paschier van Wes[t]busch, 1604). This English-language edition of the Grondt, accompanied by an introductory monograph and a full critical apparatus, provides unprecedented access to Van Mander's crucially important art treatise. The book sheds light on key terms and critical categories such as schilder, manier, uyt zijn selven doen, welstandt, leven and gheest, and wel schilderen, and both exemplifies and explicates the author's distinctive views on the complementary forms and functions of history and landscape"--

Aesthetics of art --- Painting --- painting [image-making] --- kunstliteratuur --- Art History --- Art Theory --- Early Modern History --- History --- Literature and Cultural Studies --- Literature, Arts & Science --- Early works to 1800. --- Mander, Carel van,

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Art --- Christian spirituality --- anno 1400-1499 --- anno 1500-1599 --- Europe --- Self --- Soul in art --- Soul --- Art, Renaissance --- Reformation and art --- Counter-Reformation --- Humanism --- Moi (Psychologie) --- Ame dans l'art --- Ame --- Art de la Renaissance --- Réforme (Christianisme) et art --- Contre-Réforme --- Humanisme --- Religious aspects --- Christianity --- Congresses. --- History --- Aspect religieux --- Christianisme --- Congrès --- Histoire --- Counter-Reformation in art --- 75.046.3 --- Religie in de schilderkunst. Heiligenbeelden --- Conferences - Meetings --- 75.046.3 Religie in de schilderkunst. Heiligenbeelden --- Réforme (Christianisme) et art --- Contre-Réforme --- Congrès --- Pneuma --- Future life --- Philosophical anthropology --- Theological anthropology --- Animism --- Spirit --- Personal identity --- Consciousness --- Individuality --- Mind and body --- Personality --- Thought and thinking --- Will --- Art and the Reformation --- Art and religion --- Christian art and symbolism --- Philosophy --- Classical education --- Classical philology --- Renaissance --- Renaissance art --- Congresses --- Art [Renaissance ] --- Self - Religious aspects - Christianity - Congresses --- Counter-Reformation in art - Congresses --- Soul in art - Congresses --- Art, Renaissance - Congresses --- Soul - Christianity - Congresses --- Reformation and art - Congresses --- Humanism - History - Congresses --- Illustrations, images, etc --- Art chrétien --- 15e-17e siècles

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"Quid est sacramentum?' Visual Representation of Sacred Mysteries in Early Modern Europe, 1400-1700 investigates how sacred mysteries (in Latin, sacramenta or mysteria) were visualized in a wide range of media, including illustrated religious literature such as catechisms, prayerbooks, meditative treatises, and emblem books, produced in Italy, France, and the Low Countries between ca. 1500 and 1700. The contributors ask why the mysteries of faith and, in particular, sacramental mysteries were construed as amenable to processes of representation and figuration, and why the resultant images were thought capable of engaging mortal eyes, minds, and hearts. Mysteries by their very nature appeal to the spirit, rather than to sense or reason, since they operate beyond the limitations of the human faculties; and yet, the visual and literary arts served as vehicles for the dissemination of these mysteries and for prompting reflection upon them. Contributors include: David Areford, AnnMarie Micikas Bridges, Mette Birkedal Bruun, James Clifton, Anna Dlabačková, Wim François, Robert Kendrick, Aiden Kumler, Noria Litaker, Walter S. Melion, Lars Cyril Nørgaard, Elizabeth Pastan, Donna Sadler, Alexa Sand, Tanya Tiffany, Lee Palmer Wandel, Geert Warner, Bronwen Wilson, and Elliott Wise"--

Sacraments in art --- Christian art and symbolism --- Art and society --- #GBIB: jesuitica --- 265 <09> --- 248.2 --- 246.5 --- 246.5 Emblematiek. Iconologie. Christelijke iconografie. Dodendans --- Emblematiek. Iconologie. Christelijke iconografie. Dodendans --- 248.2 Mystieke theologie. Mystiek. Mysticisme --- Mystieke theologie. Mystiek. Mysticisme --- Art --- Art and sociology --- Society and art --- Sociology and art --- History --- Sacramenten:--algemeen--Geschiedenis van --- Social aspects --- 265 <09> Sacramenten:--algemeen--Geschiedenis van ... --- 265 <09> Sacrements:--general--Geschiedenis van ... --- Sacramenten:--algemeen--Geschiedenis van ... --- Sacrements:--general--Geschiedenis van ... --- Sacraments --- Sacrements --- Art chrétien --- In art. --- Dans l'art. --- Aspect social --- Iconography --- Thematology --- religious symbolism --- sacraments --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699 --- Europe --- Art and society. --- Bildliche Darstellung. --- Christian art and symbolism. --- Kultur. --- Kunst. --- Literatur. --- Sacraments in art. --- Sakrament. --- Symbolik. --- Europa. --- Europe. --- 7.046 --- 7.04 --- 7.034.1 --- 7.034.1 Renaissancekunst --- Renaissancekunst --- 7.04 Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- 7.046 Iconografie: mythologische-, religieuze-, epische voorstellingen. Legenden --- Iconografie: mythologische-, religieuze-, epische voorstellingen. Legenden --- Christelijke kunst --- Art chrétien

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Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500-1700 examines the related themes of lovemaking and image-making in the visual arts of Europe, China, Japan, and Persia. The term ‘reflexive’ is here used to refer to images that invite reflection not only on their form, function, and meaning, but also on their genesis and mode of production. Early modern artists often fashioned reflexive images and effigies of this kind, that appraise love by exploring the lineaments of the pictorial or sculptural image, and complementarily, appraise the pictorial or sculptural image by exploring the nature of love. Hence the book’s epigraph— ut pictura amor —‘as is a picture, so is love’.

Love in art. --- Sex in art. --- Image (Philosophy) --- Art --- Beautiful, The --- Beauty --- Sex in the arts --- Sexuality in art --- Philosophy. --- Analysis, interpretation, appreciation --- love [emotion] --- Aesthetics --- eroticism --- anno 1600-1699 --- anno 1500-1599 --- Amour -- Dans l'art --- Amour --- Dans l'art --- Art and philosophy --- Philosophy --- Dans l'art. --- Love in art --- Sex in art