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"Introduction" To Crossroads: Frankfurt Am Main As Market For Northern Art 1500–1800, Miriam Hall Kirch, Birgit Ulrike Münch, Alison Stewart

School of Art, Art History, and Design: Faculty Publications and Creative Activity

Table of Contents Inhaltsverzeichnis

Simple curiosity has sparked many a book, and that is true of this book, too. We wanted to know what role Frankfurt am Main played in the rise of the commercial art market in general and in particular of painting and printmaking during the early modern period. We were surprised to find no ready answer to our question, for although the Frankfurt Book Fair remains a major publishing event, art historians have not yet focused sufficiently on its precursor, the Frankfurt fair, an important location for the trade in paintings and prints. Frankfurt's hub function as …

Sebald Beham And The Augsburg Printer Niclas Vom Sand: New Documents On Printing And Frankfurt Before 1550, Alison Stewart

School of Art, Art History, and Design: Faculty Publications and Creative Activity

This essay makes known two unpublished documents from the last years of the life of Sebald Beham (1500 Nuremberg–1550 Frankfurt) and uses them as a means to explore Beham’s relationship to printing, the town of Frankfurt, and the Augsburg printer Niclas vom Sand, who remains an unwritten part of the history of the period. The essay is organized as an autobiographical retrospective by an older man forced in prior decades to move from Nuremberg and seek employment and a new life elsewhere. The end of the essay evaluates the documents and aspects of them.

Alienata Da'sensi: Reframing Bernini's S. Teresa, Andrea Bolland

School of Art, Art History, and Design: Faculty Publications and Creative Activity

Gian Lorenzo Bernini’s Ecstasy of St Teresa for the Cornaro Chapel (1647–52) is perhaps the artist’s most sensually charged creation, and the apparently physical nature of Teresa’s ecstasy is today even acknowledged in survey textbooks. Teresa herself opened the door to this reading when, in describing her spiritual ecstasy, she admitted that ‘the body doesn’t fail to share in some of it, and even a great deal’. Yet the balance between sense and spirit in the sculpture emerges somewhat differently if it is viewed (literally and figuratively) in context: as an altarpiece in a chapel where its presentation is structured …

Man’S Best Friend? Dogs And Pigs In Early Modern Germany, Alison Stewart

School of Art, Art History, and Design: Faculty Publications and Creative Activity

When Jacob Seisenegger and Titian painted individual portraits of Emperor Charles V around 1532, a dog replaced such traditional accouterments of imperial power as crown, scepter, and orb.3 Charles placed one hand on the dog’s collar, a gesture indicating his companion’s noble qualities including faithfulness.4 At the same time, another more down-to-earth meaning for the dog had become prominent in the decades before the imperial portraits: the interest in and ability to eat anything in sight. This pig-like ability resulted in dogs, alongside pigs, becoming emblems of indiscriminate and gluttonous eating and drinking during the early sixteenth century when humanists, …