History of Art, Architecture, and Archaeology Commons^™

Preface & Introductions To Saints, Sinners, And Sisters: Gender And Northern Art In Medieval And Early Modern Europe, Jane L. Carroll, Alison Stewart

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

Our goal was to create an anthology that could be used as a supplemental reader by undergraduates and graduate students when studying Northern European art before the eighteenth century. We agreed with our cohort group that there was a need to excite students with the new questions being asked in traditional fields of study. The secondary purpose was to allow colleagues to assess the state of gender-driven scholarship in the art history of Medieval and Early Modern Northern Europe. As it progressed, however, this project became in our minds a celebration of the multiplicity and exuberance of the new production …

Distaffs And Spindles: Sexual Misbehavior In Sebald Beham’S Spinning Bee, Alison Stewart

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

Sebald Beham from Nuremberg designed his Spinning Bee woodcut around 1524 (Figure 1) as a medium-sized work of approximately 1 ft by 1.5 ft, printed on two sheets of paper glued side by side. A large number of individuals are included and most are women, significantly so because spinning bees served as meeting places for rural girls and women where they would spin and amuse themselves during the fall and winter evenings. Beham’s print is the first surviving example of a spinning bee in visual art and one of the first substantive examples of the theme in any form. The …

Head Of A Jester, Gregory Davies, Alison Stewart

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

Bite your tongue, or is it your lip? That is precisely what the fool, or jester, in the Large Head of a Jester (figure 89) is actively engaged in doing as he looks out in the direction of the viewer. A gift of the Trier-Fodor Foundation, this anonymous, German engraving of c. 1600 was acquired by the Art Gallery of Ontario, Toronto, in 1985. Image and text of this medium-sized print measure 360 x 277 mm; the sheet 402 x 312 mm. The laid paper bears a watermark of a shield incorporating a fat fleur-de-lys, or possibly a clover leaf. …

Taverns In Nuremberg Prints At The Time Of The German Reformation, Alison Stewart

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

During the sixteenth century, representations of taverns and inns increased in both prominence and number within the visual art of northern Europe. From Hieronymus Bosch to Pieter Bruegel, painters and designers of prints made images employing taverns and inns as the setting for religious and secular subjects. Bosch’s panel painting of a traveling merchant, variously titled the Wayfarer, Peddler, and the Prodigal Son, from ca. 1510), includes one of the earliest renderings of the tavern or inn in European art. Traditional interpretations of the work’s subject as the Prodigal Son underscore the religious and moralizing meanings both painting and inn …

Sebald Beham & Barthel Beham, Alison Stewart

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

The brothers (1) Sebald Beham and (2) Barthel Beham, whose oeuvre consists mainly of prints, belonged to the third generation of this Nuremberg family and were among the artists known as Little Masters because of the diminutive size of many of their engravings and etchings. They were much influenced by the work of Albrecht Dürer and are often referred to as his “pupils,” though it is unclear if the contact was solely through his prints rather than personal. Sources of inspiration included the work of artists such as Raphael and Marcantonio Raimondi, then widely available in engraved form. Following these …

Large Noses And Changing Meanings In Sixteenth-Century German Prints, Alison Stewart

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

Woodcuts produced by the Nuremberg school during the early sixteenth century provide insights into the history of taste, in particular the changing nature of the bawdy aesthetic so prevalent in the art of the time. Sebald Beham's Nose Dance of c. 1534 (fig. 170) offers a good case in point.' The print represents in the foreground a group of large-nosed men and one woman, and a fool who exposes himself (at lower right). By the early seventeenth century the woodblock had been altered, removing most of the offensive areas -- the large noses and some of the revealed body parts …

Paintings And Drawings In Willa Cather's Prose: A Catalogue Raisonné, Polly P. Duryea

Department of English: Dissertations, Theses, and Student Research

Paintings and Drawings in Willa Cather's Prose: A Catalogue Raisonné considers the specific artists and their visual art that greatly influenced Willa Cather's textual compositions. The Catalogue draws upon the author's research of Cather-related art from both American and European libraries and art museums. This art includes painting, drawing, illustration, and tapestry. A detailed and alphabetized list of selected artists and paintings that Cather preferred is provided. The artists are cross-referenced with Cather's own statements about their work or style. Included is biographical data for each artist, the named work of art, and often the date executed, the location then …

The Kermis Woodcuts Of Sebald Beham In Reformation Nuremberg, Alison Stewart

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

Sebald Beham's kermis prints, published in Nuremberg from 1528 to the mid-1530s, are discussed within the context of kermis as a popular festival in Nuremberg. The kermis images, created at the time the Lutheran Reformation was taking hold in Nuremberg, are shown to be both extensions of that festival celebrated throughout Nuremberg's countryside and of the town council's attempts to control or halt most of the celebration. In contrast to recent studies stressing the peasant class and criticism of it at kermis, and the viewer's distance from what is represented, this essay shows that members of all social classes enjoyed …

Sebald Beham's Fountain Of Youth-Bathhouse Woodcut: Popular Entertainment And Large Prints By The Little Masters, Alison G. Stewart

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

Sebald Beham designed a woodcut representing a Fountain of Youth-Bathhouse that has been convincingly dated based on copies to the years ca. 1530-31, when Sebald first used the monogram HSB printed at the center of the print. This date is corroborated by the only known dated impression, which also has a text (Oxford, the Ashmolean Museum); the date 1531 and the name of the publisher, Albrecht Glockendon, are printed at the end of the text below the print (Fig. 1). The woodcut is large. It was printed onto four sheets of full-size paper and measures over one foot high by …

New Drawings By Erhard Schön And His Circle, Alison G. Stewart

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

Erhard Schön was the most prolific draughtsman in Nuremberg after Sebald Beham during the second quarter of the sixteenth century, between the end of Dürer's activity and the beginning of Virgil Solis' and Jost Amman's. A pupil of Dürer renowned for his prodigious woodcut production -- some 1,200 book illustrations and 500 single sheets -- Schön also executed at least thirty-eight drawings. These works, never published as a group, are mostly presentation drawings in pen and ink housed at Berlin, Cologne, and Erlangen. They date primarily to the 1530s and early 1540s and have been linked chiefly to Schön's prints. …

Joseph Drilling, Alison Stewart

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

The popularity of Joseph as carpenter-provider for Mary and Jesus was discussed by Cynthia Hahn last year (LXVIII1,9 86, 54- 66) in relation to Campin's Merode Triptych and other examples of 15th-century art and literature. In Campin's painting, Joseph is represented in the right wing seated amid an array of carpenter's tools, pieces of wood, and handmade wooden objects. The oft discussed winepress strainer, or firescreen (the latter suggested by Hahn), which Joseph drills, appears to have a visual correlative in an unpublished anonymous 15th-century Flemish panel painting in the Museo Correr, Venice (Figs. 1, 2).

There, on the verso …

Early Woodcut Workshops, Alison Stewart

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

Little is known about the workshops of the earliest print masters. The size of these shops, as well as the names and wages of the individuals involved, has often just not come down to us. Furthermore, division of labor varied so widely from shop to shop that the meanings of specific terms denoting the different professions are sometimes unclear. Yet throughout the first 150 years of the history of the woodcut—ca. 1400 to 1550—its greatest period, the division of labor common in workshop production was also standard for the production of woodcuts. That division included the separation of designer, cutter, …

Unequal Lovers: A Study Of Unequal Couples In Northern Art, Alison G. Stewart

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

Love between the old and the young is a theme that has interested artists and audiences since antiquity, when Plautus (d. 184 B.C.), working after Greek originals, set down in writing the first representations of this theme that have come down to us.

The scope of this work is primarily the fifteenth and early sixteenth centuries, a period in which conditions were such that the Unequal Lovers theme attained a new popularity and was first depicted as an independent representation in the visual arts. This popularity was most pronounced in northern Europe, especially Germany, and it is this greatest period …

The Art Of Printmaking: Part 2. Master Prints From The Fifteenth Through The Eighteenth Centuries, Norman A. Geske

Sheldon Museum of Art: Catalogs and Publications

SCHONGAUER, MARTIN
ALDEGREVER, HEINRICH
ALTDORFER, ALBRECHT
BALDUNG-GRIEN, HANS
BEHAM, BARTHEL
CRANACH, LUCAS
DURER, ALBRECHT
DUVET, JEAN
HOLBEIN, HANS
LAUTENSACK, HANS SEBALD
VAN LEYDEN, LUCAS
MANTEGNA, ANDREA
BOSSE, ABRAHAM
CALLOT, JACQUES
CARRACCI, AGOSTINO
GELLEE, CLAUDE (called Lorrain)
GOLTZIUS, HENDRIK
NANTEUIL, ROBERT
VAN RIJN, REMBRANDT HARMENSZ
CANAL, ANTONIO (called Canaletto)
HOGARTH, WILLIAM
MOREAU, JEAN-MICHEL (known as Moreau Ie Jeune)
PIRANESI, GIOVANNI BATTISTA

The Art Of Printmaking: Part 3. Master Prints From The Nineteenth And Twentieth Centuries, Norman A. Geske

Sheldon Museum of Art: Catalogs and Publications

BONNARD, PIERRE
BOYS, THOMAS SHOTTER
CEZANNE, PAUL
DAUMIER, HONORE
DEGAS, EDGAR
DELACROIX, EUGENE
DORE, GUSTAVE
FANTIN~LATOUR, HENRI
GAUGUIN, PAUL
GOYA, FRANCISCO JOSE
GROS, BARON ANTOINE JEAN
ISABEY, EUGENE
MANET, EDOUARD
MILLET, JEAN-FRANCOIS
MERYON, CHARLES
PISSARRO, CAMILLE
REDON,ODILON
TOULOUSE-LAUTREC, HENRI DE
TURNER, JOSEPH MALLORD WILLIAM
BECKMANN, MAX
BRAQUE, GEORGES
KANDINSKY, WASSILI
KIRCHNER, ERNST LUDWIG
KOLLWITZ, KATHE
LIEBERMANN, MAX
MUNCH, EDVARD
MATISSE, HENRI
PECHSTEIN, MAX
PICASSO, PABLO RUIZ
ROUAULT, GEORGES

The Art Of Printmaking: Part 4. American Prints From The Eighteenth Century To The Present, Norman A. Geske

Sheldon Museum of Art: Catalogs and Publications

PEALE, CHARLES WILSON
PELHAM, PETER
SAVAGE, EDWARD
CASSATT, MARY
CATLIN, GEORGE
DUVENECK, FRANK
HOMER, WINSLOW
HUNT, WILLIAM MORRIS
WHISTLER, JAMES McNEIL
WEIR, J. ALDEN
BELLOWS, GEORGE W.
CORNELL, THOMAS
CRAWFORD, RALSTON
FEININGER, LYONEL
HASSAM, CHILDE
HOPPER, EDWARD
JONES, JOHN PAUL
KUNIYOSHI, YASUO
LANDECK, ARMIN
LASANSKY, MAURICIO
SISTER MARY CORITA, I.H.M.
McGARRELL, JAMES
OROZCO, JOSE CLEMENTE
PEARSON, HENRY
PETERDI, GABOR
PONCE DE LEON, MICHAEL
POSADA, JOSE GUADALUPE
SLOAN, JOHN
SUMMERS, CAROL
WALD, SYLVIA

The Art Of Printmaking: Part 1. The Tools And Techniques Of The Printmaker, Norman Geske

Sheldon Museum of Art: Catalogs and Publications

There are four major techniques for making original prints. A brief descriptlon of each of these -- relief processes, incised processes, planographic processes, and stencil processes -- is found in the following paragraphs.

Most art museums today seek the means of reaching a wider public than is actually counted through the turnstile and, as a result, art objects have come to be a commonplace in public places of all kinds, civic and commercial. Art has even taken to the road in circulating exhibitions, art-mobiles and the like. The present series of exhibitions has been organized as an effort in this …

Outdoor Sculpture By Paul Manship, Kenneth Lynch And Sons Of Wilton, Connecticut

Sheldon Museum of Art: Catalogs and Publications

Outdoor Sculpture by Paul Manship

For the first time since before World War II, Mr. Manship has consented to offer some of these pieces for sale through a dealer. Kenneth Lynch and Sons, one of the world's largest dealers in garden statuary, is proud to have been selected by Mr. Manship and has placed these pieces at the head of its collection.

The following are pieces of Paul Manship sculpture about which Kenneth Lynch and Sons invites your inquiry:

Maenad (548)

Susanna (500)

Spring (508)

Group of Bears (396)

Group of Deer (421)

Group of Birds (303-321 var.)

Garden of …

Ash Hollow Cave: A Study Of Stratigraphic Sequence In The Central Great Plains, John L. Champe

University Studies (University of Nebraska) (1888–1984)

The Great Plains has been an important laboratory for anthropological research since the latter part of the nineteenth century. Much of the early work was ethnological in character, a consequence, perhaps, of the late preservation of tribal life in the area. These early studies, however, cover a wide range and include subjects as diverse as tribal ethnographies, special studies in ethnobotany, and distributional analyses of Sun Dance traits. Although many of the earlier studies stressed historical sequences, a definite swing away from this position soon developed. By the middle of the nineteen-twenties, in fact, investigators became so preoccupied with distributional …

Report Of Department Of Archeology, Nebraska State Historical Society, For 1903 And 1904, Elmer Ellsworth Blackman, Jade Robison

Nebraska State Historical Society: Transactions and Reports

In this document, E. E. Blackman, the State Archeologist, reports to the Nebraska State Historical Society regarding recently completed work in the field of archeology. Blackman first reports on his 1903 archeological explorations and lecture presentations. Fieldwork emphasized an investigation of flint quarries and geological formations across the central and eastern parts of the state of Nebraska. In the same year, Blackman set out on an expedition along the Blue River, with the hopes of gathering additional relics from previously excavated sites as well as from those yet to be investigated. Of primary importance was artifact collection and interpretation. Although …

Mont-Saint-Michel And Chartres, Henry Adams, Ralph Adams Cram

Electronic Texts in American Studies

FROM the moment when, through the courtesy of my friend Barrett Wendell, I came first to know Mr. Henry Adams's book, MontSaint- Michel and Chartres, I was profoundly convinced that this privately printed, jealously guarded volume should be withdrawn from its hiding-place amongst the bibliographical treasures of collectors and amateurs and given that wide publicity demanded alike by its intrinsic nature and the cause it could so admirably serve. To say that the book was a revelation is inadequately to express a fact; at once all the theology, philosophy, and mysticism, the politics, sociology, and economics, the romance, literature, and …