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Published online by Cambridge University Press: 20 November 2018
This essay should be seen as a complement and update to an earlier effort by the author with a similar charge: Larry Silver, “The State of Research: Northern European Art of the Renaissance Era,” Art Bulletin 68 (1986): 518–35. The change in period designation from Renaissance to early modern is just one index of the changes to be surveyed below. Interested readers who want to see the material of the “Golden Age” of Dutch and Flemish art can also now consult a recent essay on this “sequel” period by Mariët Westermann, “After Iconography and Iconoclasm: Current Research in Netherlandish Art, 1566–1700,” Art Bulletin 84 (2002): 351–72. I am deeply grateful to Jeffrey Chipps Smith, Articles Editor of Renaissance Quarterly, for his invitation to take on this challenging assignment.
1 See Erwin Panofsky, Early Netherlandish Painting (Cambridge, MA, 1953); The Life and Art of Albrecht Dürer (1943; Princeton, 2005, with introduction by Jeffrey Chipps Smith).
2 Johan Huizinga, The Autumn of the Middle Ages, trans. Rodney Payton and Ulrich Mammitzsch (Chicago, 1996). Originally published 1919; first translated, incompletely, into English by Fritz Hopman as The Waning of the Middle Ages (Garden City, NY, 1954).
3 See Marina Belozerskaya, Rethinking the Renaissance: Burgundian Arts across Europe (Cambridge, 2002); Jeffrey Chipps Smith, “The Artistic Patronage of Philip the Good, Duke of Burgundy” (PhD diss., Columbia University, 1979), and “The Practical Logistics of Art: Thoughts on the Commissioning, Displaying, and Storage of Art at the Burgundian Court” (in In Detail: New Studies of Northern Renaissance Art in Honor of Walter S. Gibson, ed. Laurinda Dixon, 27–47 [Turnhout, 1998]); Thomas Campbell, Tapestry in the Renaissance (exhibition catalogue, New York, 2002); and Guy Delmarcel, Flemish Tapestry (New York, 2000).
4 For Flanders, see Thomas Kren and Scot McKendrick, Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe (exhibition catalogue, Los Angeles, 2003); Maurits Smeyers, Flemish Miniatures from the 8th to the mid-16th Century (Louvain, 1999); for France, see François Avril and Nicole Reynaud, Les Manuscrits à peintures en France, 1440–1520 (exhibition catalogue, Paris, 1993); and for Bavaria, see Ulrich Merkl, Buchmalerei in Bayern in der ersten Hälfte des 16. Jahrhundert (Regensburg, 1999).
5 Michael Baxandall, The Limewood Sculptors of Renaissance Germany (New Haven, 1980).
6 Jeffrey Chipps Smith, German Sculpture of the Later Renaissance c. 1520–1580 (Princeton, 1994).
7 Lynn Jacobs, Early Netherlandish Carved Altarpieces, 1380–1550: Medieval Tastes and Mass Marketing (Cambridge, 1998).
8 Jill Dunkerton et al., Giotto to Dürer: Early Renaissance Painting in the National Gallery (New Haven, 1991).
9 Susan Foister, Holbein and England (New Haven, 2004).
10 Richard Marks and Paul Williamson, eds., Gothic: Art for England 1400–1547 (exhibition catalogue, London, 2003).
11 Hans Belting, Likeness and Presence: A History of the Image before the Era of Art (1990; reprint, Chicago, 1994).
12 Hans Belting, The End of the History of Art? (1983; reprint, Chicago, 1987); Hans Belting and Christiane Kruse, Die Erfindung des Gemäldes. Das erste Jahrhundert der niederländischen Malerei (Munich, 1994). See, most recently, Beltings ’ Art History after Modernism (1995; reprint, Chicago, 2003); see also Gerhard Wolf, Schleier und Spiegel. Traditionen des Christusbildes und die Bildkonzepte der Renaissance (Munich, 2002), which discusses icons of Christ in relation to a new Renaissance concept of the image.
13 Victor Stoichita, The Self-Aware Image: An Insight into Early Modern Meta-Painting (1993; reprint, Cambridge, 1997).
14 Zirka Zaremba Filipczak, Picturing Art in Antwerp 1550–1700 (Princeton, 1987).
15 For Italian self-portraits, see Joanna Woods-Marsden, Renaissance Self-Portraiture (New Haven, 1998); the seventeenth-century Dutch phenomenon has been well analyzed by Hans-Joachim Raupp, Untersuchungen zu Künstlerbildnis und Künstlerdarstellung in den Niederlanden im 17. Jahrhundert (Hildesheim, 1984). On Rembrandts’ self-portraits, see H. Perry Chapman, Rembrandts Self-Portraits ’(Princeton, 1990); Harry Berger, Jr., Fictions of the Pose: Rembrandt against the Italian Renaissance (Stanford, 2000); for Rembrandts ’ self-fashioning in “the studio and the market,” see Svetlana Alpers, Rembrandt’s Enterprise: The Studio and the Market (Chicago, 1988). Gallery pictures also form a major topic for Filipczak (see n. 14 above).
16 See Joseph Koerner, The Moment of Self-Portraiture in German Renaissance Art (Chicago, 1993).
17 See Christopher Wood, Albrecht Altdorfer and the Origins of Landscape (Chicago, 1993).
18 David Freedberg, The Power of Images: Studies in the History and Theory of Response (Chicago, 1989).
19 See Freedberg’s “The Problem of Images in Northern Europe and its Repercussions in the Netherlands,” Hafnia, Copenhagen Papers in the History of Art (1976): 229–45; Iconoclasts and their Motives (Maarsen, 1985); and “Art and Iconoclasm, 1525–1580: The Case of the Northern Netherlands,” in Kunst voor de Beeldenstorm: Noordnederlandse Kunst 1525–1580, ed. J. P. Filedt Kok, W. Halsema Kubes, and W. T. Kloek, 39–84 (exhibition catalogue, Amsterdam, 1986).
20 Carlos Eire, War against the Idols (Cambridge, 1986); Lee Palmer Wandel, Voracious Idols and Violent Hands: Iconoclasm in Reformation Zurich, Strasbourg, and Basel(Cambridge, 1995); Sergiusz Michalski, “Das Phänomenon Bildersturm,” in Bilder und Bildersturm im Spätmittelalter und in der frühen Neuzeit, ed. Robert Scribner (exhibition catalogue, Wiesbaden, 1990), and Reformation and the Visual Arts (London, 1993).
21 Robert Scribner, For the Sake of Simple Folk: Popular Propaganda for the German Reformation (Cambridge, 1981); see also Scribner’s Religion and Culture in Germany (1400– 1800) (London, 2001).
22 Peter and Linda Parshall, Art and the Reformation: An Annotated Bibliography (Boston, 1986).
23 Bridget Heal, “A Woman Like Any Other? Images of the Virgin Mary and Marian Devotion in Nuremberg, Augsburg, and Cologne, c. 1500–1600” (PhD diss., University of London, 2001); Andrew Morrall, Jörg Breu the Elder: Art, Culture, and Belief in Reformation Augsburg (Aldershot, 2001).
24 Freedberg, 1976, 1985, and 1986 (see n. 19 above); also exhibitions: Norbert Schnitzler, Ikonoklasmus-Bilderstum (Munich, 2002), ed. Bruno Latour and Peter Weibel, Iconclash (Karlsruhe, 2002).
25 Joseph Koerner, The Reformation of the Image (Chicago, 2004); Bonnie Noble, “‘A Work in Which the Angels are Wont to Rejoice: Lucas Cranach’s ’ Schneeberg Altarpiece”, Sixteenth Century Journal 34 (2003): 1011–38; Werner Hoffmann, ed., Luther und die Folgen für die Kunst (exhibition catalogue, Hamburg, 1983).
26 Paul Corby Finney, Seeing Beyond the Word: Visual Arts and the Calvinist Tradition (Grand Rapids, 1999).
27 John O’Malley, S.J., Gauvin Alexander Bailey, Steven Harris, and T. Frank Kennedy, eds., The Jesuits: Cultures, Sciences, and the Arts, 1540–1773 (Toronto, 1999); Thomas Da Costa Kaufmann, “East and West: Jesuit Art and Artists in Central Europe and Central European Art in the Americas” (in O’Malley et al., The Jesuits, 274–304) and Toward a Geography of Art (Chicago, 2004); Evonne Levy, Propaganda and the Jesuit Baroque (Berkeley, 2004).
28 For architecture, see Jeffrey Chipps Smith, Sensuous Worship: Jesuits and the Art of the Early Catholic Reformation in Germany (Princeton, 2002). For prints, see Walter Melion, “Artifice, Memory, and Reformatio in Hieronymus Nataliss ’ Adnotationes et meditationes in Evangelia”, Renaissance and Reformation 23 (1998): 5–34; Karen Bowen and Dirk Imhof, “Reputation and Wage: The Case of Engravers Who Worked for the Plantin-Moretus Press,” Simiolus 30 (2003): 160–95.
29 Peter Parshall, “Imago contrafacta: Images and Facts in the Northern Renaissance,” Art History 16 (1993): 554–79.
30 Reindert Falkenburg, Joachim Patinir: Landscape as an Image of the Pilgrimage of Life (Amsterdam, 1988); The Fruit of Devotion: Mysticism and the Imagery of Love in Flemish Paintings of the Virgin and Child, 1450–1550 (Amsterdam, 1994); “Marginal Motifs in Early Flemish Landscape Painting,” in Herri met de Bles, ed. Norman Muller, Betsy Rosasco, and James Marrow, 153–69 (Princeton, 1998); and “The Household of the Soul: Conformity in the Merode Triptych,” in Early Netherlandish Painting at the Crossroads, ed. Maryane Ainsworth, 2–17 (New York, 2001).
31 For the mimetic turn, see Linda Seidel, “The Value of Verisimilitude in the Art of Jan van Eyck,” in Contexts: Style and Values in Medieval Art and Literature, ed. Daniel Poiron and Nancy Freeman Regalado, 23–43 (New Haven, 1991). For visuality, see Robert Nelson, ed., Visuality Before and Beyond the Renaissance (Cambridge, 2000).
32 See Craig Harbison, “Visions and Meditations in Early Flemish Painting,” Simiolus 15 (1985): 87–118; James Marrow, “Symbol and Meaning in Northern European Art of the Late Middle Ages and the Early Renaissance,” Simiolus 16 (1986): 150–69; and Jeffrey Hamburger, The Visual and the Visionary (Cambridge, MA, 1998). For Spain, see Victor Stoichita, Visionary Experience in the Golden Age of Spanish Art (London, 1995).
33 Nicole Dacos, Fiamminghi a Roma 1508–1608 (exhibition catalogue, Brussels, 1995).
34 Ethan Matt Kavaler, “The Jubé of Mons and the Renaissance in the Netherlands,” Nederlands Kunsthistorisch Jaarboek 45 (1994): 348–81; “Renaissance Gothic in the Netherlands: The Uses of Ornament,” Art Bulletin 82 (2000): 226–51.
35 Larry Silver, “The ‘Gothic’ Gossaert,” Pantheon 45 (1987): 58–69; Ariane Mensger, Jan Gossaert. Die niederländische Kunst zu Beginn der Neuzeit (Berlin, 2002).
36 See Kaufmanns ’ Toward a Geography of Art in n. 27 above.
37 Eric Jan Sluijter, “De ‘heydensche fabulen ’ in de Noordnederlandse schilderkunst, circa 1590–1670” (PhD diss., University of Leiden, 1986); “Emulating Sensual Beauty: Representations of Danaë from Gossaert to Rembrandt,” Simiolus 27 (1999): 4–45; Seductress of Sight: Studies in Dutch Art of the Golden Age (Zwolle, 2000).
38 The catalogue is Huigen Leeflang and Ger Luijten, eds., Hendrick Goltzius (1558–1617) (Amsterdam, 2003). Melions articles include “Karel van Mander’s Life of Goltzius: Defining the Paradigm of Protean Virtuosity in Haarlem around 1600,” Studies in the History of Art 27 (1989): 113–33; “Hendrick Goltzius’s Project of Reproductive Engraving,” Art History 13 (1990): 458–87; “Love and Artisanship in Hendrick Goltzius’s Venus, Bacchus and Ceres of 1606,” Art History 16 (1993): 60–94; “Self-Imaging and the Engraver’s virtù: Hendrick Goltzius’s Roman Heroes”, Modern Language Notes 110 (1995): 1090–1134; and “Vivae dixisses virginis ora: The Discourse of Color in Hendrick Goltzius’s Pygmalion and the Ivory Statue”, Word and Image 17 (2001): 153–76.
39 See Maximiliaan Martens, ed., Bruges and the Renaissance (exhibition catalogue, Bruges, 1998); Albert Blankert et al., eds., Dutch Classicism in Seventeenth-Century Painting (exhibition catalogue, Rotterdam, 2000).
40 Bernard Aikema and Beverly Brown, Renaissance Venice and the North (exhibition catalogue, New York, 1999).
41 For Holbein the Elder, see Katharina Kruse, Hans Holbein der Ältere (Berlin, 2002); for Breu, see Morrall, 2001 (n. 23 above).
42 Mark Meadow, Pieter Bruegel the Elder’s Netherlandish Proverbs and the Practice of Rhetoric (Zwolle, 2002); and “Bruegel’s Procession to Calvary, Æmulatio and the Space of Vernacular Style,” Nederlands Kunsthistorisch Jaarboek 47 (1997): 181–205. See also Catherine Scallen, “Rembrandt, Emulation, and the Northern Print Tradition,” in In Detail: New Studies of Northern Renaissance Art in Honor of Walter S. Gibson, ed. Laurinda Dixon, 135–49 (Turnhout, 1998); and Arthur Wheelock, Jr., “The Influence of Lucas van Leyden on Rembrandt’s Narrative Etchings,” in Essays in Northern European Art Presented to Egbert Haverkamp-Begemann on his Sixtieth Birthday, ed. Anne-Marie Logan, 291–96 (Doornspijk, 1983).
43 Walter Melion, Shaping the Netherlandish Canon: Karel van Mander’s Schilder-Boeck (Chicago, 1991); Jürgen Müller, Concordia Pragensis. Karel van Manders Kunsttheorie im Schilder-Boeck (Munich, 1993); Doris Krystof, Werben für die Kunst. Bildliche Kunsttheorie und das Rhetorische in den Kupferstichen von Hendrick Goltzius (Hildesheim, 1997). Miedema’s works include the edited volume Karel van Mander, Den Grondt der Edel Vry Schilder-Const, Uitgegeven en van Vertaling en Commentaar Vorzien door H. Miedema (Utrecht, 1973); “Kunst, kunstenaar, kunstschilder: een bijdrage tot de geschiedenis van de begrippen,” Oud Holland 102 (1988): 71–77; and Karel van Mander, The Lives of the Illustrious Netherlandish and German Painters, Edited and with Commentary by Hessel Miedema, trans. Derry Cook-Radmore (Doornspijk, 1994).
44 Reindert Falkenburg, “Pieter Aertsen, Rhyparographer,” in Rhetoric-Rhétoriqueurs-Rederijkers, ed. Jelle Koopmans, Mark Meadow, Kees Meerhoff, and Marijke Spies (Amsterdam, 1995), 197–217; Nina Serebrennikov, “‘Dwelck den Mensche, aldermeest tot Consten verwect’: The Artist’s Perspective, ” in ibid., 219–46.
45 See Herman Plej, Het gilde van de Blauwe Schuit (Amsterdam, 1983); De Sneeuwpoppen van 1511 (Amsterdam, 1988); and Dreaming of Cockaigne, trans. Diane Webb (1997; reprint, New York, 2001).
46 Dagmar Eichberger and Charles Zika, Dürer and His Culture (Cambridge, 1998).
47 Keith Moxey, The Practice of Theory: Poststructuralism, Cultural Politics, and Art History (Ithaca, 1994); The Practice of Persuasion: Paradox and Power in Art History (Ithaca, 2001).
48 David Landau and Peter Parshall, The Renaissance Print 1470–1550 (New Haven, 1994).
49 For the fifteenth century, see Origins of European Printmaking: Fifteenth-Century Woodcuts and their Public (exhibition catalogue, Washington, DC, 2005); for later printmakers, see Timothy Riggs and Larry Silver, Graven Images: The Rise of Professional Printmakers in Antwerp and Haarlem, 1540–1640 (exhibition catalogue, Evanston, 1993).
50 The catalogue for the upcoming exhibition is Michael Cole and Madeleine Viljoen, The Early Modern Painter-Etcher (Philadelphia, forthcoming); Susan Dackerman, Painted Prints (exhibition catalogue, Baltimore, 2002).
51 Jan van der Stock, Printing Images in Antwerp: The Introduction of Printmaking to a City, Fifteenth Century to 1585 (Rotterdam, 1998).
52 Stephen Scher, The Currency of Fame: Portrait Medals of the Renaissance (exhibition catalogue, New York, 1994); for Smith, 1994, see n. 6 above.
53 For palaces, see Krista De Jonge, “Der herzogliche und kaiserliche Palast zu Brüssel und die Entwicklung des höfische Zeremoniells im 16. und 17. Jahrhundert,” Jahrbuch des Zentralinstituts für Kunstgeschichte 5–6 (1989–90): 253–82; “Het paleis op de Coudenberg te Brussel in de vijftiende eeuw,” Revue Belge d’ Archéologie et d’Histoire de l’Art 59 (1990): 5–38; and “The Architectural Enterprises of the Emperor and his Court in the Low Countries: The European Context,” in Belén Bartolomé Francia, ed., Carolus, 35–53 (exhibition catalogue, Toledo, 2000). For churches, see Jeremy Bangs, Church Art and Architecture in the Low Countries before 1566 (Kirksville, 1997). For stained glass, see Ellen Konowitz, Images in Light and Line: The Stained Glass Designs and Prints of Dirk Vellert (Turnhout, 2005); and Timothy Husband, The Luminous Image: Painted Glass Roundels in the Lowlands, 1480–1560 (exhibition catalogue, New York, 1995).
54 Hugo van der Velden, The Donor’s Image: Gerard Loyet and the Votive Portraits of Charles the Bold (Turnhout, 2000).
55 See Susan Caroselli, The Painted Enamels of Limoges (exhibition catalogue, Los Angeles, 1993); Leonard Amico, Bernard Palissy: In Search of Earthly Paradise (Paris, 1996).
56 See Barbara Wisch and Susan Scott Munshower, eds., “All the World s a Stage. … ”: Art and Pageantry in the Renaissance and Baroque (University Park, 1990); Reindert Falkenburg et al., eds. Hof-, staats- en stadsceremonies. Nederlands Kunsthistorisch Jaarboek 49 (1998).
57 Maryane Ainsworth, Gerard David: Purity and Vision in an Age of Transition (New York, 1998); Molly Faries, “Technical Studies of Early Netherlandish Painting: A Critical Overview of Recent Developments,” in Recent Developments in the Technical Examination of Early Netherlandish Painting: Methodology, Limitations & Perspectives, ed. Molly Faries and Ron Spronk, 1–37 (Turnhout, 2003); David Bomford, ed., Art in the Making: Underdrawing in Renaissance Paintings (London, 2002).
58 Smith, 1994 (see n. 6 above); Thomas Da Costa Kaufmann, Court, Cloister & City: The Art and Culture of Central Europe 1450–1800 (Chicago, 1995); Pia Francesca Cuneo, Art and Politics in Early Modern Germany: Jörg Breu the Elder and the Fashioning of Political Identity ca. 1475–1536 (Leiden, 1998); Brigitte Corley, Painting and Patronage in Cologne 1300–1500 (Turnhout, 2000); Rainer Budde and Roland Krischel, eds., Genie ohne Namen. Der Meister des Bartholomäus-Altars (exhibition catalogue, Cologne, 2001); Dietmar Lüdke, ed., Spätmittelalter am Oberrhein. Maler und Werkstätten 1450–1525 (exhibition catalogue, Karlsruhe, 2002); and Julien Chapuis, Stefan Lochner: Image Making in Fifteenth-Century Cologne (Turnhout, 2004).
59 Barbara Butts and Lee Hendrix, Painting on Light: Drawings and Stained Glass in the Age of Dürer and Holbein (exhibition catalogue, Los Angeles, 2000).
60 The catalogue for the exhibition is Wenzel Jamnitzer und die Nü rnberger Goldschmiedekunst 1500–1700 (Nuremberg, 1985). For the German metalworkers, see EliŔka Fuc íková et al., eds., Rudolf II and Prague (exhibition catalogue, Prague, 1997).
61 See Norbert Nussbaum, German Gothic Church Architecture, trans. Scott Kleager (1994; reprint, New Haven and London, 2000). For Smith, 2002, see n. 28 above
62 Martin Warnke, The Court Artist, trans. David McLintock (1985; reprint, Cambridge, 1993); Edgar Bierende, Lucas Cranach d. Ä. und der deutsche Humanismus (Munich, 2002); Susan Maxwell, “Friedrich Sustris and the Rise of the Court Artist: Bavarian Court Patronage in the Age of the Counter-Reformation” (PhD diss., University of Virginia, 2002); Thomas Schauerte, Albrecht Dürer. Das grosse Glück. Kunst im Zeichen des geistigen Aufbruchs (exhibition catalogue, Osnabrück, 2003).
63 Henri Zerner, Renaissance Art in France: The Invention of Classicism (1996; reprint, Paris, 2002). For French prints, see The French Renaissance in Prints from the Bibliothèque Nationale de France (exhibition catalogue, Los Angeles, 1994); for ecclesiastical tapestries, see Laura Weigert, Weaving Sacred Stories: French Choir Tapestries and the Performance of Clerical Identity (Ithaca, 2004).
64 Blood, Milk, Ink, Gold: Abundance and Excess in the French Renaissance (Chicago, 2005).
65 Till-Holger Borchert, The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting 1430–1530 (exhibition catalogue, Bruges, 2002).
66 Ibid.; Jean-Marie Duvosquel and Ignace Vandevivere, Luister van Spanje en de Belgische Steden 1500–1700 (exhibition catalogue, Brussels, 1985). For the pre-Rubens era, see Alexander Vergara, Rubens and his Spanish Patrons (Cambridge, 1999).
67 For retablos, see Judith Berg Sobré, Behind the Altar Table: The Development of the Painted Retable in Spain, 1350–1500 (Columbia, MO, 1989); Chiyo Ishikawa, The Retablo de Isabel la Católica by Juan de Flandes and Michel Sittow (Turnhout, 2004). For painted devotional images, see Stoichita, 1995 (n. 32 above); for sculpted ones, see Susan Verdi Webster, Art and Ritual in Golden-Age Spain (Princeton, 1998). For the Toledo manuscripts, see Lynette Bosch, Art, Liturgy, and Legend in Renaissance Toledo (University Park, 2000); general art production is examined in The Word Made Image: Religion, Art, and Architecture in Spain and Spanish America, 1500–1600, Fenway Court 28 (1998).
68 For the Habsburgs, see Antonio Dominguez Ortiz, Concha Herrero Carretero, and José Godoy, Resplendence of the Spanish Monarchy: Renaissance Tapestries and Armor from the Patrimonio Nacional (exhibition catalogue, New York, 1991). For the Plaza Mayor, see Jesus Escobar, The Plaza Mayor and the Shaping of Baroque Madrid (Cambridge, 2003); for Philip II, see Rosemarie Mulchay, The Decoration of the Royal Basilica of El Escorial (Cambridge, 1994) and Philip II of Spain: Patron of the Arts (Dublin, 2004).
69 Richard Kagan, Spanish Cities of the Golden Age (Berkeley, 1989); and Urban Images of the Hispanic World 1493–1793 (New Haven, 2000).
70 See Gauvin Alexander Bailey, Art of Colonial Latin America (London, 2005).
71 See David Starkey, Elizabeth (exhibition catalogue, London, 2003); David Howarth, Images of Rule: Art and Politics in the English Renaissance, 1485–1649 (Berkeley, 1997); John King, Tudor Royal Iconography (Princeton, 1989); Karen Hearn, ed., Dynasties: Painting in Tudor and Jacobean England 1530–1630 (exhibition catalogue, London, 1995).
72 Richard Marks and Paul Williamson, Gothic: Art for England 1400–1547 (exhibition catalogue, London, 2003); Eamon Duffy, The Stripping of the Altars: Traditional Religion in England 1400–1580 (New Haven and London, 1992).
73 Peter Erickson and Clark Hulse, Early Modern Visual Culture: Representation, Race, and Empire in Renaissance England (Philadelphia, 2000).
74 For Bohemia, see Thomas Da Costa Kaufmann, The School of Prague (Chicago, 1988); Fuc íková et al. (n. 60 above). For Poland, see Jan Ostrowski, Land of the Winged Horsemen: Art in Poland 1572–1764 (exhibition catalogue, Alexandria, VA, 1999).
75 See Steffen Heiberg, ed., Christian IV and Europe (exhibition catalogue, Copenhagen, 1988); Kaufmann, 2004 (see n. 27 above).
76 See Bailey, 2005 (n. 70 above); Kees Zandvliet, The Dutch in Asia 1600–1950 (Amsterdam, 2002).
77 Claire Farago, ed., Reframing the Renaissance: Visual Culture in Europe and Latin America 1450–1650 (New Haven and London, 1995); Paul Vandenbroek, America: Bride of the Sun (exhibition catalogue, Antwerp, 1992); William Eisler, The Furthest Shore: Images of Terra Australis from the Middle Ages to Captain Cook (Cambridge, 1995).
78 Gauvin Alexander Bailey, Art on the Jesuit Missions in Asia and Latin America 1542–1773 (Toronto, 1999).
79 Benjamin Schmidt, Innocence Abroad: The Dutch Imagination and the New World, 1570–1670 (Cambridge, 2001); Zandvliet, 2002 (n. 76 above).
80 Anna Jackson and Amin Jaffer, Encounters: The Meeting of Asia and Europe 1500–1800 (exhibition catalogue, London, 2004).
81 Kees Zandvliet, Mapping For Money: Maps, Plans, and Topographic Paintings and their Role in Dutch Overseas Expansion during the 16th and 17th Centuries (Amsterdam, 1998); Kagan, 2000 (see n. 69 above).
82 David Woodward, ed., History of Cartography, volume on Renaissance-early modern Europe (forthcoming).
83 Parshall, 1993 (n. 29 above); Fritz Koreny, Albrecht Dürer and the Animal and Plant Studies of the Renaissance, trans. Pamela Marwood and Yehuda Shapiro (Boston, 1988); Colin Eisler, Dürer’s Animals (Washington, DC, 1991).
84 Christopher Wood, “‘Curious Pictures’ and the Art of Description,” Word & Image 11 (1995): 332–52; Claudia Swan, “Ad vivum, naer het leven, from the Life: Defining a Mode of Representation,” Word & Image 11 (1995): 353–72; see now Swan, Art, Science, and Witchcraft in Early Modern Holland: Jacques de Gheyn II (1565–1629) (Cambridge, 2005).
85 Paul Taylor, Dutch Flower Painting 1600–1720 (New Haven, 1995); Alan Chong and Wouter Kloek, Still-Life Paintings from the Netherlands 1550–1720 (exhibition catalogue, Cleveland, 1999).
86 Ellinnor Bergvelt and Renée Kistemaker, De wereld binnen handbereik. Nederlandse kunst en rariteitenverzamelingen, 1585–1735 (exhibition catalogue, Amsterdam, 1992); Pamela Smith, The Body of the Artisan: Art and Experience in the Scientific Revolution (Chicago, 2004).
87 Pamela Smith and Paula Findlen, Merchants and Marvels: Commerce, Science, and Art in Early Modern Europe (New York, 2002).
88 Roberta Olson, Fire and Ice: A History of Comets in Art (New York, 1985); Roberta Olson and Jay Pasachoff, Fire in the Sky: Comets and Meteors, the Decisive Centuries, in British Art and Science (Cambridge, 1998). See also Larry Silver, “Nature and Nature’s God: Landscape and Cosmos of Albrecht Altdorfer,” Art Bulletin 81 (1999): 194–214.
89 Lorraine Daston and Katherine Park, Wonders and the Order of Nature 1150–1750 (Cambridge, MA, 1998).
90 Zirka Zaremba Filipczak, Hot Dry Men/Cold Wet Women: The Theory of Humors in Western European Art 1575–1700 (exhibition catalogue, New York, 1997); Claire Richter Sherman, Writing on Hands: Memory and Knowledge in Early Modern Europe (exhibition catalogue, Carlisle, PA, 2000).
91 Keith Moxey, Peasants, Warriors, and Wives: Popular Imagery in the Reformation (Chicago, 1989).
92 J. R. Hale, Artists and Warfare in the Renaissance (New Haven, 1990); Pia Francesca Cuneo, Artful Armies, Beautiful Battles: Art and Warfare in Early Modern Europe (Leiden, 2002); David Kunzle, From Criminal to Courtier: The Soldier in Netherlandish Art 1550–1672 (Leiden, 2002).
93 Mitchell Merback, The Thief, the Cross and the Wheel: Pain and the Spectacle of Punishment in Medieval and Renaissance Europe (Chicago, 1998).
94 Paul Vandenbroeck, ed., Beeld van de andere, Vertoog over het zelf: Over Wilden en narren, Boeren en bedelaars (exhibition catalogue, Antwerp, 1987); De kleuren van de geest: Dans en trance in Afro-Europese Tradities (Ghent, 1997).
95 Eddy de Jongh and Ger Luijten, Mirror of Everyday Life: Genre Prints in the Netherlands 1550–1700 (exhibition catalogue, Amsterdam, 1997).
96 Jan Baptist Bedaux and Rudi Ekkart, Pride and Joy: Children’s Portraits in the Netherlands 1500–1700 (exhibition catalogue, Haarlem, 2000).
97 H. Diane Russell and Bernadine Barnes, Eva/Ave: Woman in Renaissance and Baroque Prints (exhibition catalogue, Washington, DC, 1990); Jane Carroll and Alison Stewart, eds., Saints, Sinners, and Sisters: Gender and Northern Art in Medieval and Early Modern Europe (Aldershot, 2003).
98 See Lyndal Roper, Witch Craze (New Haven, 2004); Charles Zika, Exorcising Our Demons: Magic, Witchcraft and Visual Culture in Early Modern Europe (Leiden, 2003).
99 Art historians include Linda Hults, The Witch as Muse: Art, Gender, and Power in Early Modern Europe (Philadelphia, 2005); Petty Bange et al., Tussen heks en heilige. Het vrouwbeeld op de drempel van de moderne tijd, 15de/16de eeuw (Nijmegen, 1985). For the “Power of Women” cycle, see Yvonne Blyerveld, Hoe bedriechlijck dat die vrouwen zijn. Vrouwenlisten in de beeldende kunst in de Nederlanden circa 1350–1650 (Leiden, 2000); Susan Smith, The Power of Women: A Topos in Medieval Art and Literature (Philadelphia, 1995).
100 See Diane Wolfthal, Images of Rape: The “Heroic” Tradition and its Alternatives (Cambridge, 1999); Madeline Caviness, Visualizing Women in the Middle Ages: Sight, Spectacle, and Scopic Economy (Philadelphia, 2001).
101 Bette Talvacchia, Taking Positions: On the Erotic in Renaissance Culture (Princeton, 1999); Janey Levy, “The Erotic Engravings of Sebald and Barthel Beham: A German Interpretation of a Renaissance Subject,” in The World in Miniature: Engravings by the German Little Masters, ed. Stephen Goddard, 40–53 (exhibition catalogue, Lawrence, KS, 1988). For Dürer’s and Baldung’s nudes, see Sigrid Schade, Schadenzauber und die Magie des Körpers: Hexenbilder der frühen Neuzeit (Worms, 1983); Joseph Koerner, 1993 (n. 16 above); Charles Talbot, “Baldung and the Female Nude,” in Hans Baldung Grien: Prints and Drawings, ed. James Marrow and Alan Shestack, 19–37 (exhibition catalogue, New Haven, 1981).
102 Ann Rosalind Jones and Peter Stallybrass, Renaissance Clothing and the Materials of Memory (Cambridge, 2000).
103 See, respectively, Dagmar Eichberger, Leben mit Kunst, Wirken durch Kunst. Sammelwesen und Hofkunst unter Margarete von Österreich, Regentin der Niederlande (Turnhout, 2002); Sheila ffolliott, “The Ideal Queenly Patron of the Renaissance: Catherine de’ Medici Defining Herself or Defined by Others?” in Women and Art in Early Modern Europe: Patrons, Collectors, & Connoisseurs, ed. Cynthia Lawrence, 99–110 (University Park, 1997); Starkey, 2003 (n. 71 above); Leeds Barroll, Anna of Denmark, Queen of England (Philadelphia, 2001).
104 See Filip Vermeylen, Painting for the Market: Commercialization of Art in Antwerp’s Golden Age (Turnhout, 2003); Dan Ewing, “Marketing Art in Antwerp, 1460–1560: Our Lady’s Pand,” Art Bulletin 72 (1990): 558–84; John Michael Montias, “Cost and Value in Seventeenth-Century Dutch Art,” Art History 10 (1987): 455–66, and “Socio-Economic Aspects of Netherlandish Art from the Fifteenth to the Seventeenth Century: A Survey,” Art Bulletin 72 (1990): 358–73; Neil De Marchi and Hans Van Miegroet, “Art, Value and Market Practices in the Netherlands in the Seventeenth Century,” Art Bulletin 76 (1994): 451– 63, “Exploring Markets for Netherlandish Paintings in Spain and Nueva España,” Nederlands Kunsthistorisch Jaarboek 50 (1999): 81–111, and “Rules versus Play in Early Modern Markets,” Recherches Economiques de Louvain 66 (2000): 145–65.
105 See Basil Yamey, Art and Accounting (New Haven, 1989); Jacobs, 1998 (see n. 7 above); Jean Wilson, Painting in Bruges at the Close of the Middle Ages (University Park, 1998); Elizabeth Honig, Painting and the Market in Early Modern Antwerp (New Haven, 1998); van der Stock (see n. 51 above); Larry Silver, Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market (Philadelphia, 2005).
106 See n. 87 above.
107 See the special issue devoted to Bruegel of the Nederlands Kunsthistorisch Jaarboek 47 (1997).
108 For Bruegel and Roman satire, see Margaret Sullivan, Bruegel’s Peasants (Cambridge, 1994); for Bruegel and contemporary literature, see Walter Gibson, “Artists and Rederijkers in the Age of Bruegel,” Art Bulletin 63 (1981): 426–46, and The Art of Laughter in the Age of Bosch and Bruegel (Groningen, 2003). Meadow, 1997 (see n. 42 above), looks at imitation and emulation.
109 See Ethan Matt Kavaler, Pieter Bruegel: Parables of Order and Enterprise (Cambridge, 1999); Silver, 2005 (n. 105 above).
110 Joseph Gregory, Contemporization as Polemical Device in Pieter Bruegels’ Biblical Narratives. Forthcoming.
111 See n. 46 above.
112 David Hotchkiss Price, Albrecht Dürer’s Renaissance: Humanism, Reformation, and the Art of Faith (Ann Arbor, 2003).
113 See van der Stock (n. 51 above); Landau and Parshall (n. 48 above); Parshall, 1993 (n. 29 above); Origins of European Printmaking (see n. 49 above).
114 Nn. 104 and 46 above, respectively.
