art and architecture“In a ‘modernist’ century, known chiefly for its increasing emphases both on pictorial abstrac-tion and on secularism, surely a book on this topic, American

art and architecture

penn state university press

www.psupress.org | 1

Order InformationIndividuals:

We encourage ordering through your local book-store. Payment must accompany orders to Penn State Press. Use the order form at the back of this catalogue or order online using your credit card at www.psupress.org.

Libraries: Please attach your purchase order.

Retailers: Please contact Kathleen Scholz-Jaffe, Sales Manager Penn State University Press 820 N. University Drive, USB 1, Suite C University Park, PA 16802-1003 814-867-2224; Fax 814-863-1408 E-mail: [email protected]

Examination Copies: To receive an examination copy of one of our books, please see the examination copy policy on our web site at http://www.psupress.org/ordering/order_main.html#Exam.

Titles, publication dates, and prices announced in this catalogue are subject to change without notice.

Abbreviations tr: trade discount; sh: short discount

Penn State is an affirmative action, equal opportu-nity University.

U. Ed. LIB 14-505

Cover: Larry Rivers, Bar Mitzvah Photograph Painting, 1961. Oil on canvas, 72 × 60 in. Private collection. Photo courtesy of the Tibor de Nagy Gallery, New York. Art © Estate of Larry Rivers / Licensed by VAGA, New York.

Page 7: Abyssus, underside of the reading niche, Guarna pulpit, 1153–80, cathedral of Salerno. Photo: Nino Zchomelidse.

Page 11: Francisco de Hollanda, Column, Baths of Diocletian, from the album commonly known as Antigualhas (1538–40; Escorial, Biblioteca del Monasterio de San Lorenzo, inv. 28.I.20).

Page 16: Francesco Mochi, Angel of the Annunciation, 1603–5, marble, Museo dell’Opera del Duomo, Orvieto. Photo: Michael Cole.

Page 17: Plan of the Teatro Regio of Turin. From Bernardo Antonio Vittone, Istruzioni diversi concernenti l’officio dell’architetto civile (Lugano, 1766).

Page 22: Jean-Pierre Droz, assignat, twenty-five sols, 1792. Etching, en-graving, and typography on paper. Private collection. Photo: Richard Taws.

Page 29: Diagram Showing the Essential Parts of the Composite Photographic Apparatus, 1881. Engraving. From Photographic Journal 15 (June 24, 1881).

American Art . . . . . . . . . . . . . . . 1, 21, 30–33

Animal Studies . . . . . . . . . . . . . . . . .24–25

Architecture . . . . . . . . . . . . . . . . . . 17–19

Contemporary Art . . . . . . . . . . . . . 1, 35–36

Early Modern Art . . . . . . . . . . . . . . 3, 10–21

Eighteenth-Century Art . . . . . . . . . . . . . 17, 22

History . . . . . . . . . . . . . . . . 10, 22, 28, 36

Literature . . . . . . . . . . . . . . . . . . .10, 37

Medieval Art . . . . . . . . . . . . . . . . . . . 2–9

Modernism. . . . . . . . . . . . . . . 26–29, 33, 35

Music . . . . . . . . . . . . . . . . . . . . . . 33

Nineteenth-Century Art. . . . . . . . . . . 23, 30, 31

Photography . . . . . . . . . . . . . . . . . .28–29

Theory/Criticism . . . . . . . . . . 23–25, 31–32, 34

Visual Culture . . . . . . . . . . . . . 22, 24–25, 27

Selected Backlist . . . . . . . . . . . . . . . 38–39

Index . . . . . . . . . . . . . . . . . . . . . . 40

Order Form . . . . . . . . . . . . . . . . . . . 41

Jewish Artists and the Bible in Twentieth-Century AmericaSamantha Baskind

“A fascinating and beautifully written examination of the role of biblical art in twentieth-century America.” —Gary Shteyngart

“In a ‘modernist’ century, known chiefly for its increasing emphases both on pictorial abstrac-tion and on secularism, surely a book on this topic, American biblical subjects, comes as a surprise. That all the artists in question were Jewish Americans, many of them recent immigrants and first genera-tion in their profession, arrives with the force of a revelation. Presenting these discoveries, Samantha Baskind remains fully the master of her material, a mature scholar well known for her specialization in Jewish modern artists of twentieth-century America. She judiciously chooses case studies that span issues of medium, gender, generation, and—ultimately—complex, often multiple, identity. Like these individuals, Baskind manages to hold in creative tension all the disparate components of the designation ‘Jewish American artist.’” —Larry Silver, University of Pennsylvania

260 pages | 45 color/78 b&w illustrations | 8 × 10 | 2014

isbn 978-0-271-05983-9 | cloth: $39.95 sh

www.psupress.org/books/titles/978-0-271-05983-9.html

“I think that an artist should paint his life, and I try to.”

—Jack Levine

www.psupress.org

www.psupress.org

mailto:[email protected]

http://www.psupress.org/books/titles/978-0-271-05983-9.html




2 | penn state press 1-800-326-9180 | 3

Picturing Experience in the Early Printed BookBreydenbach’s Peregrinatio from Venice to Jerusalem

Elizabeth Ross

“Bernhard von Breydenbach’s account of his pilgrim-age from Venice to the Holy Land and Egypt revolu-tionized book publishing when it appeared in 1486. Erhard Reuwich’s accompanying woodcuts include highly detailed, multiblock foldout plates. Thanks to Elizabeth Ross’s beautifully written text, I feel like an armchair traveler peering over the artist’s shoulder as he documents the exotic people, cities, and creatures his party encountered. Part detective, part ethnographer, and always a sensitive art histo-rian, Ross deftly explores the book’s creation, recep-tion, and claims of authority and truthfulness. This is the best study in any language of the Peregrinatio

in terram sanctam.” —Jeffrey Chipps Smith, University of Texas at Austin

Picturing Experience in the Early Printed Book is part of the Art History Publication Initiative (AHPI), a col-laborative grant from the Andrew W. Mellon Founda-tion. Thanks to the AHPI grant, this title is available as an e-book via Kindle, Nook Study, Google Edi-tions, ebrary, EBSCO, Project MUSE, and JSTOR.

256 + gatefold pages | 27 color/84 b&w illus. | 9 × 10 | 4/2014

isbn 978-0-271-06122-1 | cloth: $79.95 sh


Mosaics of FaithFloors of Pagans, Jews, Samaritans,

Christians, and Muslims in the Holy Land

Rina Talgam

“In this magisterial study, Rina Talgam gives full jus-tice to all aspects of the floor mosaics of the Holy Land in their multicultural contexts. Comprehen-

sive, detailed, and well balanced in its conclusions, it will become the preeminent work of reference

and interpretation in its field.” —Henry Maguire,

Johns Hopkins University

“The mosaic floors excavated in Palestine in the last century or so—pagan polytheist, Jewish, Chris-

tian, Samaritan, Muslim—represent a vibrant group of historical documents for understanding the multicultural development of religious identi-

ties. Rina Talgam’s new book—comprehensive, detailed in discussion, wide ranging, superbly

illustrated—offers a transformative account of this material, by far the best to date.”

—Jas Elsner, University of Oxford

600 pages | 360 color/144 b&w illustrations | 9 × 11 | 7/2014

isbn 978-0-271-06084-2 | cloth: $129.95 sh

Co-published with Yad Yitzhak Ben-Zvi Institute, Jerusalem


“And men go about to wonder at the heights of the mountains, and the mighty waves of the sea, and the wide sweep of rivers, and the circuit of the ocean, and the revolution of the stars, but themselves they consider not.” —Augustine










www.psupress.org | 54 | penn state press

Strange BeautyIssues in the Making and Meaning of Reliquaries,

400–circa 1204

Cynthia Hahn

New in Paperback

Finalist, 2013 Charles Rufus Morey Book Award,

College Art Association

“Cynthia Hahn offers a refreshing new synthesis on the topic of medieval reliquaries. She shows that

they are a form of ‘representation’ that mediates re-ligious experience of relics as well as their political

and institutional meanings. Engaging both primary sources and current theoretical writings, Hahn’s

text will be of crucial interest to a broader reader-ship concerned with the material embodiment of

the sacred and strategies of representation.” —Thomas Dale, University of Wisconsin–Madison

Reliquaries, one of the central art forms of the Middle Ages, have recently been the object of much

interest among historians and artists. Until now, however, they have had no treatment in English

that considers their history, origins, and place with-in religious practice, or, above all, their beauty and

aesthetic value. In Strange Beauty, Cynthia Hahn treats issues that cut across the class of medieval

reliquaries as a whole. She is particularly concerned with portable reliquaries that often contained tiny relic fragments, which purportedly allowed saints

to actively exercise power in the world.


isbn 978-0-271-05948-8 | paper: $49.95 sh


Issues in the Making and Meaning of Reliquaries, 400–circa 1204

STRANGE BEAUTY

C Y N T H I A H A H NImagining the Passion in a Multiconfessional CastileThe Virgin, Christ, Devotions, and Images in the Fourteenth and Fifteenth Centuries

Cynthia Robinson

Finalist, 2014 Charles Rufus Morey Book Award ,

College Art Association

“Imagining the Passion in a Multiconfessional Castile

contains a wealth of information, detail, and insight, as well as abundant and beautiful illustrations. Robinson brings to light countless unpublished and unknown texts and images and elucidates many understudied works. This volume not only alters our understanding of medieval Castilian devotional practices but also helps to bridge the gap between the Spanish Middle Ages and sixteenth-century mysticism, especially that of Teresa of Avila, John of the Cross, and Luis de León. The way we look at early Spanish depictions of the Passion has un-doubtedly changed forever.” —Barbara Mujica, Marginalia Review of Books

“This is an impressive book that will profoundly alter our understanding of late medieval culture and late medieval Iberia and will chart the directions for future research in a range of areas. It is a ground-breaking work, or, more accurately, a frame-breaking work, for medievalists, Hispanists, art historians, students of religious devotion and mysticism, and, most generally, scholars interested in the complex mechanisms of cultural exchange.” —James D’Emilio, University of South Florida

520 pages | 80 illustrations | 8.5 × 10.5 | 2013

isbn 978-0-271-05410-0 | cloth: $99.95 sh


Imaginingthe Passion in a

MulticonfessionalCastile

Cynthia Robinson

—Eugene Vance

www.psupress.org









Art, Ritual, and Civic Identity in Medieval Southern ItalyNino Zchomelidse

“This remarkable book transforms our understand-ing of the meaning and function of the liturgical art of Italy: the pulpits and ambos, monumental sculpted candlesticks, pavements, and chancel screens that are among the greatest masterpieces of medieval sculpture. Nino Zchomelidse is the first scholar to fully utilize the visual and textual evidence of the Exultet rolls to explicate medieval ritual within church interiors prior to the Coun-cil of Trent. Her deeply learned and insightful interpretation is a milestone for scholarship on the dynamic roles of art, ritual, theatrical presentation, and patronage in central and southern Italy.” —Caroline Bruzelius, Duke University

“Examining local and continuously changing prac-tices, multiple uses of single monuments, music, burial customs, iconography, the relation of words to images, church reform, the meaning of unfold-ing, the significance of darkness (and light), and myriad other issues that enliven the appreciation of specific works, Art, Ritual, and Civic Identity in Medi-

eval Southern Italy provides a subtle overall account of how design and decoration not only framed but also fashioned the real activities that took place in medieval churches.” —Herbert L. Kessler, Johns Hopkins University


isbn 978-0-271-05973-0 | cloth: $84.95 sh


The Bernward GospelsArt, Memory, and the Episcopate in

Medieval Germany

Jennifer P. Kingsley

“The Bernward Gospels is a learned and well-written volume that contains innovative insights into

the miniatures of one of the most important and famous medieval manuscripts. It is to the author’s

credit that she makes fresh observations and draws important conclusions about a medieval work that

has been studied continuously for well over one hundred years. Jennifer Kingsley demonstrates once

again the sophisticated nature of the manuscript’s pictorial program and implicates the pictures in

broader conversations about the proper function of medieval imagery, memory, and spiritual seeing.”

—Adam S. Cohen, University of Toronto

“A welcome look into the creative motivations and commissions of one of the most important patrons

of the Middle Ages, this fine book is not merely a study of a luxury manuscript. It provides English-

language readers insight into the artistic innovations of a new class of wealthy and powerful donors—the

well-connected bishops of Ottonian Germany.” —Cynthia Hahn, Hunter College and The Graduate Center, CUNY


isbn 978-0-271-06079-8 | cloth: $79.95 sh


“I, Bernward, had this codex written and, ordering that my wealth be added above, as you see I had surrendered [it] to Saint Michael, beloved of the Lord Let there be a curse of God on anyone who takes it from him.”










Abraham in Medieval Christian, Islamic, and Jewish ArtEdited by Colum Hourihane

Abraham, son of Terah or Azar and husband of Sarah, is one of the pivotal figures of the Old Testa-ment and is generally seen as the founder of the Christian, Jewish, and Muslim faiths. He was a rich source of inspiration in all three faiths for artists of the medieval period. His life narrative, from birth to death, is richly recorded in a variety of media dating from the early Christian period to the end of the sixteenth century. As varied as they are numer-ous, the images in all three faiths show Abraham as father, husband, lover, warrior, politician, refugee, and traveler but most importantly as the symbol par excellence of steadfastness in faith. Featuring the extensive files from the Index of Christian Art, this volume also includes contributions from The Bezalel Narkiss Index of Jewish Art by Ariella Amar and Michal Sternthal and a catalogue of Islamic imagery compiled by Rachel Milstein.

240 pages | 152 color/30 b&w illustrations | 6.5 × 10 | 2013

isbn 978-0-9837537-2-8 | paper: $35.00 sh

The Index of Christian Art: Resources Series

Distributed by Penn State University Press for

The Index of Christian Art, Princeton University


Patronage, Power, and Agency in Medieval Art

Edited by Colum Hourihane

Although the concept of patronage has long been central to medieval studies, it is still not well under-stood. In order to identify the person or institution

responsible for the work, scholars have attempted to impose principles across a broad range of works to which they may or may not apply. In many cases

this has prevented a full understanding of the work. As the essays in this volume demonstrate, the key to

understanding patronage is to realize that a variety of contexts and situations may exist that prevent one definition from being imposed. The essays in

this volume, from those that look at patronage from a theoretical perspective to individual case studies,

highlight our need to look at the subject anew.


isbn 978-0-9837537-4-2 | paper: $35.00 sh

The Index of Christian Art: Occasional Papers Series




The Sensual IconSpace, Ritual, and the Senses in Byzantium

Bissera V. Pentcheva

New in Paperback

“Bissera Pentcheva’s stimulating The Sensual Icon:

Space, Ritual, and the Senses in Byzantium . . . func-tions on the cutting edge of art historical method, drawing not only on recent trends in the study of visual and material culture but also [on] anthropol-ogy and film theory. . . . This is a volume that will transform the discipline of medieval art.” —Rebecca W. Corrie, Studies in Iconography

“Bissera Pentcheva’s The Sensual Icon: Space, Ritual,

and the Senses in Byzantium offers a series of specific and historically grounded explorations that draw attention to the sensual aspects of the icon. This is a welcome perspective, opening and enlarging fresh perceptual strategies that might be applied by a historian to the visual culture of Byzantium. . . . The book calls our attention to the potential importance of the senses for our understanding of the icon.” —Charles Barber, Art Bulletin

“The Sensual Icon is a major new contribution to Byz-antine art history and will be an important turning point in our understanding of the aesthetics and reception of the icon in Byzantium.” —Henry Maguire, Johns Hopkins University


isbn 978-0-271-03584-0 | cloth: $84.95 sh

isbn 978-0-271-03583-3 | paper: $44.95 sh


“They are, To This observer, The

mosT subTle arT and The mosT

Theologically complex picTures

because They do noT simply repre-

senT Theology, buT enacT iT.”

—rico Franses

www.psupress.org




















10 | penn state press 1-800-326-9180 | 11

On Antique PaintingFrancisco de Hollanda Translated by Alice Sedgwick Wohl, with introductory essays by Joaquim Oliveira Caetano and Charles Hope and notes by Hellmut Wohl

“As the only English translation of this significant Renaissance treatise, On Antique Painting marks a contribution not only to the field of Portuguese literature but also to the study of humanism during the Renaissance.” —Barbara von Barghahn, George Washington University

“Alice Sedgwick Wohl’s translation of Francisco de Hollanda’s De pintura antigua reintroduces an im-portant voice to the larger discourse on Renaissance art theory and criticism. The Portuguese visitor was an alert witness to the aesthetic discussions taking place in sixteenth-century Rome; these he recorded in a series of dialogues in which Michelangelo was a dominant participant—and the reason the dia-logues themselves have received much attention in modern scholarship. The dialogues, however, con-stituted Book II of Hollanda’s larger project, which was intended as a defense of the nobility of the art of painting and a program for realizing that goal. In the forty-four chapters of Book I, the author addresses all the major themes in the discussion of the art, but Hollanda’s most ambitious recapitula-tion of Renaissance aesthetics has been relatively neglected in art-historical scholarship. This new translation and critical edition will inspire reevalua-tion of Hollanda and the significance of his project.” —David Rosand, Columbia University

312 pages | 10 illustrations | 6 × 9 | 2013

isbn 978-0-271-059655 | cloth: $89.95 sh


Translated by A l i c e S e d g w i c k w o h l , with introductory essays by

J o A q u i m o l i v e i r A c A e tA n o and c h A r l e S h o p e and notes by h e l l m u t w o h l

F r A n c i S c o d e h o l l A n d A

o n A n t i q u e p A i n t i n g

I D E A O F T H E

T E M P L E O F P A I N T I N G

g i o v a n p a o l o l o m a z z oEdited and translated by

j e a n j u l i a c h a i

Idea of the Temple of PaintingGiovan Paolo Lomazzo

Edited and translated by Jean Julia Chai

New in Paperback

“Chai’s nuanced introductory essay deftly places this late effort by the blind artist into both the context

of Lomazzo’s life and interests (the mascot of his deliberately unfashionable academy was a wine

porter), and the complicated strands of sixteenth-century society and books. An abstruse author with

a taste for allegory and the occult, Lomazzo, hith-erto scarcely available in English, is presented with

sympathy and clarity. Highly recommended.” —P. Emison, Choice

Idea of the Temple of Painting (1590) shows why art is all about expressing an individual style or maniera. As the ultimate expression of the artist, style (nei-

ther spontaneous nor unconscious) seeks to adapt the elements of painting into a coherent, harmoni-

ous whole. This is the first of Lomazzo’s treatises to be translated into English.

304 pages | 39 illustrations | 7 × 10 | 6/2014

isbn 978-0-271-05954-9 | paper: $34.95 sh


Lorenzo de’ Medici at HomeThe Inventory of the Palazzo Medici in 1492

Edited and translated by Richard Stapleford

New in Paperback

“This translation will be welcomed by teachers and scholars in every corner of the English-speaking world, and will provide a useful and, in many ways, inexhaustible resource for many years to come.” —Brian A. Curran, The Pennsylvania State University

At his death Lorenzo il Magnifico de’ Medici was master of the largest and most famous private palace in Florence, a building crammed full of the house-hold goods of four generations of Medici as well as the most extraordinary collections of art, antiquities, books, jewelry, coins and cameos, and rare vases in private hands. His heirs undertook an inventory of the estate. The original document has been lost, but a copy was made in 1512. Richard Stapleford’s critical translation of this document offers the reader a win-dow onto the world of the Medici family, their palace, and the material culture that surrounded them.


isbn 978-0-271-05642-5| paper: $24.95 sh


y y y y y y y y y y y y y y

Lorenzo de’ Medici

at HomeThe Inventory of the Palazzo Medic i in 1492

Edited and translated by

R i c h a r d S ta p l e f o r d

y

y

Lor

enz

o d

e’ Med

ici a

t h

om

e T

he

Inv

en

to

ry

of

th

e P

al

az

zo

Me

dic

i in 1

49

2S

ta

pl

ef

or

d

p e n n

s t at e

p r e s s

Lorenzo il Magnifico de’ Medici was the

head of the ruling political party at the

apogee of the golden age of Quattrocento

Florence. Born in 1449, his life was

shaped by privilege and responsibility,

and his deeds as a statesman were

legendary even while he lived. At his

death he was master of the largest and

most famous private palace in Florence, a

building crammed full of the household

goods of four generations of Medici as

well as the most extraordinary collections

of art, antiquities, books, jewelry, coins,

cameos, and rare vases in private hands.

His heirs undertook an inventory of the

estate, a usual procedure following the

demise of an important head of family.

An anonymous clerk, pen and paper in

hand, walked through the palace from

room to room, counting and recording

the barrels of wine and the water urns;

opening cabinets and chests; unfolding

and examining clothes, fabrics, and

tapestries; describing the paintings he

saw on the walls; and unlocking jewel

boxes and weighing and evaluating

coins, medals, necklaces, brooches, rings,

and cameos. The original document he

produced has been lost, but a copy was

made by another clerk in 1512. Richard

Stapleford’s critical translation of this

document offers the reader a window

onto the world of the Medici family,

their palace, and the material culture

that surrounded them.

richard stapleford is Professor of

Art History at Hunter College, City

University of New York.

Jacket illustration: Studiolo from the du-

cal palace in Gubbio, fifteenth century (ca.

1478–82). Rogers Fund, 1939 (39.153), The

Metropolitan Museum of Art, New York.

Image copyright © The Metropolitan Muse-

um of Art. Photo: Art Resource, New York.

“This book will be of considerable interest to art historians

concerned with the social history of art, especially scholars of

Lorenzo il Magnifico and his milieu. It will also be invaluable

to scholars concerned with clothing and jewelry. In short, it

will be a useful addition to the bibliographies of undergraduate

and graduate courses in Renaissance art history. The notes are

rich and highly instructive.”

—paul barolsky, university of virginia

“This translation will be welcomed by teachers and scholars in

every corner of the English-speaking world and will provide

a useful and, in many ways, inexhaustible resource for many

years to come.”

—brian a. curran, pennsylvania state university

the pennsylvania state university press

university park, pennsylvania

www.psupress.org isbn 978-0-271-05641-8

t














Art and the Religious Image in El Greco’s Italy

Andrew R. Casper

“Andrew R. Casper’s Art and the Religious Image

in El Greco’s Italy makes an important contribu-tion to the growing body of scholarship on El

Greco, one of the most original and, often, least understood artists of the late Renaissance. In a

probing and illuminating fashion, Casper reveals the ways in which El Greco’s encounter with

both Counter-Reformation theological ideas and Venetian and Roman art and art theory enabled

him to transform himself from a provincial painter of icons in the Byzantine manner to a

truly modern painter of devotional images. The El Greco we encounter here is a highly self-

conscious, ambitious, and learned painter who, by virtue of his ‘Byzantine way of thinking,’

reconciled aesthetic concerns with contemporary attitudes toward sacred images in the form of

what Casper brilliantly terms ‘artful icons.’” —Steven F. Ostrow,

University of Minnesota

Art and the Religious Image in El Greco’s Italy is part of the Art History Publication Initiative (AHPI), a col-

laborative grant from the Andrew W. Mellon Founda-tion. Thanks to the AHPI grant, this title is available

as an e-book via Kindle, Nook Study, Google Editions, ebrary, EBSCO, Project MUSE, and JSTOR.


isbn 978-0-271-06054-5 | cloth: $79.95 sh


The Dark Side of GeniusThe Melancholic Persona in Art, ca. 1500–1700

Laurinda S. Dixon

“Laurinda Dixon brilliantly illuminates melancholy, the dark mental condition, which was both feared and sought by artists and writers in early modern Europe. Her comprehensive history insightfully explores social attitudes about creativity and mad-ness in art, literature, and medicine.” —Jeffrey Chipps Smith, University of Texas at Austin

“The first comprehensive study of melancholia in early modern Europe, The Dark Side of Genius is original and fascinating. Musicologists, gender scholars, religious studies specialists, art histori-ans, and historians of science will benefit greatly from this intriguing and invaluable book. Laurinda Dixon sheds new light on religious melancholia, love melancholia, scholarly melancholy, and artists who are melancholics, and she ends with a discus-sion of the syndrome’s cure. Her book explores many long-neglected texts and images, and it is written clearly, concisely, and in a lively manner. The book, in short, is a pleasure to read.” —Diane Wolfthal, Rice University


isbn 978-0-271-05935-8 | cloth: $89.95 sh


“Your hose should be ungartered, your bonnet unbanded, your sleeve unbuttoned, your shoe untied, and everything about you demonstrating a careless desolation.”

“A pictu

re in

wh

ich

the Attitu

des A

nd

pleAsin

g o

f All.”

. . . . . . . . . . . . . . . . . . . .

mo

vem

ents o

f the b

od

ies differ v

ery m

uch

Am

on

g th

emselv

es is mo

st —William Shakespeare, As You Like It

—leo

n bA

ttistA A

lberti

www.psupress.org









14 | penn state press

Morten Steen HanSen

In Michelangelo’s Mirror Perino del Vaga, daniele da Volterra, Pellegrino tibaldi

In Michelangelo’s MirrorPerino del Vaga, Daniele da Volterra, Pellegrino Tibaldi

Morten Steen Hansen

“Morten Steen Hansen’s impressively researched book finally makes sense of a series of dense, allusive paintings that have long resisted persua-sive interpretation. But more than this, the book represents a sustained act of historical criticism: perceiving the ambitions that run through differ-ent projects and shining light on their inventive-ness, virtuosity, and wit, Hansen makes his three subjects into newly attractive figures. This is a book that should change the way we teach and write about the period.” —Michael Cole, Columbia University

In the first decades of the sixteenth century, the pictorial arts arrived at an unprecedented level of perfection. That, at least, was a widespread percep-tion among artists and their audiences in central Italy. Imitation, according to the artistic literature of the period, was a productive means of continuing the perfections of a predecessor. In Michelangelo’s

Mirror reconsiders the nature of Italian manner-ism, focusing on the idea of imitation as a strategic choice in the works of such artists as Perino del Vaga, Daniele da Volterra, and Pellegrino Tibaldi.


isbn 978-0-271-05640-1 | cloth: $94.95 sh


The Power and the Glorification

papal pretensions and the art of propaganda in the fifteenth and sixteenth centuries

Jan L . de Jong

“Thank therefore heaven and

try to imitate Michelangelo in ev-erything you do.”— Giorgio Vasari

1-800-326-9180 | 15

The Power and the GlorificationPapal Pretensions and the Art of Propaganda in

the Fifteenth and Sixteenth Centuries

Jan L. de Jong

“Jan de Jong presents us with the first systematic study of the genre of political propaganda, invented

in the sixteenth century. The author shows how the papacy, under pressure from religious and

secular rivals, honed and fashioned the message of its narratives to present an image broadcasting its empyrean status. The pope’s authority was under-scored by showing the emperor and kings kissing

his foot. His right to rule the Papal States was justi-fied by depicting Constantine making a gift to Pope

Sylvester of the lands of his western empire. The role of the pope as adjudicator and peacemaker was

authenticated by representing Paul III brokering the peace between Charles V and Francis I—even if that fragile treaty lasted only a handful of years. The political propaganda pioneered in the projects

studied here provided a model followed by the courts of Europe up to and beyond Napoleon’s. De Jong gives us a fresh and vivid account, some of it

material hardly studied before.” —Marcia Hall,

Temple University


isbn 978-0-271-05079-9 | cloth: $79.95 sh











Architecture and StatecraftCharles of Bourbon’s Naples, 1734–1759

Robin L. Thomas

“This beautifully written and deeply informative book is the first study in English to engage with the transformation of Naples under the Spanish king who ruled the city from 1734 to 1759. Robin Thomas has written a powerful and evocative volume that describes the impact of Enlightenment ideas on the architectural fabric of Naples and situates these monuments within the context of European archi-tecture and city planning of the eighteenth century.” —Caroline A. Bruzelius, Duke University

“Thomas’s account thrusts eighteenth-century Neapolitan architecture to the forefront of Italian baroque scholarship. Through these chapters we see the building arts of Naples take their right-ful place among the most glorious achievements in Italy, comparable in every way to the storied chapters from Rome, Venice, and the Piedmont. In sum, Robin Thomas has set a remarkable standard for graceful writing, substantial research, and per-ceptive insight in a book that provides a rich and engrossing account of Naples in its full glory.” —Tod Marder, Rutgers University


isbn 978-0-271-05639-5 | cloth: $89.95 sh

Buildings, Landscapes, and Societies Series


Critical Perspectives on Roman Baroque Sculpture

Edited by Anthony Colantuono and Steven F. Ostrow

“This collection by Anthony Colantuono and Steven Ostrow is the most important contribution to

general sculpture studies of the period since Jen-nifer Montagu’s Roman Baroque Sculpture, to which

it is the ideal complement. And, frankly, I can think of no higher praise for a book with such breadth of scope, clarity, and substance. The introduction is a

‘must-read’ for all students of the topic. In all, this is an impressive contribution to our literature.”

—Tod Marder, Rutgers University

“This important collection of essays challenges, cor-rects, and changes common views on seventeenth-

century sculptural practice and theory in Rome. It debunks academic fairy tales such as Mochi’s

enervated late style or Bernini’s disinterest in relief sculpture. Through a multitude of methodological

approaches, this volume elucidates the central role of early modern Roman sculpture for European vi-sual culture and thought at large—and it will have

repercussions far beyond its own focus.” —Eike D. Schmidt,

Minneapolis Institute of Arts


isbn 978-0-271-06172-6 | cloth: $84.95 sh


“The greatest artist does not have any concept that a single piece of marble does not circumscribe within its superfluity, and only a hand that obeys the intellect attains this.” . . . . . . . . . . . . . . . . . . . — Michelangelo

“O luxury! Thou curst by Heaven’s decree,How ill exchanged are things like these for thee!”

—oliver goldsmith

www.psupress.org











“When All of Rome Was Under Construction”

The Building Process in Baroque Rome

Dorothy Metzger Habel

“‘When All of Rome Was Under Construction’ will take its place among the most important and substantial

contributions to architectural scholarship and Ro-man Baroque urban history in a very long time. It

traces and vitalizes our understanding of individual and institutional interests in Roman architecture in a way that has been hardly, if ever, equaled. Dorothy

Habel’s research makes the study of Roman Ba-roque urbanism more engaging and pertinent than

ever before. This is benchmark scholarship.” —Tod Marder, Rutgers University

“Based on the eloquent voices of personal diaries, the pleadings of interested parties, and essays dedicated

to the public good, Habel’s richly textured account of mid-seventeenth-century Rome’s urban develop-ment is only minimally a story of the great patrons

and grand architecture. We learn instead about the negotiations necessary to get things done. Tax policy, financing strategy, and the conflicts among

powerful stakeholders structure this history of development. Taking a citywide view, Habel spells out the financial and material connections among projects across the city. This account is reinforced

by the author’s extensive knowledge of Roman topographic imagery and has the great virtue of re-

integrating the visual documents with the problems and proposals that give them meaning.”

—David Friedman, Massachusetts Institute of Technology

320 pages | 118 illustrations/1 map | 9 × 10 | 2013

isbn 978-0-271-05573-2 | cloth: $99.95 sh


senza s

pesa

ne a

gg

rava-

re a

lcu

no

1-800-326-9180 | 19

“ w h e n a l l o f r o m e w a s

u n d e r c o n s t r u c t i o n ”

t h e b u i l d i n g p r o c e s s i n b a r o q u e r o m e

d o r o t h y m e t z g e r h a b e l

Humanism and the Urban WorldLeon Battista Alberti and the Renaissance City

Caspar Pearson

New in Paperback

“Pearson’s use of Alberti’s writings is imaginative and exhaustive, yet tactful. This is a rich and acces-sible account of a thinker whose concern with both rational reform and social stability could not be more timely.” —Charles Burroughs, Renaissance Quarterly

In Humanism and the Urban World, Caspar Pearson offers a profoundly revisionist account of Leon Battista Alberti’s approach to the urban environ-ment as exemplified in the extensive theoretical treatise De re aedificatoria (On the Art of Building

in Ten Books), brought mostly to completion in the 1450s, as well as in his larger body of written work. Past scholars have generally characterized the Italian Renaissance architect and theorist as an enthusiast of the city who envisioned it as a ra-tional, Renaissance ideal. Pearson argues, however, that Alberti’s approach to urbanism was far more complex—that he was even “essentially hostile” to the city at times. Rather than proposing the “ideal” city, Pearson maintains, Alberti presents a variety of possible cities, each one different from another. This book explores the ways in which Alberti sought to remedy urban problems, tracing key themes that manifest in De re aedificatoria.

232 pages | 6 × 9 | 2011

isbn 978-0-271-06369-0 | paper: $29.95 sh


“Beauty: the adjustment of all parts

proportionately so that one

cannot add or subtract or

change without impairing

the harmony of the whole.”—Leon Battista Alberti










�� -�-��-��-�

The Wake of IconoclasmPainting the Church in the Dutch Republic

Angela Vanhaelen

“This book is a significant contribution to the field of Dutch art and religious culture. Angela Vanhaelen looks closely and with fresh eyes at these images of Dutch church interiors, and with the close observation of each detail, their architectural spaces and church-attending inhabitants come alive to the reader.” —Shelley Perlove, University of Michigan–Dearborn

P E N N

S T A T E

P R E S S

In describing the seventeenth-century Dutch Republic, Johan Huizinga said, “Paintings could be found everywhere . . . everywhere except in churches.” Although pictures were ubiquitous in the Dutch world, the official religion expressed a fundamental distrust of visual imagery. Indeed, Calvinism and visual culture were both central modes of self- understanding in Dutch society. Investigating this paradox, The Wake of Iconoclasm takes as its main subject the numerous paintings of austere Calvinist church interiors that proliferated in the seventeenth century. Pains-takingly crafted and highly naturalistic images of interiors, these peculiar paintings show spaces that were purged of visual imagery during and after the iconoclast riots of the sixteenth century. In essence, they depict the interface of the histories of art and religion. Angela Vanhaelen argues that the main function of this imagery was to stimulate debate about the transformed role of art in relation to the religious and political upheavals of the Reformation and the Dutch Revolt. Paintings of the emptied churches allowed their beholders to grapple with the significant public influence of Calvinism—especially its suppression of past cultural traditions and the new conditions of possibility it created for the visual arts.

Angela Vanhaelen is Associate Professor of Art History at McGill University.

The W

ake of IconoclasmP

ain

ting th

e C

hurc

h

in th

e D

utc

h R

epublic

Vanhaelen

The Pennsylvania State University Press

University Park, Pennsylvania www.psupress.org

Jacket illustrations: (front) Emanuel de Witte, detail of Interior of a Protestant Gothic Church, n.d., Netherlands Institute for Cultural Heritage (photo: Tim Koster); (back) Pieter Saenredam, St. Bavokerk with Fictive Bishop’s Tomb, 1630, Louvre (photo: Réunion des Musées Nationaux/Art Resource, NY [P. Bernard]).

vanhaelen_mechanical.indd 1 2/11/12 8:12:56 PM

The Wake of IconoclasmPainting the Church in the Dutch Republic

Angela Vanhaelen

Winner: 2013 Roland H. Bainton Book Prize,

Sixteenth Century Society and Conference

“Seventeenth-century Dutch church paintings have been the subject of much art-historical inquiry, and this handsomely produced vol-

ume makes a valuable contribution to the discussion. . . . Vanhaelen, a recognized specialist

in this area, explores the connection between church paintings and contemporary religious

thought—not just Calvinism, but also Roman Catholicism and even Islam. She brings out the

significance of the works’ beautiful whitewashed walls; graffiti on those walls; the power of the

word and the book; the political overtones of the invasion by Louis XIV and the reconsecration of

the Utrecht cathedral; and the implications of the common theme of the open grave in church

floors, among much else. The book includes over 50 fine illustrations (most in color), excellent

footnotes, and a full bibliography.” —F. W. Robinson, Choice

“This book is a significant contribution to the field of Dutch art and religious culture. Angela Vanhaelen looks closely and with fresh eyes at

these images of Dutch church interiors, and with the close observation of each detail, their archi-

tectural spaces and church-attending inhabitants come alive to the reader.”

—Shelley Perlove, University of Michigan–Dearborn


isbn 978-0-271-05061-4 | cloth: $79.95 sh


“Paintings could be found everywhere . . . everywhere except in churches.”

—Johan Huizinga

Holland’s Golden Age in AmericaCollecting the Art of Rembrandt, Vermeer, and Hals

Edited by Esmée Quodbach

“This book provides answers for anyone who has ever wondered why there are so many great Dutch paintings in U.S. collections. Essays by leading curators and scholars draw on the history of art, as well as an understanding of cultural, economic, and political conditions, to illuminate the American taste for seventeenth-century Dutch painting.” —Emilie Gordenker, Director, Mauritshuis, The Hague

“Drawing on the experience and insights of many of her colleagues in museums and the academy, Esmée Quodbach brings us an impressively broad overview of the early collectors of Dutch art in America. This essential volume provides illuminating context for major figures such as J. P. Morgan and welcomes unsung heroes such as Robert Gilmor Jr. onto this stage, but also lifts the curtain on early colonial as well as contemporary collections. These varied ac-counts are spiked with color, drama, and highlights, including the story of the wealthy collector who has to ask, ‘Who is Vermeer?’” —David de Witt, Bader Curator of European Art, Queen’s University


isbn 978-0-271-06201-3 | cloth: $69.95 sh

The Frick Collection Studies in the History of Art Collecting

in America Series | Co-published with The Frick Collection


“Dutch painting of the 17th

Century is tops!”—J. Paul Getty

www.psupress.org










“It will hardly have escaped the notice

of the attentive observer that

scholarshipis . . . undergoing a

1-800-326-9180 | 2322 | penn state press

The Vienna School of Art HistoryEmpire and the Politics of Scholarship, 1847–1918

Matthew Rampley

“Most art historians know a little about the Vienna School of art history, and many of them have read a couple of essays from that formative period, espe-cially those by Riegl or Dvořák. Yet none, I wager, has ever attempted to envision an entire social and intel-lectual biography of this complicated and contradicto-ry culture that spawned the serious beginnings of the history of art. A learned historiographer to the core, Matthew Rampley has accomplished just that feat. Packed with erudition (not to mention endnotes!), this hefty text (in more ways than one) serves to provide telling episodes from early German-speaking art history across the imperial Habsburg map.” —Michael Ann Holly, Sterling and Francine Clark Art Institute

“The ideas and writings of the early members of the Vienna School laid the foundations for modern art history. Matthew Rampley’s wide-ranging, comprehensive, incisive, and entirely lucid account of the origins and heyday of the great Viennese art historians is a breakthrough work and will doubt-less become an invaluable resource.” —Christopher Long, University of Texas at Austin 296 pages | 18 illustrations | 7 × 10 | 2013

isbn 978-0-271-06158-0 | cloth: $89.95 sh


Art And EphEmErA in

rEvolutionAry FrAncE

richard taws

The PoliTics of The Provisional

The Politics of the ProvisionalArt and Ephemera in Revolutionary France

Richard Taws

“What Richard Taws offers is a series of concepts with which to frame French Revolutionary visual culture: to the notion of the provisional, he adds currency, identity, circulation, temporal rupture, media transgression, and mimetic dissimulation.

Not only are the arguments and formal analy-ses moored to original material, but they are so

cogently structured that it is hard to see them as anything but convincing. Art historians have much to learn from the approach Taws takes. He renders an entire realm of images and objects foundational

to our understanding of the production, status, and meaning of representation in the 1790s—and, in so doing, develops models for thinking about the

relation of the visual to political upheaval more gen-erally. This is one of the most sophisticated accounts

of material culture I have read.” —Erika Naginski, Harvard University

The Politics of the Provisional is the first book in the Art History Publication Initiative (AHPI), a collabor-ative grant from the Andrew W. Mellon Foundation.

Thanks to the AHPI grant, this title is available as an e-book via Kindle, Nook Study, Google Editions,

ebrary, EBSCO, Project MUSE, and JSTOR.


isbn 978-0-271-05418-6 | cloth: $74.95 sh

Available in the U.S., Canada, Mexico, and South America


crisis.”—max dvořák










24 | penn state press www.psupress.org | 25

BEASTSGorgeous

animal bodies

in historical

perspective

edited by

Joan B. Landes,

Paula Young Lee, &

Paul Youngquist

Gorgeous BeastsAnimal Bodies in Historical Perspective

Edited by Joan B. Landes, Paula Young Lee, and Paul Youngquist

New in Paperback

“This book introduces us to gorgeous beasts—crea-tures we yearn for, treasure, misunderstand, and mistreat. Enclosure-endangered Atlantic codfish, bloodhounds unleashed on the Maroon uprisings in Jamaica, taxidermied elephants that conferred secondhand majesty on trophy hunters, slither-painting snakes, even dog-skin gloves and civet-scented perfumes (those animal-made objects): all testify to our human co-construction of, with, and by animals. In the book’s lush illustrations, the visual representation of animals has equal footing with their material and economic histo-ries, and the result is a thought-provoking and sense-igniting treat.” —Susan Merrill Squier, author of Poultry Science, Chicken Culture:

A Partial Alphabet


isbn 978-0-271-05402-5 | paper: $29.95 sh

Animalibus: Of Animals and Cultures Series


The Breathless ZooTaxidermy and the Cultures of Longing

Rachel Poliquin

New in Paperback

“With The Breathless Zoo, Rachel Poliquin has made a major contribution to the blossoming field of

animal studies. This book is the new benchmark on the place of taxidermy in the social history of art,

science, and popular culture. Marvelous, rigor-ous, and extensively well researched, the work is

also refreshingly pleasurable to read. Throughout, Poliquin explores the complex questions around the rich cultural texture of taxidermy. And unlike other works on the topic, The Breathless Zoo examines not only what taxidermy is but also what it means. For

those of us engaged in thinking about animals, this is the book on the culture of taxidermy we have

long awaited—a book of great innovation that slices through the history of science, blood sports, and art.”

—Mark Dion


isbn 978-0-271-05373-8 | paper: $29.95 tr

Animalibus: Of Animals and Cultures Series


thebreathless zoo

tax i d erm y a n d

t h e cu ltures

o f long i ngRachel Poliquin

“Honorable Sir, I am aware of how much you appreciate strange abortions of nature, in order to put them in your cabinet. “

— Paula Montenegro

Animals on DisplayThe Creaturely in Museums, Zoos, and Natural History

Edited by Liv Emma Thorsen, Karen A. Rader, and Adam Dodd

“Animals on Display explores the uncharted region between cultural studies and the history of science, between museology and animal studies. These are strange lands, and we meet wonderful beasts: mon-strous pigs, tame polar bears, colossal elephants, colorful butterflies, rare seagulls, Herculean dogs, captive grasshoppers, and more. As our fearless guides, the authors shed new light not only on the physicality of animals (both peri- and postmortem) but also on their representations. With previously unpublished illustrations and energetic prose, this important volume is an insightful exploration of the relationship between the visibility and materiality of animals from the Enlightenment to the twenty-first century. Historians, anthropologists, curators, and animal studies scholars will enjoy following the editors and their lively herd on the eventful journey through the pages of Animals on Display.” —Samuel J. M. M. Alberti, Hunterian Museum, editor of The Afterlives of Animals:

A Museum Menagerie


isbn 978-0-271-06070-5 | cloth: $64.95 sh

Animalibus: Of Animals and Cultures

















26 | penn state press 1-800-326-9180 | 27

The Curatorial Avant-GardeSurrealism and Exhibition Practice in France, 1925–1941

Adam Jolles

All too often, the historical avant-garde is taken to be incommensurate with and antithetical to the world inhabited by the museum. In The Curatorial

Avant-Garde, by contrast, Adam Jolles demon-strates the surrealists’ radical transformation of the ways in which spectators encountered works of art between the wars. From their introduction in Paris in 1925, surrealist exhibitions dissolved the conven-tional boundaries between visual media, language, and the space of public display. This intrusion—by a group of amateur curators, with neither formal training nor professional experience in museums or galleries—ultimately altered the way in which sur-realists made, displayed, and promoted their own art. Through interdisciplinary analyses of particular exhibitions and works of art in relation to the man-ner in which they were displayed, Jolles addresses this public face of surrealism. He directs attention to the venues, the contemporary debates those ven-ues engendered, and the critical discourses in which they participated. In so doing, he shines new light on the movement’s artistic and intellectual develop-ment, revealing both the political stakes attached to surrealism within the historical context of interwar Europe and the movement’s instrumental role in the trajectory of modernism.

288 pages | 25 color/68 b&w illustrations | 9 × 9.5 | 2013

isbn 978-0-271-06415-4 | cloth: $89.95 sh

Refiguring Modernism Series


Modernism and Its MerchandiseThe Spanish Avant-Garde and Material Culture,

1920–1930

Juli Highfill

“This book breaks new ground by considering the Spanish avant-garde from the standpoint of mate-

rial culture. By focusing on the fascination with the commodity, it shows the Spanish avant-garde to have been much more concerned with the every-

day than has been previously recognized. A major contribution to scholarship.”

—Jo Labanyi, New York University

“Juli Highfill offers a coruscating revision of the de-bates on dehumanization (and rehumanization) in

Spanish art and letters of the early twentieth cen-tury. Her discussion of early champions of the mod-ern such as José Ortega y Gasset, Ramón Gómez de

la Serna, and Guillermo de Torre as well as others associated with surrealism—including Luis Buñuel

and Salvador Dalí—brings new kinds of subjectivity and lyricism to light. Spain’s modernity is placed on an international stage, where the art of the moment

answers the challenge of technology and market forces—and devours itself in the process.”

—Roberta Quance, Queen’s University Belfast

224 pages | 48 illustrations | 7 × 9.5 | 2014

isbn 978-0-271-06345-4 | cloth: $79.95 sh



“Could the emblem of progress be, just possibly, a cadaver?”

—Brad Epps

“CritiCism is no longer up to the task.” —andré Breton












Reasoned and Unreasoned ImagesThe Photography of Bertillon, Galton, and Marey

Josh Ellenbogen

New in Paperback

“Josh Ellenbogen’s Reasoned and Unreasoned Images

provides a significant theoretical discussion of photography’s aim to capture the visible and non-visible and, more widely, of its complex relation to human perception, cognition, and memory. . . . The journey the reader undertakes is guided by thought-provoking questions through a series of chapters that progressively build upon the previous one to form a layered work of interwoven arguments that cannot easily be pulled apart.”

—Tania Woloshyn, CAA Reviews

“Reasoned and Unreasoned Images is a fascinating discussion of photography in the second half of the nineteenth century, concentrating on the work of Bertillon, Galton, and Marey. Josh Ellenbo-gen raises interesting questions concerning the nature of evidence that are still being discussed in current work on the philosophy of science and, in particular, the philosophy of experiment. In short, this is a first-rate piece of scholarship, with the additional bonus that it is a good read.” —Allan D. Franklin, University of Colorado Boulder


isbn 978-0-271-05326-4 | paper: $34.95 sh


REASONED

AND

UNREASONED

IMAGES

The

Photography

of Bertillon,

Galton,

and Marey

josh

ellenbogen

“l’image

la plus

ressemblante

possible”

THE PHOTOGRAPHY OF CRISIS the photo essays of

weimar germany

daniel h. magilow

The Photography of CrisisThe Photo Essays of Weimar Germany

Daniel H. Magilow

“The Photography of Crisis is the first full account of the photo essay as a ubiquitous presence in Weimar culture and a driving force behind the visual turn in German modernism. Daniel Magilow’s examination

of new text-image relations in the illustrated press and the photobook not only complicates traditional

accounts of avant-garde photography and modern photojournalism but also allows us to situate the famous photographers August Sander and Albert

Renger-Patzsch within the emerging logics of visu-ality, physiognomy, and shock that would continue

to haunt photography throughout the twentieth century. This book is required reading for all photo

historians and scholars of modern visual culture.” —Sabine Hake, University of Texas at Austin

The fifteen years in Germany between the end of World War I and the National Socialists’ rise to pow-

er in 1933 stand out as one of the twentieth century’s most tumultuous periods. These years of political and economic upheaval famously spawned signifi-

cant and lasting changes in the arts. However, one noteworthy product of Weimar Germany’s booming

cultural life has escaped significant critical attention: the photo essay. The Photography of Crisis examines

narrative photography and creates a snapshot of where Germany was after World War I and what it would become with the rise of National Socialism.


isbn 978-0-271-05422-3 | cloth: $64.95 sh


“AS IS THE GARDENER, SO IS THE GARDEN.” —Thomas Fuller

—Alphonse Bertillon

www.psupress.org









Critical ShiftRereading Jarves, Cook, Stillman, and the Narratives of Nineteenth-Century American Art

Karen L. Georgi

“Karen Georgi’s Critical Shift argues that the Civil War was less a disruptive dividing line between radically different artistic eras than a blip on an aesthetic continuum from the antebellum decades to the Gilded Age. To make the case, Georgi closely examines the influential writings of prominent art critics James Jackson Jarves, Clarence Cook, and William James Stillman and finds that the war had little or no impact on their ideas about what art should be and what role it should play in society. With its bold new challenge to the model of periodization that has shaped the history, and historiography, of nineteenth-century American art in the modern era, Critical Shift is a provocative contribution to the history of American art theory and criticism in the nineteenth century.” —Sarah Lea Burns, Indiana University

American Civil War–era art critics James Jackson Jarves, Clarence Cook, and William J. Stillman classified styles and defined art in terms that have become fundamental to our modern periodization of the art of the nineteenth century. In Critical Shift, Karen Georgi rereads many of their well-known texts, finding certain key discrepancies between their words and our historiography that point to unrecognized narrative desires.


isbn 978-0-271-06066-8 | cloth: $74.95 sh


1-800-326-9180 | 31

“Art, and the matter with which it deals, [are]

things of serious moment to every human soul.”

—William J. Stillman

DOCTOREDThe Medicine of Photography in

Nineteenth-Century AmericaTh

e Med

icine of P

hotog

raph

y in

Nin

eteenth

-Cen

tury A

merica

Tanya Sheehan

Sheehan

In Doctored, Tanya Sheehan takes a new look

at the relationship between photography

and medicine in American culture from the

nineteenth century to the present. Sheehan

focuses on Civil War and postbellum

Philadelphia, exploring the ways in which

medical models and metaphors helped

strengthen the professional legitimacy of the

city’s commercial photographic community

at a time when it was not well established.

By reading the trade literature and material

practices of portrait photography and medicine

in relation to one another, she shows how their

interaction defined the space of the urban

portrait studio as well as the physical and social

effects of studio operations. Integrating the

methods of social art history, science studies,

and media studies, Doctored reveals important

connections between the professionalization of

American photographers and the construction

of photography’s cultural identity.

Tanya Sheehan is Assistant Professor of Art

History at Rutgers, The State University of

New Jersey.

Jacket illustration: Rhoads' New Photograph Gallery,

Portrait of an Unidentified Boy, ca. 1860s. The Library

Company of Philadelphia.

DO

CT

OR

ED

PENNSTATEPRESS

The Pennsylvania State University Press

University Park, Pennsylvania

www.psupress.org

Cover design: Martyn Schmoll

“This remarkable book combines

close readings of periodicals with

theoretical acumen and interpretive

insights, revealing the central role

that medical metaphors played in

American photographic culture in the

nineteenth century. Conveniently

embodying the desires and anxieties

of both photographers and their

clients, these medical metaphors

were made manifest as much in

advertisements, cartoons, and articles

as in actual photographic portraits.

Casting doubt on any hard-and-fast

distinction between the social and the

physical body, Doctored will change

the way you think about this period of

American history.”

Geoffrey Batchen, Victoria University

“Doctored is a highly original and

thoughtful study that illuminates the

rich ties between nineteenth-century

American portrait photography and

medical practice. It illustrates how

the nascent medium of photography

gained legitimacy by forging ties

to science and explores the deeply

rooted belief in photography as a

cure for social and even physical

ills. The book makes a major

contribution to our understanding

of early photographic practice and

its complex relationship to medicine,

race, and class.”

Martin A. Berger, University of

California, Santa Cruz

“Tanya Sheehan’s Doctored is cultural

history at its best, combining

a magisterial examination of

nineteenth-century photographic

literature with a persuasive and

nuanced argument about metaphor

and photography’s discursive claims

to professional expertise. A must-

read for scholars of photography,

art history, American studies,

nineteenth-century cultural history,

and urban studies.”

Elspeth H. Brown, University

of Toronto

“In Doctored, Tanya Sheehan

investigates the discursive

intersections between photography

and medicine in the late nineteenth

century. Sheehan explores an

understudied trove of professional

photographic literature in order

to understand the history of

photography from its most popular

practitioners’ point of view. This is

a wonderful visual culture history.”

Shawn Michelle Smith, School of the

Art Institute of Chicago

ISBN 978-0-271-03792-9ISBN 978-0-271-03792-9

sheehan_doctored_mechanical_r1.indd 1 1/17/11 1:34:59 PM

DoctoredThe Medicine of Photography in

Nineteenth-Century America

Tanya Sheehan

New in Paperback

“In this highly original book, Tanya Sheehan show-cases a vast, alternative narrative in which cameras

were seen as scalpels, developing chemicals as therapeutic drugs, and photographers as ‘doctors of photography’ processing the ability to inspect,

diagnose, and rehabilitate diseased and disordered bodies. . . . Sheehan has given us an inventive book

that illuminates our understanding of the body, both social and physical, and its role in the nascent

years of photography.” —Catherine Hollochwost, CAA Reviews

“Sheehan’s Doctored adds an important confluence of science and art to published histories of photogra-

phy. . . . The interdisciplinary nature of [Sheehan’s] project makes it suitable not only for photo histo-rians, but also for those interested in medical and scientific history, critical race studies, and cultural

studies.” —Emily Una Weirich, Art Libraries Society of North America Reviews


isbn 978-0-271-03792-9 | cloth: $74.95 sh

isbn 978-0-271-03793-6 | paper: $39.95 sh


“Anatomy should be studied by the poser.”

— W. H. Tipton











Thomas Hart Benton and the American SoundLeo G. Mazow

Thomas Hart Benton and the American SoundLeo G. Mazow

Winner, 2013 Charles C. Eldredge Prize for Distin-

guished Scholarship in American Art,

The Smithsonian American Art Museum

“Mazow’s Thomas Hart Benton and the American

Sound reverberates with potent ideas about the relationship between the history of visual art and sound. By contextualizing Benton’s paintings within a sonic environment—a world of radio, recordings, the whistles of trains and the scream of machinery—Mazow illuminates our understand-ing of the artist’s formal designs and rhythms and expands the manner in which we perceive his vernacular subjects. Delightfully written in lan-guage that sings and shouts along with its themes, Mazow’s book offers an entirely new way of relating Benton’s work to the sounds of his time.” —Jurors for the Charles C. Eldredge Prize for Distinguished Scholarship in American Art

“While the main focus of Thomas Hart Benton and the

American Sound is to show the many levels of influ-ence that the idea of not just music, but also sound, had on his visual work, what really is at the heart of Mazow’s book is the notion that as an American artist working in the twentieth century what drove Benton’s works more than anything else was the trials, tribulations, lives, passions, movements and dramas of real American people.” —American Fine Art


isbn 978-0-271-05083-6 | cloth: $79.95 sh


“Sometimes I hate painting,

but I keep at it,

thinking always

that before I croak

I’ll really learn how to do it

—maybe as well

as some of the old painters.”

—Thomas Hart Benton

Internationalizing the History of American Art

Views

Edited by Barbara Groseclose and Jochen Wierich

New in Paperback

American art history is a remarkably young, but rap-idly growing, discipline. Membership in the Associa-tion of Historians of American Art, founded in 1979,

now totals nearly 600. As a result of this growth, geo-graphical and cultural borders no longer contain the

field. American art history has become “international-ized,” represented by scholars and exhibitions around the globe. While this international transmission and exchange of ideas will certainly prove to be valuable,

it has been left largely unexamined. Internationalizing

the History of American Art begins a critical examina-tion of this exchange, showing how it has become

part of the maturation of American art history.

In this volume, a distinguished group of scholars considers the shaping and dissemination of the history of American art domestically and inter-nationally, past and present, theoretically and

practically, from a variety of intellectual positions and experiences. This examination indicates a

direction for the field and a future historiography that is shaped by international dialogue.


isbn 978-0-271-03200-9 | cloth: $70.00 sh

isbn 978-0-271-03088-3 | paper: $35.00 sh


edited by

barbara groseclose

and

jochen wierich

views

InternatIonalIzIng the hIstory of amerIcan art

Int

er

nat

Ion

alIz

Ing

th

e h

Isto

ry

of a

me

rIc

an

ar

t

American art history is a remarkably young,

but rapidly growing, discipline. Member-

ship in the Association of Historians of

American Art, founded in 1979, now totals

nearly 600. As a result of this growth, geo-

graphical and cultural borders no longer

contain the field. American art history has

become “internationalized,” represented by

scholars and exhibitions around the globe.

While this international transmission and

exchange of ideas will certainly prove to be

valuable, it has been left largely unexam-

ined. Internationalizing the History of Ameri-

can Art begins a critical examination of this

exchange, showing how it has become part

of the maturation of American art history.

In this volume, a distinguished group of

scholars considers the shaping and dissemi-

nation of the history of American art domes-

tically and internationally, past and present,

theoretically and practically, from a variety

of intellectual positions and experiences. To

do so, they draw on a literature that, collec-

tively, constitutes a bibliography for the fu-

ture of the field. Three sections—“American

Art and Art History,” “Display and Exposi-

tion,” and “Post-1945 Investments”—pro-

vide the structure in which the contributors

examine the existing narrative framework

for the history of American art. This exami-

nation indicates a direction for the field and

a future historiography that is shaped by in-

ternational dialogue.

Barbara Groseclose is Professor and

Graduate Chair in the Department of

the History of Art at Ohio State Uni-

versity. She was a Distinguished Chair

of American Studies in Utrecht (1994)

and in Florence (2001) and a Visiting

Research Fellow at the University of Ox-

ford (2006). Her major publications are

Nineteenth-Century American Art (2000)

and British Sculpture and the Company

Raj (1995).

Jochen Wierich is Curator of Art at

Cheekwood Botanical Garden and Mu-

seum of Art. He has published articles

in such periodicals as Winterthur Port-

folio, American Art, American Studies

International, and Film and History. He

is a contributing author to a number of

exhibition catalogues, including New

World: Creating an American Art (2007)

and The Eight and American Modernisms

(2009).

Jacket illustration: Banner advertising “I Like

America: Fictions of the Wild West” exhi-

bition at the Schirn Kunsthalle Frankfurt

(photo: Jochen Wierich).

the pennsylvania state university press

university park, pennsylvania

www.psupress.org

gr

ose

clo

se and

wie

ric

h

p e n n

s t a t e

p r e s s

views

Contributors

derrick r. cartwright

david peters corbett

barbara groseclose

serge guilbaut

andrew hemingway

sophie levy

christin j. mamiya

marylin mckay

veerle thielemans

jochen wierich

rebecca zurier

isbn: 978-0-271-03200-9

“If Europeans admire

American art I suspect it is not at all because they agree

with its ideological implications, but because . . . it is possible to fulfill with absolute clarity the European nos-

talgia for order and substance.” —Eric Cameron










34 | penn state press 1-800-326-9180 | 35

Beyond the Aesthetic and the Anti-AestheticEdited by James Elkins and Harper Montgomery

Each of the five volumes in the Stone Art Theory Institutes series brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fourth volume in the series, Beyond

the Aesthetic and the Anti-Aesthetic, focuses on ques-tions revolving around the concepts of the aesthetic, the anti-aesthetic, and the political. The book is about the fact that now, almost thirty years after Hal Foster defined the anti-aesthetic, there is still no viable alternative to the dichotomy between aes-thetics and anti- or nonaesthetic art. The impasse is made more difficult by the proliferation of identity politics, and it is made less negotiable by the hegemony of anti-aesthetics in academic discourse on art. The central question of this book is whether artists and academicians are free of this choice in practice, in pedagogy, and in theory.


isbn 978-0-271-06072-9 | cloth: $74.95 sh

The Stone Art Theory Institutes Series


What Is an Image?Edited by James Elkins and Maja Naef

New in Paperback

“What Is an Image? offers a richly informative, wide-ranging, and open-ended ensemble of ideas and

viewpoints that significantly advances the scholarly conversation. One of the great virtues of the vol-

ume is that it breaks with the standardized format of much academic writing to allow the coexistence of a plurality of voices and opinions. The reader is

allowed to ‘listen in’ on a discussion that takes place at the cutting edge of current research and thereby

gains a clear overview of the issues at stake in reconceptualizing the image.”

—Jason Gaiger, University of Oxford

Among the major writers represented in this book are Gottfried Boehm, Michael Ann Holly, Jacqueline

Lichtenstein, W. J. T. Mitchell, Marie-José Mond-zain, Keith Moxey, Parul Dave Mukherji, Wolfram

Pichler, Alex Potts, and Adrian Rifkin.


isbn 978-0-271-05064-5 | cloth: $84.95 sh

isbn 978-0-271-05065-2 | paper: $34.95 sh



Émilie CharmyMatthew Affron, with contributions by Sarah Betzer and Rita Felski

Émilie Charmy (1878–1974) charted a remarkable course in the world of French modern art in the first half of the twentieth century. Her earliest works, executed around 1900, explored the legacy of Impressionist and Post-Impressionist painting. An engagement with the avant-garde circle of Fauve painters defined her art in the years leading up to the First World War. In the ensuing interwar period, Charmy found her mature style, characterized by optical realism, an adherence to the traditional genres of portraiture, the nude, landscape, and still life, and a modernist notion of direct, vigorous paint application as a mark of artistic sincerity. This attitude found its ultimate expression in numerous renderings of the female nude, which, by virtue of Charmy’s melding of ostensibly feminine and masculine qualities, charm and seductiveness on the one hand and power and firmness on the other, confounded prevailing expectations about the nature of women’s art. These images retain their provocative force today.

This publication accompanies the first U.S. retro-spective of the painting of Émilie Charmy, which is organized by the Fralin Museum of Art at the University of Virginia.


isbn 978-0-9835059-5-2 | paper: $29.95 sh

Distributed for the Fralin Museum of Art at the University

of Virginia


th

e s

to

ne

ar

t t

he

or

y i

ns

ti

tu

te

s :

vo

lu

me

tw

o

WHAT IS AN IMAGE?

Edited by James Elkins and Maja Naef

“Émilie Charmy, it would appear, sees like a woman and paints like a man; from the one she takes grace and from the other

strength, and this is what makes her such a strange and powerful painter who holds our attention.”

—RolandDorgelès



















A Gift from the HeartAmerican Art from the Collection of James and Barbara Palmer

Edited by Joyce Henri Robinson

Patrons and collectors Barbara and James Palmer have long played a vital role in the museum that bears their name. A Gift from the Heart: American

Art from the Collection of James and Barbara Palmer

documents in its entirety what is arguably one of the finest private collections of American art in the country. Amassed over more than three decades, the collection features notable works by well-known nineteenth-century artists and boasts strengths in Ashcan realism and Stieglitz-circle modernism, as well as works by noted artists of the mid- to late twentieth century.

Aside from the editor, the contributors are Robert Cozzolino, John Driscol, Randall R. Griffey, Molly S. Hutton, Lauren Lessing, G. Daniel Massad, Leo G. Mazow, Patrick J. McGrady, Jan Keene Muhlert, Marshall N. Price, Sarah Rich, and Elizabeth Hutton Turner.

256 pages | 367 color illustrations | 9 × 11 | 2013

isbn 978-0-911209-70-9 | cloth: $59.95 sh

isbn 978-0-911209-69-3 | paper: $39.95 sh

Distributed for the Palmer Museum of Art at the

Pennsylvania State University


Uncanny CongruenciesPenn State School of Visual Arts Alumni

Edited by Micaela Amateau Amato

The power of art has always been found in those uncanny spaces between formal abstraction and the

narratives of representation. Inseparable parts of a more complex whole, they are the collaborative symbiotic conditions that have created the most compelling works of art since antiquity. Uncanny

Congruencies investigates these elliptical collisions of association and meaning and offers a nuanced

dialogue with its audiences through the seemingly contradictory processes of eighteen remarkable

alumni of Penn State’s School of Visual Arts.

Participating artists include Brian Alfred, Cara Judea Alhadeff, Christa Assad, Kenn Bass, Judith

Bernstein, Gerald Davis, Robert Ecker, Susan Frecon, Krista Hoefle, Marina Kuchinski, Helen

Marden, Beverly McIver, Malcolm Mobutu Smith, Tim Roda, Allen Topolski, Jason Walker, Henry

Wessel, and David Young. Authors include Stephen Carpenter, Charles Garoian, Donald Kuspit, Cristin

Millet, Simone Osthoff, Sarah Rich, Joyce Robin-son, Graeme Sullivan, and Micaela Amateau Amato.


isbn 978-0-615-51222-8 | paper: $25.00 sh

Distributed for the School of Visual Arts at the Pennsylvania

State University


There is no such thing as fantasy unrelated to reality.Maurice Sendak

Angels and Wild ThingsThe Archetypal Poetics of Maurice Sendak

John Cech

New Edition

“Cech delivers a sophisticated analysis that delves into Sendak’s writing and pictures and the rich symbolism of his work, all for the purpose of capturing the ‘unique Sendakian child.’ . . . Sendak, Cech claims, ‘takes adults back to their [childhoods] and allows children to fully claim their own.’ This fascinating study, which includes a generous supply of black-and-white illustrations, a twelve-page inset of full-color reproductions, and a complement of notes, will give students of children’s literature and devotees of Sendak the chance to follow the trail.” —Barbara Elleman, Booklist

Over the course of more than ninety books, in a career that spanned six decades, Maurice Sendak became the most influential and, at times, the most controversial creator of works for children. Each of the books in his trilogy—Where the Wild Things Are, In the Night Kitchen, and Outside Over There—was precedent setting, dramatically expanding the boundaries of subject matter and images that have been conventionally accepted in books for younger children. In this first comprehensive reading of Sen-dak’s key works, John Cech considers the symbolic child who was developed in Sendak’s books and who remained at the center of his vision. This new edition includes a preface by the author covering Sendak’s life, work, and cultural impact in the years since 1994.


isbn 978-0-271-06064-4 | paper: $34.95 sh


www.psupress.org


















38 | penn state press 1-800-326-9180 | 39

Ingres and the StudioWomen, Painting, History

Sarah Betzer


isbn 978-0-271-04875-8 | cloth: $84.95 sh

Cold ModernismLiterature, Fashion, Art

Jessica Burstein

336 pages | 30 illustrations | 6.75 × 9.5 | 2012

isbn 978-0-271-05376-9 | flexi: $74.95 sh


What Do Artists Know?Edited by James Elkins

240 pages | 7 × 10 | 2012

isbn 978-0-271-05424-7 | cloth: $74.95 sh


From Diversion to SubversionGames, Play, and Twentieth-Century Art

Edited by David J. Getsy

232 pages | 33 color/35 b&w illustrations | 9 × 9.5 | 2011

isbn 978-0-271-03703-5 | paper: $74.95 sh


From Minor to MajorThe Minor Arts in Medieval Art History

Edited by Colum Hourihane


isbn 978-0-9837537-1-1 | paper: $35.00 sh

The Index of Christian Art: Occasional Papers Series



Opening DoorsThe Early Netherlandish Triptych Reinterpreted

Lynn F. Jacobs

328 pages | 40 color/140 b&w illustrations | 10.5 × 9.5 | 2012

isbn 978-0-271-04840-6 | cloth: $94.95 sh

Vision and the Visionary in RaphaelChristian K. Kleinbub


isbn 978-0-271-03704-2 | cloth: $89.95 sh

The Gothic Stained Glass of Reims Cathedral

Meredith Parsons Lillich


isbn 978-0-271-03777-6 | cloth: $59.95 sh

The Italian Piazza TransformedParma in the Communal Age

Areli Marina


isbn 978-0-271-05070-6 | cloth: $84.95 sh

PrincetonAmerica’s Campus

W. Barksdale Maynard

288 pages | 150 illustrations/3 maps | 8 × 10 | 2012

isbn 978-0-271-05085-0 | cloth: $44.95 sh

isbn 978-0-271-05086-7 | paper: $19.95 sh

Walter Pach (1883–1958)The Armory Show and the Untold Story of Modern Art in America

Laurette E. McCarthy

New in Paperback

250 pages | 10 color/36 b&w illustrations | 8.5 × 10.5 | 2011

isbn 978-0-271-03741-7 | paper: $29.95 sh

Publication of this book has been aided by a grant from

Furthermore: a program of the J. M. Kaplan Fund

Making Modern ParisVictor Baltard’s Central Markets and the Urban Practice of Architecture

Christopher Curtis Mead


isbn 978-0-271-05087-4 | cloth: $84.95 sh

Buildings, Landscapes, and Societies Series

High Gothic Sculpture at Chartres Cathedral, the Tomb of the Count of Joigny, and the Master of the Warrior SaintsAnne McGee Morganstern


isbn 978-0-271-04865-9 | cloth: $79.95 sh

Art of EstrangementRedefining Jews in Reconquest Spain

Pamela A. Patton


isbn 978-0-271-05383-7 | cloth: $79.95 sh

Philadelphia on StoneCommercial Lithography in Philadelphia, 1828–1878

Edited by Erika Piola

320 pages | 134 color illustrations | 9 × 10 | 2012

isbn 978-0-271-05252-6 | cloth: $49.95 sh

Co-published with the Library Company of Philadelphia

Diego Velázquez’s Early Paintings and the Culture of Seventeenth-Century SevilleTanya J. Tiffany


isbn 978-0-271-05379-0 | cloth: $79.95 sh

Grand ThemesEmanuel Leutze, Washington Crossing the Delaware, and American History Painting

Jochen Wierich


isbn 978-0-271-05032-4 | cloth: $69.95 sh

Sheltering ArtCollecting and Social Identity in Early Eighteenth-Century Paris

Rochelle Ziskin


isbn 978-0-271-03785-1 | cloth: $79.95 sh

selected backlist

















































Personal Information

Name

Address

City/State/Zip

Telephone

Payment method: check/money order (payable to Penn State University) VISA MasterCard American Express Discover

Account Number Exp. Date

Signature

Qty isbn author/title price

SUBTOTAL

LESS 20% DISCOUNT (art14)

SHIPPING & HANDLING*

PA RESIDENTS, 6% SALES TAX; CANADIANS, 5% GST

TOTAL

Return form with payment to:Penn State University Press820 N. University Drive, USB 1, Suite CUniversity Park, PA 16802-1003Toll Free Order: (800) 326-9180Toll Free Fax: (877) 778-2665

*SHIPPING:U.S.: $8.00 for first book, $4.00 each additionalCanada: $12.00 for first book, $6.00 each additional Outside U.S. or Canada: $20.00 for first book, $5.00 each additional

ART14

Abraham in Medieval Christian, Islamic, and Jewish Art . . . . . . . . . . . . . . . . . . . 8Affron, Matthew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Amato, Micaela Amateau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Angels and Wild Things . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Animals on Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Architecture and Statecraft. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Art and the Religious Image in El Greco’s Italy . . . . . . . . . . . . . . . . . . . . . . . . . . 12Art of Estrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Art, Ritual, and Civic Identity in Medieval Southern Italy . . . . . . . . . . . . . . . . . . 7Baskind, Samantha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1The Bernward Gospels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Betzer, Sarah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35, 38Beyond the Aesthetic and the Anti-Aesthetic. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34The Breathless Zoo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Burstein, Jessica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Caetano, Joaquim Oliveira . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Casper, Andrew R. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Cech, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Chai, Jean Julia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Colantuono, Anthony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Cold Modernism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Critical Perspectives on Roman Baroque Sculpture . . . . . . . . . . . . . . . . . . . . . . . 16Critical Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31The Curatorial Avant-Garde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27The Dark Side of Genius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13de Hollanda, Francisco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11de Jong, Jan L. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Diego Velázquez’s Early Paintings and the Culture of

Seventeenth-Century Seville . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Dixon, Laurinda S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Doctored. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Dodd, Adam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Elkins, James . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34, 38Ellenbogen, Josh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Émilie Charmy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Felski, Rita . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35From Diversion to Subversion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38From Minor to Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Georgi, Karen L. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Getsy, David J. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38A Gift from the Heart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Gorgeous Beasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24The Gothic Stained Glass of Reims Cathedral . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Grand Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Groseclose, Barbara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Habel, Dorothy Metzger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Hahn, Cynthia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Hansen, Morten Steen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Highfill, Juli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26High Gothic Sculpture at Chartres Cathedral, the Tomb of the Count

of Joigny, and the Master of the Warrior Saints . . . . . . . . . . . . . . . . . . . . . . . 39Holland’s Golden Age in America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Hope, Charles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Hourihane, Colum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8, 38Humanism and the Urban World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Idea of the Temple of Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Imagining the Passion in a Multiconfessional Castile . . . . . . . . . . . . . . . . . . . . . . 5Ingres and the Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38In Michelangelo’s Mirror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Internationalizing the History of American Art . . . . . . . . . . . . . . . . . . . . . . . . . 32The Italian Piazza Transformed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Jacobs, Lynn F. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Jewish Artists and the Bible in Twentieth-Century America . . . . . . . . . . . . . . . . 1Jolles, Adam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Kingsley, Jennifer P. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Kleinbub, Christian K. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Landes, Joan B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Lee, Paula Young . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Lillich, Meredith Parsons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Lomazzo, Giovan Paolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Lorenzo de’ Medici at Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Magilow, Daniel H. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Making Modern Paris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Marina, Areli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Maynard, W. Barksdale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Mazow, Leo G. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33McCarthy, Laurette E. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Mead, Christopher Curtis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Modernism and Its Merchandise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Montgomery, Harper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Morganstern, Anne McGee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Mosaics of Faith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Naef, Maja . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34On Antique Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Opening Doors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Ostrow, Steven F. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Patronage, Power, and Agency in Medieval Art . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Patton, Pamela A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Pearson, Caspar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Pentcheva, Bissera V. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Philadelphia on Stone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39The Photography of Crisis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Picturing Experience in the Early Printed Book . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Piola, Erika . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Poliquin, Rachel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24The Politics of the Provisional . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22The Power and the Glorification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Princeton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Quodbach, Esmée . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Rader, Karen A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Rampley, Matthew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Reasoned and Unreasoned Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Robinson, Cynthia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Robinson, Joyce Henri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Ross, Elizabeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3The Sensual Icon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Sheehan, Tanya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Sheltering Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Stapleford, Richard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Strange Beauty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Talgam, Rina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Taws, Richard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Thomas, Robin L. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Thomas Hart Benton and the American Sound . . . . . . . . . . . . . . . . . . . . . . . . . . 33Thorsen, Liv Emma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Tiffany, Tanya J. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Uncanny Congruencies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Vanhaelen, Angela . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20The Vienna School of Art History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Vision and the Visionary in Raphael. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38The Wake of Iconoclasm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Walter Pach (1883–1958) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39What Do Artists Know? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38What Is an Image?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

“When All of Rome Was Under Construction”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Wierich, Jochen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32, 39Wohl, Alice Sedgwick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Wohl, Hellmut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Youngquist, Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Zchomelidse, Nino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Ziskin, Rochelle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

index

individuals: We encourage ordering through your local bookstore. Payment must accompany direct orders. libraries: Please attach your purchase order. retailers: Please contact Kathleen Scholz-Jaffe, Sales Manager, 814-867-2224, [email protected].

order form

mailto:[email protected]

penn state uniVersity press820 North University DriveUniversity Support Bldg. 1, Suite CUniversity Park, PA 16802-1003

Non-Profit Org.

U.S. Postage

PAID

State College, PA

Permit No. 1

Order now and receive a 20% discount on titles from this catalogue, use code ART14.

Documents

art and architecture“In a ‘modernist’ century, known chiefly for its increasing emphases both on pictorial abstrac-tion and on secularism, surely a book on this topic, American