Motifs of Modern Art and Science
Author: Lewis Pyenson
In The Shock of Recognition, Lewis Pyenson uses a method called Historical Complementarity to identify the motif of non-figurative abstraction in modern art and science. He identifies the motif in Picasso’s and Einstein’s educational environments. He shows how this motif in domestic furnishing and in urban lighting set the stage for Picasso’s and Einstein’s professional success before 1914. He applies his method to intellectual life in Argentina, using it to address that nation’s focus on an inventory of the natural world until the 1940s, its adoption of non-figurative art and nuclear physics in the middle of the twentieth century, and attention to landscape painting and the wonder of nature at the end of the century.
Author: Julian Baker
Coinage and Money in Medieval Greece 1200-1430, by Julian Baker, is a monetary history of medieval Thessaly, mainland Greece and the Peloponnese, Epiros, and adjacent islands. The central focus of the book is the record of coin finds and coin types, which this study presents in a fully developed political, socio-economic, military, and archaeological/topographical context.
In medieval Greece there is a strong symbiosis between monetary and historical developments. The general level of documentation is also vastly superior to the preceding middle Byzantine period. Volume Two presents and evaluates these data. Volume One offers analyses on major historical themes, which demonstrate that the monetary sources can hold narratives in their own rights, complementing and at times contradicting the established accounts.
Visual Representation of Secrets in Early Modern Europe, 1500-1700
Quid est secretum? Visual Representation of Secrets in Early Modern Europe, 1500-1700 is the companion volume to Intersections 65.1, Quid est sacramentum? Visual Representation of Sacred Mysteries in Early Modern Europe, 1400-1700. Whereas the latter volume focused on sacramental mysteries, the current one examines a wider range of secret subjects. The book examines how secret knowledge was represented visually in ways that both revealed and concealed the true nature of that knowledge, giving and yet impeding access to it. In the early modern period, the discursive and symbolical sites for the representation of secrets were closely related to epistemic changes that transformed conceptions of the transmissibility of knowledge.
This volume presents fourteen papers originally delivered at the international conference Filippino Lippi: Beauty, Invention and Intelligence, at the Dutch University Institute (NIKI), Florence in 2017. Filippino (1457-1504), although one of the most original and gifted artists of the Florentine renaissance, has attracted less scholarly attention than his father Fra Filippo Lippi or his master Botticelli, and very little has been published on him in English. This book, authored by leading Renaissance art historians, covers diverse aspects of Filippino Lippi’s art: his role in Botticelli’s workshop; his Lucchese patrons; his responses to Netherlandish painting; portraits; space and temporality; the restoration of the Strozzi Chapel in Santa Maria Novella, Florence; his immediate artistic legacy and nineteenth-century critical reception.
In Heroines, Harpies, and Housewives, Martha Moffitt Peacock provides a novel interpretive approach to the artistic practice of Imaging Women of Consequence in the Dutch Golden Age. From the beginnings of the new Republic, visual celebrations of famous heroines who crossed gender boundaries by fighting in the Revolt against Spain or by distinguishing themselves in arts and letters became an essential and significant cultural tradition that reverberated throughout the long seventeenth century. This collective memory of consequential heroines who equaled, or outshone, men is frequently reflected in empowering representations of other female archetypes: authoritative harpies and noble housewives. Such enabling imagery helped in the structuring of gender norms that positively advanced a powerful female identity in Dutch society.
Paintings, Drawings and Prints up to the Nineteenth Century
Authors: Sam Segal and Klara Alen
This richly illustrated book provides an overview of all known Dutch and Flemish artists up to the nineteenth century who painted or drew flower pieces, or else made prints of them. Unlike many mainstream art historical studies, the book takes a truly comprehensive approach, including cases where only a single example is known or even if nothing of the artist’s other work appears to have survived. Containing highly instructive lists identifying the names of flowers, as well as insects and other animals, the book also discusses the earliest depictions of flower still life and the distinctive characteristics behind the development of floral arrangements in different periods, including the variation of the flowers, the variety of techniques used by artists, as well as an exploration of the symbolism behind the numerous plant and animal species this form of art portrays.

Composed in Dutch, the text was translated into English by Judith Deitch and edited by Philip Kelleway.

Publication of this book was made possible thanks to generous support of:
• Dr. med. Bettina Leysen
• Rose-Marie and Eijk van Otterloo and the Center for Netherlandish Art at the Museum of Fine Arts, Boston

With additional support of the M.A.O.C. Gravin van Bylandt Stichting.
Author: Kersti Markus
Focusing on visual sources and the cultural landscape, Kersti Markus offers a fresh perspective on the Baltic crusades in Visual Culture and Politics in the Baltic Sea Region, 1100-1250. The book examines how visual propaganda was used by the Danish rulers as an instrument in establishing supremacy in the Baltic Sea region.

In recent decades, Danish historians have highlighted the central role of the Valdemar dynasty and the bishops supporting them in the Baltic crusades, but visual sources show how the entire society was mentally prepared for a journey with redemption waiting at the end. A New Jerusalem was being built in Scandinavia, and the crusade to Livonia was conducted under the banner of Christ.
Hua Yan (1682-1756) and the Making of the Artist in Early Modern China explores the relationships between the artist, local society, and artistic practice during the Qing dynasty (1644–1911). Arranged as an investigation of the artist Hua Yan’s work at a pivotal moment in eighteenth-century society, this book considers his paintings and poetry in early eighteenth-century Hangzhou, mid-eighteenth-century Yangzhou, and finally their nineteenth-century afterlife in Shanghai. By investigating Hua Yan’s struggle as a marginalized artist—both at his time and in the canon of Chinese art—this study draws attention to the implications of seeing and being seen as an artist in early modern China.
The Thousand and One Nights does not fall into a scholarly canon or into the category of popular literature. It takes its place within a middle literature that circulated widely in medieval times. The Nights gradually entered world literature through the great novels of the day and through music, cinema and other art forms. Material inspired by the Nights has continued to emerge from many different countries, periods, disciplines and languages, and the scope of the Nights has continued to widen, making the collection a universal work from every point of view. The essays in this volume scrutinize the expanse of sources for this monumental work of Arabic literature and follow the trajectory of the Nights’ texts, the creative, scholarly commentaries, artistic encounters and relations to science.

Contributors: Ibrahim Akel, Rasoul Aliakbari, Daniel Behar, Aboubakr Chraïbi, Anne E. Duggan, William Granara, Rafika Hammoudi, Dominique Jullien, Abdelfattah Kilito, Magdalena Kubarek, Michael James Lundell, Ulrich Marzolph, Adam Mestyan, Eyüp Özveren, Marina Paino, Daniela Potenza, Arafat Abdur Razzaque, Ahmed Saidy, Johannes Thomann and Ilaria Vitali.
The twenty-eight essays in this collection showcase cutting-edge research in manuscript studies, encompassing material from late antiquity to the Renaissance. The volume celebrates the exceptional contribution of John Lowden to the study of medieval books. The authors explore some of the themes and questions raised in John’s work, tackling issues of meaning, making, patronage, the book as an object, relationships between text and image, and the transmission of ideas. They combine John’s commitment to the close scrutiny of manuscripts with an interrogation of what the books meant in their own time and what they mean to us now.