Brill’s Studies in the History of Collecting & Art Markets is a peer-reviewed book series dedicated to original scholarship on the social, cultural, and economic mechanisms underlying the circulation of art. Over the last two decades interest in the formation, display, and dissolution of art collections increased tremendously; art markets, trade routes, and dealer networks became a rich field of interdisciplinary inquiry. Scholarship brought forth a lot of information about the flamboyant personalities to which the possession of art was a lifestyle; for the “social life of things”, i.e. the provenances of individual artworks, many research gaps could be closed. This shift in scholarly interest from the production side to the consumption side of the art world is also reflected in the emergence of specialized post-graduate courses offered by a number of institutions internationally, as well as an ever-increasing stream of exhibitions, conferences, and publications devoted to the subject. Brill’s book series accommodates scholarly monographs, collections of essays, conference proceedings, and works of reference that engage in the broadly defined topic of art markets and collecting practices throughout history.
This peer reviewed book series focuses on scholarly publications (monographs, edited volumes, catalogues) on visual arts in the Netherlands up to 1900.
The Oud Holland Book Series is closely related to the journal Oud Holland, Journal for Art of the Low Countries, the oldest surviving art historical journal in the world. The book series is a platform for larger studies on topics relevant for the journal. Books are published in English.
Manuscripts can be submitted for review to the publisher, attention of Liesbeth Hugenholtz (email@example.com).
Brill’s Studies in Art & Materiality is a peer-reviewed book series dedicated to innovative scholarship about the relation between art, materials, and making.
Artists possess knowledge about materials, their affordances and interactions, and skillfully transform materials into art objects. The resulting specific materiality of a work of art is not only an index of its making, but is also fundamentally connected to meaning, aesthetic perception, mimetic potential, economic value, cultural and social impact, as well as its endurance and preservation. Understanding these connections enhances the field of art history and opens new avenues of investigation, ranging from the focused situated study of individual materials and art objects to comparative inquiries that cross traditional boundaries between genre, time, and space. The development of salient theoretical and methodological frameworks to study the materiality of art connects art history and its sub-disciplines (technical art history, museum studies) to anthropology, history of science, archaeology, material culture studies, as well as the cognitive sciences.
The series accommodates scholarly monographs, collections of essays, conference proceedings, and reference works that engage with the rich meanings of art works’ materiality.
The series is not restricted to a particular chronological period or geographical region, thereby allowing for a broad range of topics. In addition, the series has an interdisciplinary component, while keeping a distinct profile. As such, the series promises rich, innovative content for a wide academic readership.
Brill Research Perspectives in Art and Law, aims to gather outstanding contributions to the fascinating debate at the intersection of art and law. The focus of this book series involves all the aspects (philosophical, juridical, sociological, technological and cultural) characterizing the relationship between law and art.
Brill Research Perspectives in Religion and the Arts presents extended reference articles on topics within the comprehensive field of world religions and the arts, from the traditional fine arts to newer fields of visual culture and material culture. References will be hyperlinked to original source materials when possible, offering both scholars and students the opportunity to stay current with the literature or to begin their research. Written as a single-author monograph with accompanying critical bibliography, each 50 to 100 page article provides an overview of the specific topic, its history within the larger discipline of religion and the arts, recent innovations in scholarship, critical commentary, and the unique analysis of the author's perspectives.