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Are there shadows in medieval art? Studies on the role of shadows in art history have either glanced over or ignored the medieval period, yet people of the Middle Ages certainly saw and thought about shadows and recorded their ideas about these phenomena in texts and images.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
Reform, Politics and the Paradoxes of the Avant-Garde
Author:
Tracing the evolution of the German applied arts movement from 1890 through the interwar period, Artists and Radicalism in Germany, 1890-1933 reveals how reforms in artistic and vocational education intersected with the professional politics of radical artists and the nature of intellectual labour. Challenging conventional views, Pegioudis reinterprets the conflict between modern art's advocates and opponents, arguing that professional politics—not merely political ideologies—shaped the historical avant-garde. Developing a fresh perspective on the role of radicalism and avant-garde labour in the history of modern art, this book casts new light on German modern art and its interpreters.
Medieval and Early Modern China, Expanding Horizons
Volume Editor:
Part Two of the Festschrift dedicated to William H. Nienhauser presents a collection of twelve academic papers that delve into the realms of poetry, fiction, and anecdotal writing from the Tang dynasty onwards. Readers will immerse themselves in the linguistic and literary intricacies of some of the most famous pieces of Tang era poetry, learn to see the city of Beijing through the eyes of a Portuguese explorer of the 16th century, dissect late pictorial depictions of Confucius in classroom settings, and discover how a real event might have inspired four separate Tang narratives to revolve around a female avenger.
Emblematics and the Brazilian Avant-Garde (1920-30s)
Author:
In Antropofagia, Aarnoud Rommens shows how this Brazilian avant-garde movement (1920-30s) deconstructed early tendencies in the European vanguard. Through imaginative re-readings, the author reinterprets Antropofagia’s central texts and images as elements within an ever-changing, neo-baroque memory palace. Not only does the movement subvert established conceptions of the pre- and postcolonial; it is also a counter-colonial critique of verbal and visual literacy. To do justice to the dynamic between visibility and legibility, Rommens develops the inventive methodology of ‘emblematics’. The book’s implications are wide-ranging, prompting a revaluation of the avant-garde as a transmedial tactic for disrupting our reading and viewing habits.
Is there a special place for the Low Countries in art history’s current debates on global mobility? How should we conceive of the globalization of Netherlandish art in the early modern period, and in what ways does the distinctively worldly orientation of the Netherlands in this period contribute to early modern visual culture? This volume examines how artworks produced in the wake of European expansion—art produced in the Netherlands in reaction to the world outside of Europe and art made outside of Europe in reaction to encounters with the Netherlands—help us better understand the cultural impacts of globalization.
Long overdue in the history of the Netherlands Yearbook for History of Art, this volume foregrounds women as creators, patrons, buyers, and agents of change in the arts of the Low Countries. Venturing beyond the participation of ‘exceptional’ individuals, chapters investigate how women produced paintings, sculptures, scientific illustrations, and tapestries as well as their role in architectural patronage and personalized art collections. Teasing out a variety of socio-economic, legal, institutional, and art-theoretical dimensions of female agency, the volume highlights the role of visual culture in women’s lived experience and self-representation, asking to what extent women challenged, subverted, or confirmed societal norms in the Netherlands.
Children and Cultural Capital in the Americas
A class of child artists in Mexico, a ship full of child refugees from Spain, classrooms of child pageant actors, and a pair of boy ambassadors revealed facets of hemispheric politics in the Good Neighbor era. Culture-makers in the Americas tuned into to children as producers of cultural capital to advance their transnational projects. In many instances, prevailing conceptions of children as innocent, primitive, dependent, and underdeveloped informed perceptions of Latin America as an infantilized region, a lesser "Other Americas" on the continent. In other cases, children's interventions in the cultural politics, economic projects, and diplomatic endeavors of the interwar period revealed that Latin American children saw themselves as modern, professional, participants in forging inter-American relationships.

"Good Neighbor Empires is a skillfully crafted study of children as actors and as symbolic centerpieces in the infantilized image of Latin America. Marrying deep research in transnational archives with engaging storytelling, Albarrán examines the social meaning of children by crafting a story where they emerge as powerful artists, exiles and diplomats in open-air art schools, dormitories and classrooms. By vividly demonstrating how children’s experiences and the metaphors surrounding them both reaffirmed and contested diplomacy and hemispheric understandings in the Americas, the book asserts the relevance of childhood studies and transnational history to understandings of Latin American politics and culture." - Sonia Robles, author of Mexican Waves: Radio Broadcasting along Mexico's Northern Border, 1930-1950 (The University of Arizona Press: 2023).

"Elena Albarrán is an internationally renowned authority on the history of childhood in Latin America, and especially Mexico. Good Neighbor Empires masterfully tells a transnational history of children, their cultural production, and their public perception in Latin America during the 1930s and 1940s, a time in which the United States discarded military intervention and heavy-handed diplomacy in favor of an approach focused on the soft power of commerce, media, and migration. At the heyday of U.S. imperialism, cartoons had often represented the Latin American republics as children in need of Uncle Sam's guidance, and Latin Americans (both adults and children) remained infantilized in the U.S. imagination throughout the Good Neighbor era. Focusing on the agency of children in three contexts, from Mexican folklore to Spanish Republican refugees to Pan-Americanism as an effort to foster hemispheric "solidarity" during an era of totalitarian threats, the author shows that children and the families they belonged to emerged as part of a new populist rhetoric that reinforced both international capitalist cooperation and patriarchy. A cutting-edge contribution to the history of the Americas in the twentieth century." - Jürgen Buchenau, Dowd Term Chair of Capitalism Studies, UNC Charlotte

"Albarrán makes significant contributions to the scholarship on both childhood studies and the history of cultural relations in Good Neighbor Empires. As well as examining the discourses of childhood that built upon colonial and neocolonial legacies and shaped Pan Americanism, Albarrán gives voice to the children who sometimes refashioned these discourses in surprising ways, based on their own understandings of childhood, Latin America, and the United States. Grounded in Mexican cultural history, but providing insights that demonstrate the usefulness of children as a category of analysis for understanding the entire hemisphere, she deftly weaves captivating tales of children’s agency as non-governmental actors in inter-American affairs with a fascinating account of the contested construction of U.S. neocolonial hegemony in the twentieth century." - Amelia M. Kiddle, University of Calgary, author of Mexico’s Relations with Latin America during the Cárdenas Era (University of New Mexico Press, 2016)
Shaping Identities between Networks and Patronage (c. 1530-1690)
Author:
In this volume Giulia Zanon sheds new light on our grasp of social hierarchy and the possibilities for social mobility in pre-modern Italy. By adopting an interdisciplinary approach that combines deep archival research with a multitude of artistic and architectural artefacts, this work breaks new ground by contextualizing the part played by social relationships and the arts in publicly affirming and displaying the prestige of the middling sorts, the cittadini, in early modern Venice.