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Author: Fred Orton
Fred Orton’s teaching and writing has always combined theoretical and formal – which to say structural - analysis with historical research and reflection. This collection of essays – rewritten studies of Paul Cézanne, Jasper Johns, the American cultural critic Harold Rosenberg and a new essay on Marx and Engels’ notion of ideology – brings together some of his most decisive contributions to thinking about fine art practice and rethinking the theory and methods of the social history of art. More than an anthology, it offers a vivid demonstration of how theory can work to generate new interpretations and unsettle old ones.
From Animators’ Perspectives
Volume Editor: Daisy Yan Du
This volume on Chinese animation and socialism is the first in English that introduces the insider viewpoints of socialist animators at the Shanghai Animation Film Studio in China. Although a few monographs have been published in English on Chinese animation, they are from the perspective of scholars rather than of the animators who personally worked on the films, as discussed in this volume. Featuring hidden histories and names behind the scenes, precious photos, and commentary on rarely seen animated films, this book is a timely and useful reference book for researchers, students, animators, and fans interested in Chinese and even world animation.

This book originated from the Animators’ Roundtable Forum (April 2017 at the Hong Kong University of Science and Technology), organized by the Association for Chinese Animation Studies.
In the early modern Iberian book world, as in the European book world more broadly, most works issuing from the presses contained some form of ornamentation. The nineteen contributions presented here cast light on these visual elements—on the production and ownership of printers’ materials, and on the frequency with which these materials were exchanged and shared. A third of all items printed in the early modern Iberian world carried no imprint at all; for these items, woodblocks and engravings can assist scholars seeking to identify their place of origin or their date of publication. As importantly, decoration and illustration in early print can also reveal much about the history of the graphic arts and evolving forms of cultural representation.
Volume Editor: Alessia Frassani
This volume explores how visual arts functioned in the indigenous pre- and post-conquest New World as vehicles of social, religious, and political identity. Twelve scholars in the field of visual arts examine indigenous artistic expressions in the American continent from the pre-Hispanic age to the present. The contributions offer new interpretations of materials, objects, and techniques based on a critical analysis of historical and iconographic sources and argue that indigenous agency in the continent has been primarily conceived and expressed in visual forms in spite of the textual epistemology imposed since the conquest.

Contributors are: Miguel Arisa, Mary Brown, Ananda Cohen-Aponte, Elena FitzPatrick Sifford, Alessia Frassani, Jeremy James George, Orlando Hernández Ying, Angela Herren Rajagopalan, Keith Jordan, Lorena Tezanos Toral, Marcus B. Burke, and Lawrence Waldron.
An Iconological Analysis of the Relationships between Art, Science and Power
In Early Modern Thesis Prints in the Southern Netherlands, Gwendoline de Mûelenaere offers an account of the practice of producing illustrated thesis prints in the seventeenth-century Southern Low Countries. She argues that the evolution of the thesis print genre gave rise to the creation of a specific visual language combining efficiently various figurative registers of a historical and symbolic nature. The book offers a reflection on the representation of knowledge and its public recognition in the context of academic defenses.

Early Modern Thesis Prints makes a timely contribution to our understanding of early modern print culture and more specifically to the expanding field of study concerned with the role of visual materials in early modern thought.
In epideictic oratory, ekphrasis is typically identified as an advanced rhetorical exercise that verbally reproduces the experience of viewing a person, place, or thing; more specifically, it often purports to replicate the experience of viewing a work of art. Not only what was seen, but also how it was beheld, and the emotions attendant upon first viewing it, are implicitly construed as recoverable, indeed reproducible.
This volume examines how and why many early modern pictures operate in an ekphrastic mode: such pictures claim to reconstitute works of art that solely survived in the textual form of an ekphrasis; or they invite the beholder to respond to a picture in the way s/he responds to a stirring verbal image; or they call attention to their status as an image, in the way that ekphrasis, as a rhetorical figure, makes one conscious of the process of image-making; or finally, they foreground the artist’s or the viewer’s agency, in the way that the rhetor or auditor is adduced as agent of the image being verbally produced.

The contributors are:
Carol Elaine Barbour, MA, University of Toronto, 2014, is an MPhil/PhD student at the Warburg Institute, University of London. Her research project examines the transmission and reception of the Tabula Cebetis, c. 1500-1600.
James Clifton, PhD, 1987, Princeton University, is Director of the Sarah Campbell Blaffer Foundation and Curator in Renaissance and Baroque Painting at the Museum of Fine Arts, Houston. He has curated exhibitions and published extensively on early-modern European art and culture.
Teresa Clifton is a Lecturer in Hispanic Languages and Literatures at the University of Pittsburgh. She received her PhD in Hispanic Studies from Brown University in 2019 with a dissertation on the pastoral mode in colonial Mexican fiction.
Arthur J. DiFuria, PhD., 2008, University of Delaware, is Chair and Professor of Art History at Savannah College of Art and Design, Savannah, GA, specializing in early modern northern European art. In addition to several articles on sixteenth century antiquarianism, prints, and drawings, he is the editor of Genre Imagery in Early Modern Northern Europe: New Perspectives (2016) and the author of Maarten van Heemskerck’s Rome: Antiquity, Memory, and the Netherlandish Cult of Ruins (2019).
Christopher P. Heuer is Professor art Art and Architecture at the University of Rochester, New York. He is the author, most recently, of Into the White: The Renaissance Arctic and the End of the Image, and Andrea Buttner: Liber Vagatorum.
Barbara A. Kaminska, PhD, 2014, University of California, Santa Barbara, is Assistant Professor of Art History at Sam Houston State University. Her research focuses on Netherlandish painting and printmaking, the Protestant Reformation, and the cultural history of disability.
Annie McEwen, Ph.D. Candidate, Emory University. Her dissertation research focuses on antiquarianism and reproductive printmaking in pre-modern Rome through the work of Pietro Santi Bartoli and Giovanni Pietro Bellori.
Walter S. Melion, PhD, 1988, University of California, Berkeley, is Asa Griggs Candler Professor of Art History at Emory University. He has published widely on Netherlandish art and art theory, on early modern printmaking, and on meditative, mnemonic, and emblematic image-making, amongst other topics.
Dawn Odell, PhD, 2003, University of Chicago, is an Associate Professor of Art History at Lewis & Clark College. Her publications focus on the exchange of objects and artistic practices between China, the Netherlands, and North America in the seventeenth and eighteenth centuries.
April Oettinger, PhD, University of Virginia, is Professor of Art History & Visual Culture and Cushing Professor of the Humanities at Goucher College. Her publications explore the poetics and production of Nature in early modern visual and literary culture.
Shelley Perlove, Scholar in Residence at the University of Michigan, Ann Arbor, and Professor Emerita, UM-Dearborn, publishes widely in Italian and Dutch early modern art, with emphasis upon religious culture and politics in the art of Bernini, Guercino, and Rembrandt and his followers.
Stephanie Porras is Associate Professor of Art History and Chair of the Newcomb Art Department at Tulane University. Her research focuses on the visual and material culture of Northern Europe and the Spanish world from the fifteenth to the seventeenth centuries, with particular focus on early modern print.
Femke Speelberg M.Phil. is Associate Curator of Historic Ornament, Design and Architecture in the Department of Drawings & Prints at the Metropolitan Museum of Art. Her research focuses on art works and resources that document the transmission of ideas, motifs and styles.
Elliott D. Wise, PhD, 2016, Emory University, Atlanta, is assistant professor of Art History at Brigham Young University. His research focuses on late medieval and early modern devotional art, especially questions of liturgy, Eucharistic and Marian piety, and mysticism.
Steffen Zierholz is currently Visiting Professor at the Ruhr University Bochum. His research focuses on Jesuit sacred art, painting on stone, as well as on the aesthetics and materiality of the early modern surface.
Poissons qui grimpent aux arbres, cigognes qui prennent soin de leurs parents… A l’ère prémoderne, les textes et les arts visuels forment un fabuleux bestiaire qui révèle l’inventivité et la richesse de la réflexion sur les animaux. Les études de ce volume vous font découvrir l’animal dans tous ses états : est-il une simple image anthropomorphique de l’homme ? Un modèle à suivre ? Ou même un être autonome, égal ou supérieur à l’homme ? Explorant une diversité de textes – fables, poésie, roman, récits de voyage, emblèmes – et de médias visuels – peinture, tapisserie, bijouterie, ce volume montre les fructueux échanges prémodernes entre l’histoire naturelle et les arts. En interrogeant implicitement la nécessité de dépasser l’anthropocentrisme et l’anthropomorphisme régnants, il s’inscrit dans les nouvelles tendances de la critique culturelle.

Fish climbing trees, storks taking care of their parents… Premodern textual and visual culture presents us with a fabulous bestiary that reveals ingenious and rich reflections on the animal kingdom. The studies united in this volume will allow you to discover animals in all their possible states: are they simple anthropomorphic images of man? Models to follow? Or autonomous beings, equal or even superior to man? By exploring a large diversity of texts – fables, poetry, novels, travel narratives, emblematic works – and visual media – paintings, tapestries, jewellery, this richly illustrated volume displays the fruitful premodern exchanges between natural history and culture. It follows new trends in cultural criticism by implicitly interrogating the need to move beyond the reigning paradigms of anthropocentrism and anthropomorphism.
Handbook of the Colour Print in China 1600-1800 is a ground-breaking volume of collected research into colour woodblock printed imagery produced in early modern China. The emergence and development of colour woodblock imagery occurred first in book illustrations and then in single-sheet prints.

Leading scholars of Chinese print culture trace the emergence of a sophisticated and fully developed colour woodblock print technology between the late Ming and mid-Qing. This volume examines the impact of colour prints on Qing visual culture through interdisciplinary studies investigating literary and artistic contexts, social and economic histories, and dating through European inventoried collections.

Richly illustrated with full-colour reproductions, this volume is an essential contribution to the future study of Chinese print and book culture.
Editor: Samer Akkach
Naẓar, literally ‘vision’, is a unique Arabic-Islamic term/concept that offers an analytical framework for exploring the ways in which Islamic visual culture and aesthetic sensibility have been shaped by common conceptual tools and moral parameters. It intertwines the act of ‘seeing’ with the act of ‘reflecting’, thereby bringing the visual and cognitive functions into a complex relationship. Within the folds of this multifaceted relationship lies an entangled web of religious ideas, moral values, aesthetic preferences, scientific precepts, and socio-cultural understandings that underlie the intricacy of one’s personal belief. Peering through the lens of naẓar, the studies presented in this volume unravel aspects of these entanglements to provide new understandings of how vision, belief, and perception shape the rich Islamic visual culture.

Contributors: Samer Akkach, James Bennett, Sushma Griffin, Stephen Hirtenstein, Virginia Hooker, Sakina Nomanbhoy, Shaha Parpia, Ellen Philpott-Teo, Wendy M.K. Shaw.
Author: Melinda Nielsen
The medieval Latin poem Speculum Humanae Salvationis (known in English as The Mirror of Human Salvation) was one of the most popular works of the fourteenth and fifteenth centuries with preachers and laity alike. Utilizing a typological approach to interpretation, it combines Old Testament and New Testament events and figures to depict an integrated narrative of redemption. As such, the Speculum is not only an outstanding model of medieval biblical interpretation, but also a fascinating case study in allegorical reading habits and the interplay between text and image. This Scholars Initiative project comprises the first modern transcription and English translation of the full Latin Speculum, accompanied by annotations tracing the biblical references and detailed notes explaining the visual iconography.