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Ad vivum?

Visual Materials and the Vocabulary of Life-Likeness in Europe before 1800

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Edited by Thomas Balfe, Joanna Woodall and Claus Zittel

The term ad vivum and its cognates al vivo, au vif, nach dem Leben and naer het leven have been applied since the thirteenth century to depictions designated as from, to or after (the) life. This book explores the issues raised by this vocabulary and related terminology with reference to visual materials produced and used in Europe before 1800, including portraiture, botanical, zoological, medical and topographical images, images of novel and newly discovered phenomena, and likenesses created through direct contact with the object being depicted. The designation ad vivum was not restricted to depictions made directly after the living model, and was often used to advertise the claim of an image to be a faithful likeness or a bearer of reliable information. Viewed as an assertion of accuracy or truth, ad vivum raises a number of fundamental questions in the area of early modern epistemology – questions about the value and prestige of visual and/or physical contiguity between image and original, about the kinds of information which were thought important and dependably transmissible in material form, and about the roles of the artist in that transmission. The recent interest of historians of early modern art in how value and meaning are produced and reproduced by visual materials which do not conform to the definition of art as unique invention, and of historians of science and of art in the visualisation of knowledge, has placed the questions surrounding ad vivum at the centre of their common concerns. Contributors include: José Beltrán, Carla Benzan, Eleanor Chan, Robert Felfe, Mechthild Fend, Sachiko Kusukawa, Pieter Martens, Richard Mulholland, Noa Turel, and Daan Van Heesch
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Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 68 (2018)

Lessons in Art. Art, Education, and Modes of Instruction since 1500

Edited by Ann-Sophie Lehmann and Bart Ramakers

Why, how, to whom and by whom was art taught? Lessons in Art (Netherlands Yearbook for History of Art, Vol 68) provides new answers to these questions by addressing the relation between art and education in the Netherlands from 1500 to the 1970s. The authors gathered in this volume consider the practical education of artists within a wide societal context. They present new ways of looking at teaching materials and methods and show how art was employed as a powerful teaching aid. From early-modernity to the present, education, it appears, fuels the production and perception of art.

Table of Contents
1. Ann-Sophie Lehmann & Bart Ramakers, Introduction
2. Caecilie Weissert, Clément Perret’s Exercitatio alphabetica (1569). A calligraphic textbook and sample book on eloquence
3. Koen Jonckheere, Aertsen, Rubens and the questye in early modern painting
4. Edward H. Wouk, From Lambert Lombard to Aby Warburg. Pathosformel as grammar
5. Bart Ramakers, Paper, paint, and metal foil. How to costume a tyrant in late sixteenth century Holland
6. Jenny Boulboullé, Drawn up by a learned physician from the mouths of artisans. The Mayerne manuscript revisited
7. Erin Travers, Jacob van der Gracht’s Anatomie for artists
8. Julie Remond, ‘Draw everything that exists in the world’. ’t Light der Teken en Schilderkonst and the shaping of art education in early modern northern Europe
9. Ann-Sophie Lehmann, An alphabet of colours. Painting as practice and metaphor in seventeenth-century pedagogy
10. Joost Keizer, Rembrandt’s nature. The ethics of teaching style in the Dutch Republic
11. Erin Downey, Learning in Netherlandish workshops in seventeenth-century Rome
12. Annemarie Kok, Do it yourself! Lessons in participation in a dynamic labyrinth in the Stedelijk Museum Amsterdam
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Vera Keller, Anna Marie Roos and Elizabeth Yale