The Globalization of Renaissance Art

A Critical Review

Series:

In The Globalization of Renaissance Art: A Critical Review, Daniel Savoy assembles an interdisciplinary group of scholars to evaluate the global discourse on early modern European art. Over the course of eleven chapters and a roundtable, the contributors assess the discourse’s goal of transcending Eurocentric boundaries, reflecting on the strengths and weaknesses of current terms, methods, theories, and concepts. Although it is clear that the global perspective has exposed the artistic and cultural pluralism of early modern Europe, it is found that more work needs to be done at the epistemological level of art history as a whole.

Contributors: Claire Farago, Elizabeth Horodowich, Lauren Jacobi, Thomas DaCosta Kaufmann, Jessica Keating, Stephanie Leitch, Emanuele Lugli, Lia Markey, Sean Roberts, Ananda Cohen-Aponte, and Marie Neil Wolff.
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Biographical Note

Daniel Savoy is Associate Professor of Art History at Manhattan College. He is the author of Venice from the Water (Yale University Press, 2012), which received the 2012 PROSE Award in Art History.

Table of contents

Contents

List of Figures and Tables
Notes on Contributors

Introduction
Daniel Savoy

Part 1

Global Genealogies



1 A Global Florence and its Blind Spots
Sean Roberts

2 Otto Kurz’s Global Vision
Jessica Keating

Part 2

Beyond Eurocentrism



3 Decolonizing the Global Renaissance: A View from the Andes
Ananda Cohen-Aponte

4 Ranges of Response: Asian Appropriation of European Art and Culture
Thomas DaCosta Kaufmann

Part 3

A Borderless Renaissance



5 Reconsidering the World-system: The Agency and Material Geography of Gold
Lauren Jacobi

6 Linking the Mediterranean: The Construction of Trading Networks in 14th and 15th-century Italy
Emanuele Lugli

7 Cosmopolitan Renaissance: Prints in the Age of Exchange
Stephanie Leitch

8 The World Seen from Venice: Representing the Americas in Grand-scale Wall Maps
Elizabeth Horodowich

Part 4

Instituting the Global



9 Global Renaissance Art: Classroom, Academy, Museum, Canon
Lia Markey

10 Zones of Indifference
Marie Neil Wolff

11 The “Global Turn” in Art History: Why, When, and How Does It Matter?
Claire Farago

Epilogue: Roundtable
Index

Readership

All interested in the global discourse – i.e. the cross-cultural or comparative study – of Art History, especially graduate Art History programs, research institutions, academic libraries, graduate students, and specialists.