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.
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
List of Figures and Tables Notes on Contributors
Introduction Daniel Savoy
A Global Florence and its Blind Spots Sean Roberts
Otto Kurz’s Global Vision Jessica Keating
Decolonizing the Global Renaissance: A View from the Andes Ananda Cohen-Aponte
Ranges of Response: Asian Appropriation of European Art and Culture Thomas DaCosta Kaufmann
A Borderless Renaissance
Reconsidering the World-system: The Agency and Material Geography of Gold Lauren Jacobi
Linking the Mediterranean: The Construction of Trading Networks in 14th and 15th-century Italy Emanuele Lugli
Cosmopolitan Renaissance: Prints in the Age of Exchange Stephanie Leitch
The World Seen from Venice: Representing the Americas in Grand-scale Wall Maps Elizabeth Horodowich
Instituting the Global
Global Renaissance Art: Classroom, Academy, Museum, Canon Lia Markey
Zones of Indifference Marie Neil Wolff
The “Global Turn” in Art History: Why, When, and How Does It Matter? Claire Farago
Epilogue: Roundtable Index
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.