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OEUVRES & CRITIQUES XLIX, 2

Baroque et poésie moderne | Coordonnateur : Maxime Cartron

Renaissance Lives

Francisco de Zurbarán and the Fabric of the World

Illuminating Women Artists

The first monograph on the artist to be published in English, this book provides a long-overdue introduction to the life and work of Portuguese painter Josefa de Ayala, known as Josefa de Óbidos (1630-1684). One of the best known and most celebrated artists of the Portuguese baroque, she is the only early modern female artist to be credited with representing the art of a whole period and a geographical area. Her paintings encompass a diversity of religious and secular subjects in a variety of formats, from portraits to still lifes; small oils on copper to large church altarpieces; seemingly 'feminine' themes revolving around the Virgin Mary and female saints to gruesome portrayals of the Passion of Christ. Her oeuvre also includes engravings. Josefa de Óbidos enjoyed a level of artistic and personal autonomy that was extraordinary for a woman of her day. She never married, and kept her own workshop after attaining the legal title of 'donzela emancipada' (emancipated maiden), which allowed for her independence. In addition to working as an artist, she was a successful businesswoman and landowner. Documentation at the time of her death indicates that she owned, in addition to her personal residence, a remarkable number of country houses, vineyards, and orchards, as well as yields from wheat and barley. This timely study situates the artist within the context of the Iberian and broader European artistic milieux of her time, the careers and experiences of other early modern women artists, and the material culture of Portugal's global territories, bringing Josefa de Óbidos' artistic achievement and transnational character to light.

Josefa de Óbidos

The Baroque Composers

Bach scholars frequently provide excellent examples of musicological scholarship, as demonstrated by the 31 published articles selected for this volume. These articles also represent a broad spectrum of the scholarly discussions on J.S. Bach's life and works, and facilitate the on-going study of Bach's creative genius.

Bach scholars frequently provide excellent examples of musicological scholarship, as demonstrated by the 31 published articles selected for this volume. These articles also represent a broad spectrum of the scholarly discussions on J.S. Bach's life and works, and facilitate the on-going study of Bach's creative genius.

Bach

The field of Monteverdi studies has seen many ground-breaking contributions from musicologists in recent years. This collection of articles exemplifies the best of this scholarship in English and includes papers on a wide range of issues including some of the 'big' questions in the historiography and hermeneutics of early Baroque music: musical rep

The field of Monteverdi studies has seen many ground-breaking contributions from musicologists in recent years. This collection of articles exemplifies the best of this scholarship in English and includes papers on a wide range of issues including some of the 'big' questions in the historiography and hermeneutics of early Baroque music: musical rep

Monteverdi

Papers on French Seventeenth Century Literature Vol. LII, No. 102

Classicism and Beyond / Il classicismo e oltre

La poetica della novità di Giovan Battista Marino

Tra continuità e frattura

'This book is going to revolutionize the way we understand Vermeer' Peter Carey The paintings of Johannes Vermeer of Delft are some of the most beautiful, even sublime, in the history of art. Yet like the life of Vermeer himself, they are mysterious and have for centuries defied explanation. Following new leads, and drawing on a mass of historical evidence, some of it freshly uncovered in the archives of Delft and Rotterdam, Andrew Graham-Dixon paints a dramatically new picture of Vermeer, revealing many of the painter's hitherto unknown friendships as well as his previously undetected allegiance to a radical movement driven underground by persecution. He also vividly evokes the world of the Dutch Republic as it was in its so-called Golden Age. This was a watery world of fortresses and flood plains, taverns rocked by argument and cities stunned by devastating attacks and explosions: all linked by a network of canals where a uniquely efficient public transport system, operated by horse-drawn passenger barge, enabled people, goods and ideas to glide effortlessly from one place to another. The author sets Vermeer firmly in the context of his time, revealing the patterns of patronage that make sense of his work, and also exposing the difficulties posed by his home life, which was dominated by his Jesuit mother-in law and disturbed by the psychotic behaviour of her only son. In the past Vermeer has been imagined as a remote and enigmatic figure, but he emerges from this new account as a man deeply engaged with his own society: well-travelled, a reader of books, a man personally connected to many of the most interesting people of his time, including merchants, philosophers, preachers, bankers and regents, as well as his childhood friend, a philanthropic baker named Hendrick van Buyten. Vermeer was also deeply affected by the struggles that shook his world, the Eighty Years War for Dutch independence and the yet more terrible Thirty Years War, which ravaged the neighbouring German lands and resulted in the deaths of millions. The author shows how he was moved to become a pacifist by such atrocities, and thereafter made many of his closest friends in the ranks of Europe's first peace movement. A further revelation is that Vermeer's closest collaborator and chief patron was a woman, as were many others in his immediate circle. These are all previously untold stories. The many piercingly direct descriptions of Vermeer's pictures, which are the heart of the book, shed new light on the intentions of the artist. Nearly all of his best loved works, Graham-Dixon shows, were originally painted for a single significant location in Delft. In light of such discoveries every one of Vermeer's major paintings, including The Girl with a Pearl Earring, A View of Delft and The Milkmaid, are reassessed and their meanings rethought. As a result the two great unresolved questions about Vermeer - why did he paint his pictures, and what do they mean? - are persuasively answered here for the first time.

A Life Lost and Found

Vermeer

The Power of Luxury, Louis XIV to Donald Trump

Versailles Mirrored

Wilfully Blind is an unforgettable account of what has gone wrong in the art world, and of what can be done to change it.

NG6461 is an unforgettable account of what has gone wrong in the art world, and of what can be done to change it.

The Fake Rubens

NG6461

Variorum Collected Studies

Although he is often identified as a Monteverdi scholar, the majority of Jeffrey Kurtzman’s work has focused on other sixteenth- and seventeenth-century Italian sacred music. Organized into three sections, this book provides critical and analytical essays spotlighting the sacred music of Monteverdi and other composers such as Giovanni Francesco Cap

Studies in Sixteenth- and Seventeenth-Century Italian Sacred Music

World Baroque

Relics, Dreams, Voyages

Through the study of Bartolomé Esteban Murillo's painting, this book reveals unknown and intriguing aspects of early globalization and the history of Golden Age Spain.

Reflections from Seventeenth-century Seville

Spanish Globalization through Murillo's Eyes

OEUVRES & CRITIQUES XLIX, 2

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