In this study of Amsterdam's Golden Age cultural elite, John Michael Montias analyzes records of auctions from the Orphan Chamber of Amsterdam through the first half of the seventeenth century, revealing a wealth of information on some 2,000 art buyers' regional origins, social and religious affiliations, wealth, and aesthetic preferences. Chapters focus not only on the art dealers who bought at these auctions, but also on buyers who had special connections with individual artists.
Gathered in honor of John Michael Montias (1928–2005), the foremost scholar on Johannes Vermeer and a pioneer in the study of the socioeconomic dimensions of art, the essays in In His Milieu are an essential contribution to the study of the social functions of making, collecting, displaying, and donating art. The nearly forty essays here by—all internationally recognized experts in the fields of art history and the economics of art—are especially revealing about the Renaissance and Baroque eras and present new material on such artists as Rembrandt, Van Eyck, Rubens, and da Vinci.
This book is not only a fascinating biography of one of the greatest painters of the seventeenth century but also a social history of the colorful extended family to which he belonged and of the town life of the period. It explores a series of distinct worlds: Delft's Small-Cattle Market, where Vermeer's paternal family settled early in the century; the milieu of shady businessmen in Amsterdam that recruited Vermeer's grandfather to counterfeit coins; the artists, military contractors, and Protestant burghers who frequented the inn of Vermeer's father in Delft's Great Market Square; and the quiet, distinguished "Papists Corner" in which Vermeer, after marrying into a high-born Catholic family, retired to practice his art, while retaining ties with wealthy Protestant patrons. The relationship of Vermeer to his principal patron is one of many original discoveries in the book.
In this study of Amsterdam's Golden Age cultural elite, John Michael Montias analyzes records of auctions from the Orphan Chamber of Amsterdam through the first half of the seventeenth century, revealing a wealth of information on some 2,000 art buyers' regional origins, social and religious affiliations, wealth, and aesthetic preferences. Chapters focus not only on the art dealers who bought at these auctions, but also on buyers who had special connections with individual artists.
First published in 1994. The reasons, methods, and outcomes of system change in general, and in Russia and Eastern Europe in particular are analyzed, using the analytical apparatus developed in the monograph.
This book is not only a fascinating biography of one of the greatest painters of the seventeenth century but also a social history of the colorful extended family to which he belonged and of the town life of the period. It explores a series of distinct worlds: Delft's Small-Cattle Market, where Vermeer's paternal family settled early in the century; the milieu of shady businessmen in Amsterdam that recruited Vermeer's grandfather to counterfeit coins; the artists, military contractors, and Protestant burghers who frequented the inn of Vermeer's father in Delft's Great Market Square; and the quiet, distinguished "Papists Corner" in which Vermeer, after marrying into a high-born Catholic family, retired to practice his art, while retaining ties with wealthy Protestant patrons. The relationship of Vermeer to his principal patron is one of many original discoveries in the book.
A concise survey that introduces readers to the people, ideas, and conflicts in European history from the Thirty Years' War to the Napoleonic Era. The authors draw on gender studies, environmental history, anthropology and cultural history to frame the essential argument of the work.
In The World of William Byrd John Harley builds on his previous work, William Byrd: Gentleman of the Chapel Royal (Ashgate, 1997), in order to place the composer more clearly in his social context. He provides new information about Byrd's youthful musical training, and reveals how in his adult life his music emerged from a series of overlapping family, business and social networks. These networks and Byrd's navigation within and between them are examined, as are the lives of a number of the individuals comprising them.
In The World of William Byrd John Harley builds on his previous work, William Byrd: Gentleman of the Chapel Royal (Ashgate, 1997), in order to place the composer more clearly in his social context. He provides new information about Byrd's youthful musical training, and reveals how in his adult life his music emerged from a series of overlapping family, business and social networks. These networks and Byrd's navigation within and between them are examined, as are the lives of a number of the individuals comprising them.
What is work? Is it simply a burden to be tolerated or something more meaningful to one's sense of identity and self-worth? And why does it matter? In a uniquely thought-provoking book, John W. Budd presents ten historical and contemporary views of work from across the social sciences and humanities. By uncovering the diverse ways in which we conceptualize work—such as a way to serve or care for others, a source of freedom, a source of income, a method of psychological fulfillment, or a social relation shaped by class, gender, race, and power—The Thought of Work reveals the wide-ranging nature of work and establishes its fundamental importance for the human experience. When we work, we experience our biological, psychological, economic, and social selves. Work locates us in the world, helps us and others make sense of who we are, and determines our access to material and social resources. By integrating these distinct views, Budd replaces the usual fragmentary approaches to understanding the nature and meaning of work with a comprehensive approach that promotes a deep understanding of how work is understood, experienced, and analyzed. Concepts of work affect who and what is valued, perceptions of freedom and social integration, identity construction, evaluations of worker well-being, the legitimacy and design of human resource management practices, support for labor unions and labor standards, and relationships between religious faith and work ethics. By drawing explicit attention to diverse, implicit meanings of work, The Thought of Work allows us to better understand work, to value it, and to structure it in desirable ways that reflect its profound importance.
In a world filled with great museums and great paintings, Leonardo da Vinci’s Mona Lisa is the reigning queen. Her portrait rules over a carefully designed salon, one that was made especially for her in a museum that may seem intended for no other purpose than to showcase her virtues. What has made this portrait so renowned, commanding such adoration? And what of other works of art that continue to enthrall spectators: What makes the Great Sphinx so great? Why do iterations of The Scream and American Gothic permeate nearly all aspects of popular culture? Is it because of the mastery of the artists who created them? Or can something else account for their popularity? In Famous Works of Art—And How They Got That Way, John B. Nici looks at twenty well-known paintings, sculptures, and photographs that have left lasting impressions on the general public. As Nici notes, there are many reasons why works of art become famous; few have anything to do with quality. The author explains why the reputations of some creations have grown over the years, some disproportionate to their artistic value. Written in a style that is both entertaining and informative, this book explains how fame is achieved, and ultimately how a work either retains that fame, or passes from the public consciousness. From ancient artifacts to a can of soup, this book raises the question: Did the talent to promote and publicize a work exceed the skills employed to create that object of worship? Or are some masterpieces truly worth the admiration they receive? The creations covered in this book include the Tomb of Tutankhamun, Botticelli’s Birth of Venus, Raphael’s Sistine Madonna, El Greco’s The Burial of Count Orgaz, Rodin’s The Thinker, Van Gogh’s Starry Night, and Picasso’s Guernica. Featuring more than sixty images, including color reproductions, Famous Works of Art—And How They Got That Way will appeal to anyone who has ever wondered if a great painting, sculpture, or photograph, really deserves to be called “great.”
Western economic historians have traditionally concentrated on the success stories of major developed economies, while development economists have given most of their attnetion to the problems of the Third World. The authors of this pioneering work study a part of Europe neglected by both approaches. Modernizing patterns in Balkan economic history are traced from the sixteenth century (when the territory was shared by Ottoman and Habsburg empires), through the nineteenth century (when they emerged as independent states), to the end of World War II and its aftermath. Despite present differences in economic systems—Greece's private market economy, Yugoslavia's planned market economy, and the centrally planned economies of Romania, Bulgaria, and Albania—the authors find that shared origins and common subsequent experiences are ample justifications for treating the area as an economic unit. Balkan Economic History, 1550-1950 will be a major case study for development economists and will provide historians with the first analytical and statistical study to survey the entire region from the start of the early modern period.
An exemplary survey that reassesses the impact of the most important books to have shaped art history through the twentieth century Written by some of today’s leading art historians and curators, this new collection provides an invaluable road map of the field by comparing and reexamining canonical works of art history. From Émile Mâle’s magisterial study of thirteenth-century French art, first published in 1898, to Hans Belting’s provocative Likeness and Presence: A History of the Image before the Era of Art, the book provides a concise and insightful overview of the history of art, told through its most enduring literature. Each of the essays looks at the impact of a single major book of art history, mapping the intellectual development of the writer under review, setting out the premises and argument of the book, considering its position within the broader field of art history, and analyzing its significance in the context of both its initial reception and its afterlife. An introduction by John-Paul Stonard explores how art history has been forged by outstanding contributions to scholarship, and by the dialogues and ruptures between them.
This book gives a comprehensive account of the history and underlying economics of the modern art market in eighteenth- and nineteenth-century Britain.
This edition of the Joint Economic Committee's 1993 reports on the economies of the ex-Soviet states tracks the Soviet and post-Soviet economic reform efforts, and looks at issues such as integration and developments.
In The Drawing Lesson, Jan Steen celebrates the art of the painter as teacher, placing his subjects in a familiar Dutch interior. This fascinating study of the painting - a masterpiece of the Museum's collection - examines the individual parts and larger patterns of the work and also recounts Steen's career and a history of the picture itself.
In the early 1970s, the post-World War II boom in world metal consumption came to a halt. As time passed, it became clear that what many first thought to be a cyclical downturn was instead a long-term, substantial decline in world metal demand. In this volume, first published in 1990, editor John E. Tilton and four fellow scholars of mineral economics analyse the causes and consequences of this decline and the prospects for future growth in world metal demand. This book will be of interest to students of business and environmental studies.
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