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The Delight of Art Giorgio Vasari and the Traditions of Humanist Discourse David Cast “Although much of the recent scholarship on Vasari’s great Lives of the artists has focused on the authorship and production of the book, Cast’s work stands apart as a unique, sustained, and close reading of the whole text, a reading in which the author distills the essence of Vasari’s purposes as a writer. In this respect, there is no work on Vasari quite like Cast’s treatise, which is sophisticated, highly nuanced, and informed by an exceptional philosophical attention to Vasari’s language. I think Cast’s exploration of the concept of ‘attention’ in Vasari enriches our understanding of how art was approached and experienced in the Renaissance.” —Paul Barolsky, University of Virginia The Delight of Art offers a highly original, erudite interpretation of Vasari’s Lives, one of the most influential texts on the arts. David Cast approaches Vasari’s long, tripartite work as a complex rhetorical history rather than as an archival document mined for facts about the artists. He focuses on the delight Vasari mentions in his accounts of viewers’ responses to works by artists from Giotto to Michelangelo. Cast finds in delight what might be called a threshold into the arena where the cultural and social orders met to produce a sphere of subjectivity as well as that of the compelling Renaissance invention, the artist. David Cast is Professor of the History of Art at Bryn Mawr College. 296 pages | 16 color/30 b&w illustrations | 9 x 10 | August isbn 978-0-271-03442-3 | cloth: $95.00s http://www.psupress.org/books/titles/978-0-271-03442-3.html Art History/Literature Painted Palaces The Rise of Secular Art in Early Renaissance Italy Anne Dunlop The emergence of modern Western artwork is sometimes cast as a slow process of secularization, with the devotional charge of images giving way in the fifteenth and sixteenth centuries to a focus on the beauty and innovation of the artwork itself. Our understanding of art in this pivotal age is badly distorted, focused almost exclusively on religious and civic images. Even many Renaissance specialists believe that little secular painting survives before the late fifteenth century, and its appearance becomes a further argument for the secularizing of art. This book asks how history changes when a longer record of secular art is explored. It is the first study in any language of the decoration of Italian palaces and homes between 1300 and the mid-Quattrocento, and it argues that early secular painting was crucial to the development of modern ideas of art. Of the cycles discussed, some have been studied and published, but most are essentially unknown. A first aim is to enrich understanding of the early Renaissance by introducing a whole corpus of secular painting that has been too long overlooked. Yet Painted Palaces is not a study of iconography. In examining the prehistory of painted rooms like Mantegna’s Camera Picta, the larger goal is to rethink the history of early Renaissance art. Anne Dunlop is Associate Professor of History of Art and Renaissance Studies at Yale University. She is the co-editor of Art and the Augustinian Order in Early Renaissance Italy (2007). 328 pages | 100 color/100 b&w illustrations | 8 x 10 | May isbn 978-0-271-03408-9 | cloth: $80.00s http://www.psupress.org/books/titles/978-0-271-03408-9.html Art History Also of Interest Giotto’s O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel Andrew Ladis isbn 978-0-271-03407-2 | cloth: $75.00s 2 | penn state university press
Rembrandt’s Faith Church and Temple in the Dutch Golden Age Shelley Perlove and Larry Silver “This important book by two distinguished art historians offers new interpretations of well-known works; brings a substantive body of new evidence to bear on the subject; advances the theoretical discussion of Rembrandt’s religious works; gathers an impressive array of sources together for the first time; and is well written, with refreshingly little jargon.” —Donald McColl, Washington College “Rembrandt’s Faith is an important book. It is by far the most exhaustive study to date of a subject that is important not only in Rembrandt studies but also, because of Rembrandt’s towering status in the depiction of Biblical subjects, for the study of religion in Also of Interest Painted Prints: The Revelation of Color in Northern Renaissance and Baroque Engravings, Etchings, and Woodcuts early modern culture.” —Gary Schwartz, author of Rembrandt’s Universe Susan Dackerman isbn 978-0-271-02235-2 | paper: $36.95t Co-published with The Baltimore Museum of Art Covering all the media Rembrandt worked in throughout his career, Rembrandt’s Faith is the only art-historical study to address the full breadth of the artist’s religious imagery. Rembrandt weighed in on important religious issues of his day and was a close student of the Bible, using traditional approaches based on Saint Paul to employ typology between the Old and New Testaments. He also shared the Dutch propensity to draw analogies between the biblical tales of the “chosen people” and Dutch society, including commentary on righteous leadership under God’s covenant. Rembrandt’s close reading of the Bible and biblical commentary by Calvin and other theologians was greatly abetted by the publication, in 1637, of the Dutch States Bible translation with notes. He also avidly studied seventeenthcentury reconstructions of the Jerusalem Temple and frequently located his biblical narratives in re-creations of these spaces. Rembrandt’s Faith raises essential questions about the complex relationships among Rembrandt’s art, religion, and the theological debates of his time. Shelley Perlove is Professor of Art History at the University of Michigan, Dearborn. Larry Silver is Farquhar Professor of Art History at the University of Pennsylvania. 512 pages | 35 color/197 b&w illustrations | 9 x 10 | April isbn 978-0-271-03406-5 | cloth: $100.00s http://www.psupress.org/books/titles/978-0-271-03406-5.html Art History/Religion 1-800-326-9180 | 3
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