Renaissance Studies最新文献

{"title":"Merchants, Mediators and Mannerly Conduct: The East India Company and Local Intermediaries in the Western Indian Ocean 1700–1750","authors":"Peter Good","doi":"10.1111/rest.12886","DOIUrl":"https://doi.org/10.1111/rest.12886","url":null,"abstract":"On 30 November 1722, Henry Albert, the Agent of the East India Company’s factory in the port of Mocha, received a formal letter from his superiors in Bombay. In this letter, he was given permission to dismiss ‘Sheikh Haddy’, who had been acting as the Company’s broker in the city. Albert had been lobbying for this dismissal for some time, with his superiors now agreeing that the broker had proven himself ‘unfit’ for the Company’s service due to his ‘haughty and insulting nature’. William Phipps, the Chief of the Company’s Council at Bombay, gave Albert further instructions on who to hire instead, saying that he would not send another Muslim broker from Bombay, nor should one be hired at Mocha as they had proven ‘unfit for servants under a government of their own religion’. Instead, Phipps suggested, a local Banian should be appointed to the post in order to avoid similar trouble as the Company’s merchants had experienced with their former Arab appointee. All this was necessary, as none of the Mocha factory’s staff had ‘enough of the [Arabic] language to be understood’ should they call upon Mocha’s governor or other officials in the town or beyond. A decade later, the Company’s local broker, Khosrow, in the Persian city of Kerman died suddenly after a long tenure organizing the purchase of wool in the city, which was prized by local weavers along with the felters and hatters of London and Amsterdam. In order to protect Khosrow’s property for his family, the Company’s local Factor in the city, William Cordeux, was ordered to take possession of it and then hand it over to Khosrow’s family once it was safe from seizure by the local Khan. These two cases highlight the differing responses of the Company to","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"23 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80077852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Three Ladies of London (ca. 1581): Re‐Reading Anxieties of Anglo‐Ottoman Exchanges Through Critical Race Theory","authors":"Murat Öğütcü","doi":"10.1111/rest.12889","DOIUrl":"https://doi.org/10.1111/rest.12889","url":null,"abstract":"Robert Wilson's The Three Ladies of London (ca. 1581) is the earliest extant Turk play that features one of the earliest instances of direct anxieties regarding Anglo‐Ottoman encounters. Contemporary with the 1580 Ahdname (capitulations), the play provides a local point‐of‐view of the newly established Anglo‐Ottoman commercial relations. We observe how seemingly overpriced Turkish goods, such as perfumes and jewels, metaphorically conquer the English market and pose a threat to local businesses. The play's multi‐national commercial exchange is marked by how the Italian intermediate cheats both his Ottoman suppliers and his English customers. The play is usually studied for its use of allegory, its references to the anti‐usury proclamations, how it stood apart from the staging history of Jews on the early modern English stage and how the positive attitude might have reflected the emerging Anglo‐Ottoman relations, which have been analysed as separate entities. Yet, there is a need to focus on how the intersections of race, gender, class and early modern performance practices overlap and conflict with each other in order to have a comprehensive view about the anxieties about dominance within the Anglo‐Ottoman context. Therefore, using a critical race theory framework this essay aims to analyse Wilson's The Three Ladies of London and re‐examine how the anxieties about Anglo‐Ottoman commercial and cultural exchanges were reflected on the early modern commercial stage.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"19 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72916825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Knowing the Maghreb in Stuart Scotland, Ireland and Northern England","authors":"N. Cutter","doi":"10.1111/rest.12885","DOIUrl":"https://doi.org/10.1111/rest.12885","url":null,"abstract":"Among the","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"38 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82170452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Theodor Rombouts. Virtuoso of Flemish Caravaggism (Ghent, Museum voor Schone Kunsten, 21 January–23 April 2023. Catalogue edited by Frederica Van Dam). Ghent: Snoeck, MSK, 2023, 272 pp., 300 colour illustrations, €50, ISBN: 978‐94‐6161‐813‐9.","authors":"Jörg Zutter","doi":"10.1111/rest.12873","DOIUrl":"https://doi.org/10.1111/rest.12873","url":null,"abstract":"The impact of Caravaggio’s new realism on his contemporaries and followers (many of them novice artists from northern countries who had travelled to Italy and suddenly succumbed to his influence) was already gigantic in about 1600, even before the artist’s death in 1610, and especially for several decades thereafter. The inspiration for European painting in the seventeenth century is unequivocal, and its arthistorical reappraisal has continuously grown in importance since Roberto Longhi’s epochal 1951 exhibition in Milan, Mostra del Caravaggio e dei caravaggeschi, in which Rombouts, the subject of the exhibition reviewed here, was represented with two paintings (cat. 27, 35). This vindication continues to the present day and – as the example at hand makes evident – increasingly focuses on northern painters who succumbed to his influence. The first monographic exhibition ever dedicated to the work of the Caravaggesque Flemish painter Theodor Rombouts from Antwerp (1597– 1637) at the Museum of Fine Arts in Ghent has to be seen within this context. Rombouts and his Flemish colleagues who followed the Roman master have long been at a disadvantage compared to their Dutch and French counterparts; and so far, many of them only had the honour to be included in collective exhibitions on the Caravaggesque movement. Fortunately,","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"39 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81007181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Jahangir's China and Other Toys: Mughal Collecting and the Early East India Company","authors":"A. Sen","doi":"10.1111/rest.12884","DOIUrl":"https://doi.org/10.1111/rest.12884","url":null,"abstract":"During the sixteenth and seventeenth centuries, there arose in Europe a new demand for curiosities. While private collectors sought out exotic curiosities for their own cabinets, public botanical gardens also opened their doors. This essay turns to English attitudes towards Mughal collecting during the early seventeenth century. As active participants in what is now described as the ‘Global Renaissance’ Jahangir, the women in his household including Nur Jahan, as well as Mughal courtiers and officials also sought out curious objects from around the world. This essay examines the accounts of early East India Company factors and ambassadors, especially those by William Hawkins and Sir Thomas Roe, to show how in English records Mughal collecting became associated with eastern greed at a time when the Company itself was profiting from the marketplace of the strange. Drawing on travel accounts, letters, as well as Company court minutes on the one hand, and Mughal sources such as Humayun Nama, Akbar Nama, and Tuzk‐i‐Jahangiri, this essay will explore the rich culture of Mughal collecting. It will show how the Company made note of the Mughal emperor's collections, tried to supply him new curiosities, and, at the same time, saw the Mughal desire for curiosities as an impediment to English trading activities in India.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89682870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"<i>Vermeer</i> (Amsterdam, Rijksmuseum), 10 February–4 June 2023. Catalogue edited by Pieter Roelofs and Gregor J. M. Weber. Rijksmuseum/Hannibal Books, 2023. 320 pp 200 color illus. Euro 59. ISBN 9789464666182.","authors":"Wayne Franits","doi":"10.1111/rest.12880","DOIUrl":"https://doi.org/10.1111/rest.12880","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135268602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Federico da Montefeltro e Francesco di Giorgio Martino. Urbino crocevia delle arti (Galleria Nazionale delle Marche, Urbino, 23 June–9 October 2022). Catalogue by Alessandro Angelini, Gabriele Fattorini and Giovanni Russo. Venice: Marsilio Editore, 2022. 320 pp. ISBN 979‐1254630396.","authors":"Lunarita Sterpetti","doi":"10.1111/rest.12882","DOIUrl":"https://doi.org/10.1111/rest.12882","url":null,"abstract":"The exhibition Federico da Montefeltro e Francesco di Giorgio. Urbino crocevia delle arti reflected on the importance of Urbino on the sixth centenary of the birth of Federico da Montefeltro (1422– 2022). The show included over 60 loans from paintings to sculptures, drawings, illuminated manuscripts and medals, created by more than 20 artists from different parts of Italy, as well as Spain and Croatia. Displayed in the temporary exhibition space on the ground floor of the ducal palace, the curators intended that the building itself should form an integral part of the exhibition. The catalogue and first panel explained that the show took as its historical cue Federico’s victory over his neighbour and rival, Sigismondo Malatesta, and the start of the second phase of the construction of the ducal palace (1460). The display thus focused on the decades between 1460 and 1480, the most ‘mature’ period of Federico’s patronage and the moment when Urbino became, as the title suggests, a ‘crossroads’ of the arts. The first room opened with a section entitled Ritorno di Federico da Montefeltro a Urbino. Piero e gli antefatti prospettici (1462– 1476), which addressed the celebration of Federico and his family through images dating to the second phase of the palace’s construction. In addition to several portraits of the duke, the exhibition featured the relief of Federico’s son Guidobaldo portrayed by Domenico Rosselli and that of his wife, Battista Sforza, executed by the Croatian sculptor Francesco Laurana. The latter was commissioned by the duke himself to commemorate the untimely death of his wife; it displays the fine talents of the Dalmatian sculptor, particularly evident in how the veil gathers over her hair and in the delicately carved lace tied under her chin. The room’s principal focus, however, was undoubtedly Piero della Francesca’s Flagellation (Urbino, Galleria Nazionale delle Marche), which faced the visitor immediately upon entering. As it predated all works in the room by about 10 years, the painting is described in the catalogue as the ideal ‘beginning of the exhibition’, while the explanatory panel considered it as a ‘manifesto of the culture of Urbino’ (‘manifesto della cultura urbinate’) as it displays the mathematical interest in the use of perspective that characterised the artistic environment of the court in the second half of the 15th century. A primary space on the wall was granted to the panel, distancing it from the rest","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"54 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90964309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"<i>Vor Dürer. Kupferstich wird Kunst</i> (Frankfurt am Main, Städel Museum), 28 September 2022–22 January 2023. Catalogue edited by Martin Sonnabend, <i>Vor Dürer ‐ Kupferstich wird Kunst: deutsche und niederländische Kupferstiche des 15. Jahrhunderts aus der Graphischen Sammlung des Städel Museums</i>. Sandstein Verlag, 2022. 312pp. 221ill. ISBN 978‐3‐95498‐707‐8.","authors":"Guido Scholten","doi":"10.1111/rest.12881","DOIUrl":"https://doi.org/10.1111/rest.12881","url":null,"abstract":"Renaissance StudiesEarly View Review of Exhibitions Vor Dürer. Kupferstich wird Kunst (Frankfurt am Main, Städel Museum), 28 September 2022–22 January 2023. Catalogue edited by Martin Sonnabend, Vor Dürer - Kupferstich wird Kunst: deutsche und niederländische Kupferstiche des 15. Jahrhunderts aus der Graphischen Sammlung des Städel Museums. Sandstein Verlag, 2022. 312pp. 221ill. ISBN 978-3-95498-707-8. Guido Scholten, Corresponding Author Guido Scholten [email protected] Draiflessen Collection (Liberna Collection)Search for more papers by this author Guido Scholten, Corresponding Author Guido Scholten [email protected] Draiflessen Collection (Liberna Collection)Search for more papers by this author First published: 04 June 2023 https://doi.org/10.1111/rest.12881Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat Early ViewOnline Version of Record before inclusion in an issue RelatedInformation","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134928018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Ugly Duchess. Beauty and Satire in the Renaissance. (London: National Gallery) 16 March ‐ 11 June 2023. Catalogue edited by Emma Capron. Distributed by Yale University Press.","authors":"Larry Silver","doi":"10.1111/rest.12872","DOIUrl":"https://doi.org/10.1111/rest.12872","url":null,"abstract":"Hoe ouder hoe sotter (‘the older [one is], the [more] foolish’) is an old Dutch proverb with the kind of lesson that one finds in a variety of sixteenthcentury satires, whether verse or drama. And that is the basic visual message conveyed in a several satirical images gathered in a new focus exhibition, organized by curator Emma Capron at London’s National Gallery. Stars of the show are pendant images by Quinten Massys (also known as Metsys, active 1491– 1530): one in the Gallery collection, a grotesque Old Woman (Fig. 1), is nicknamed ‘The Ugly Duchess’ (for reasons described below); the other, an Old Man (Fig. 2), interacts with her across connected space. But another major actor in the installation drama is none other than Leonardo da Vinci, whose grotesque faces and caricatures in drawings comprise a major component of this London display. They also form the subject of a valuable accompanying essay by Martin Clayton, noted Leonardo authority and Head of Prints and Drawings, including the remarkable Leonardos, at Windsor Castle. Additional imagery of age and ugliness in the exhibition raises fundamental questions about a new, early modern turn towards independent images of figures who are neither portraits nor identifiable individuals from historical subjects of religion or myth. As Capron makes clear, this painting innovation is both secular and satirical. Her lively catalogue extends the issues of her exhibition and enriches it with an essential complement, which raises fundamental questions. The two main figures seem clearly to be pendants, painted by the same artist, Massys (although Martin Davies in his final word on the attribution, still called the London painting ‘after Massys (?)’), since they share a painted marble balustrade and common monochrome green backgrounds. Davies connected it with a Windsor drawing (Fig. 3; RCIN 912492), a copy after Leonardo from his circle (on display in the exhibition), and he follows Erwin Panofsky in associating the picture with Erasmus’s 1511 Praise of Folly satire about ‘foolish old women who still wish “to play the goat.”’ Her outlandish costume, especially her terribly oldfashioned horned wimple headdress (akin to Bruges’s Margaret van Eyck, 1439), combines with a most inappropriate décolletage that reveals her wrinkled bosom to display both her vanity and her absurdity. Of course, as recognized by Lorne Campbell in his 2015 Gallery catalogue, this picture utilizes the conventions of portraiture, showing a nearlyhalflength figure at","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"144 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81571887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Giulio Romano. La forza delle cose (Palazzo Te, Mantova, 8 October 2022–8 January 2023). Catalogue by Barbara Furlotti and Guido Rebecchini. Venice: Marsilio Arte, 2022, 207 pp., colour illustrations. ISBN: 979‐12‐5463‐049‐5.","authors":"Dario Donetti","doi":"10.1111/rest.12870","DOIUrl":"https://doi.org/10.1111/rest.12870","url":null,"abstract":"In his preface to the exhibition catalogue, commenting on the fragmentary state of Palazzo Te after spoliations that occurred over the centuries, the director of the complex, Stefano Baia Curioni, evokes the nostalgia of a lost splendour produced by the overwhelming frescoes and stucco reliefs of the ceilings. Compared to those decorations, he concludes, ‘everything else is an absence’. This is precisely the challenge with which Barbara Furlotti and Guido Rebecchini, the two curators of the show Giulio Romano. La forza delle cose, had to engage: exhibiting an absence. Even if they focused on the production of ‘Raphael’s most important pupil’ as a designer of luxury objects – mostly tableware – and stunning pieces of furniture, such disappearance is not just that of his creations from the rooms of the suburban residence conceived for Federico II. In other words, this exhibition did not simply aim to suggest the former opulence of the interiors of the Gonzaga court and, in so doing, demonstrate how their riches were a substantial part of the aesthetic experience of courtly life in the Renaissance: as the title suggested, to reveal the social and performative power (‘forza’) of those things (‘cose’). The curators had to take a step further as the absence they challenged was also of the very artefacts produced after Giulio’s designs. They all underwent destruction and reuse as was commonplace for early modern highend tableware, which could be promptly sacrificed for financial reasons whenever new gold and silver currency needed to be coined. If, on one hand, this was among the reasons for the continuous request of new inventions that triggered Giulio’s creativity, these precious, smallscale objects were ‘intrinsically transient’ and in most cases disappeared over the decades. How did the concise, erudite and precious exhibition conceived by Furlotti and Rebecchini respond to that brief? Be it documentary, objectbased or reconstructive, different strategies were put in place in the six rooms of Palazzo Te hosting the show, not least to respond to different types of audiences. The exhibition centred on drawing, both conceptually and physically, and thereby adopted one of the most consolidated paradigms for the interpretation of the period, whose origins in sixteenthcentury artistic theory and enduring central role for","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":"87 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83374177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}