Andrea Mantegna as Illuminator: An Episode in Renaissance Art, Humanism and Diplomacy

Film, like the printed imagery inaugurated during the Renaissance, spread ideas---not least the idea of the power of visual art---across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, 1920s-mid-60s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, narrative and visual composition shifted in both cases toward acknowledging the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates and preoccupations are part of the story told here.

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Global Renaissance Art: Classroom, Academy, Museum, Canon

The Globalization of Renaissance Art ◽

10.1163/9789004355798_011 ◽

2017 ◽

pp. 255-287

Keyword(s):

Renaissance Art ◽

Art Classroom

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Taking the Humanities Seriously

Review of General Psychology ◽

10.1177/1089268020975024 ◽

2020 ◽

pp. 108926802097502

Author(s):

Barbara S. Held

Keyword(s):

Lived Experience ◽

Natural Sciences ◽

Greek Philosophy ◽

Ancient Greek ◽

Renaissance Art ◽

Scientific Psychology ◽

Psychological Science ◽

Ancient Greek Philosophy

As the humanities suffer decline in the academy, some psychologists have turned to them as an especially apt way to advance a psychological science that reflects lived experience more accurately and robustly. Disciplinary psychology’s adoption of the ontological and epistemological underpinnings of the natural sciences is often seen as a misapplication that has resulted in a science that diminishes if not demolishes subjectivity and misrepresents many. By contrast, the humanities are taken to be well positioned to infuse scientific psychology with myriad aspects of lived experience. I applaud all efforts to take the humanities seriously, by incorporating the theories, methods, and observations of the humanities in psychological science; the question is, how best to do this. On what understanding of the humanities should scientific psychology proceed? With these questions in mind, I review arguments about how psychological science can benefit from attention to the humanities. I also consider worries about a scientistic turn within the humane disciplines themselves, which turn mirrors worries about scientism in psychology. Contemporary examples of scholarship on the origins of ancient Greek philosophy and depictions of Christ in Renaissance art illustrate how the wars over truth and evidence that plague psychology are no less fierce in the humanities. I conclude that if psychologists apprehend the humanities with the critical understandings called for in psychological science, we may not only appreciate their contributions more completely and accurately, but may also deploy those contributions more substantially, in working to broaden and deepen psychological science.

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Renaissance Art Faire

Design ◽

10.1080/00119253.1971.9938258 ◽

1971 ◽

Vol 72 (5) ◽

pp. 18-19

Keyword(s):

Renaissance Art

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