Between Iconophilia and Iconophobia: Milton’s Areopagitica and Seventeenth-Century Visual Culture

2006 ◽  
pp. 89-96
Keyword(s):  
Seventeenth Century ◽  
Visual Culture

scholarly journals PRINTING EMPIRE: VISUAL CULTURE AND THE IMPERIAL ARCHIVE IN SEVENTEENTH-CENTURY VENICE

2016 ◽  
Vol 59 (3) ◽  
pp. 635-668 ◽  
Author(s):  
ANASTASIA STOURAITI
Keyword(s):  
Seventeenth Century ◽  
Visual Culture ◽  
Book History ◽  
Illustrated Books ◽  
Broad Array ◽  
Single Sheet ◽  
Battle Scenes ◽  
The Military ◽  
The Impact ◽  
The Relationship

ABSTRACTThis article analyses the relationship between imperial expansion and popular visual culture in late seventeenth-century Venice. It addresses the impact of the military on the marketplace of print and examines the cultural importance of commercial printmaking to the visualization of colonial motifs during the 1684–99 war with the Ottoman Empire. Through a broad array of single-sheet engravings and illustrated books encompassing different visual typologies (e.g. maps, siege views, battle scenes, portraits of Venetian patricians, and representations of the Ottomans), the article re-examines key questions about the imperial dimensions of Venetian print culture and book history. In particular, it shows how warfare and colonial politics militarized the communication media, and highlights the manner in which prints engaged metropolitan viewers in the Republic's expansionist ventures. In so doing, the analysis demonstrates how the printing industry brought the visual spectacle of empire onto the centre stage of Venetian cultural life.

Conclusion

2017 ◽  
Author(s):  
Bridget Heal
Keyword(s):  
Seventeenth Century ◽  
Visual Culture ◽  
Main Structure

The conclusion highlights the extent to which the research presented in this book changes our understanding of Lutheran confessional culture. It reiterates the book’s main structure and themes: Luther’s own understanding of images and the legacy that his writings and the images commissioned for them left to his successors; the era of uncertainty following his death; the renewal and transformation of piety in the seventeenth century; the age of the baroque. It once again emphasizes the importance of the Empire’s territorial divisions in shaping Lutheran culture, and it considers whether there was a distinctly Lutheran iconography or aesthetic. Finally, it draws attention to the variety of historical actors who helped shape Lutheran visual culture, from eminent theologians to ordinary parish pastors, and from princes and nobles to townsfolk.

The Order of the Thistle and the reintroduction of Catholicism in late-seventeenth-century Scotland

2017 ◽  
Vol 68 (2) ◽  
pp. 132-146 ◽  
Author(s):  
Jennifer Strtak
Keyword(s):  
Seventeenth Century ◽  
Visual Culture ◽  
Roman Catholic ◽  
Fictional Narrative ◽  
Catholic Faith ◽  
New Churches ◽  
Church Design ◽  
Building Project

I argue that King James VII used the foundation of a monarchical order and subsequently a building project to reintroduce Catholic visual culture to post-Reformation Scotland. In 1687 the king issued a royal warrant for the ‘revival’ of the Most Ancient and Most Noble Order of the Thistle. A fictional narrative was established by the Crown to validate the institution of the king's chivalric knighthood as an ancient religious Scottish tradition, and a habit was conceptualised and realised that connected the monarchy with the Roman Catholic faith. This link would ultimately be strengthened through a Catholic building project, which saw the construction of three new churches in Edinburgh and Perth between 1687–1688. Through church design, the king and a knight companion had the opportunity to create a visual reintroduction of Catholicism to be promoted in late-seventeenth century Scotland.

Holland without Huizinga: Dutch Visual Culture in the Seventeenth Century

1985 ◽  
Vol 16 (2) ◽  
pp. 255
Author(s):  
Anthony Grafton ◽  
Thomas DaCosta Kaufmann ◽  
Svetlana Alpers
Keyword(s):  
Seventeenth Century ◽  
Visual Culture

scholarly journals Presenting the Law: Text and Imagery on Dutch Ten Commandments Panels

2018 ◽  
Vol 7 ◽  
pp. 78-108
Author(s):  
Jacolien Wubs
Keyword(s):  
Seventeenth Century ◽  
Visual Culture ◽  
Catholic Church ◽  
Lord's Supper ◽  
Late Medieval ◽  
Reformed Church ◽  
Ten Commandments ◽  
Symbolic Value ◽  
Self Examination ◽  
The Church

Many Dutch Calvinist churches house a Ten Commandments panel, installed in the late sixteenth or seventeenth century as part of the Reformed adaptation of the medieval Catholic church interior. In this article, the characteristic design of Ten Commandments panels is analyzed as a form of Calvinist visual culture. It suggests that these panels were primarilymade to be viewed rather than thoroughly read. The remarkably figurative Moses imagery on panels points at a divergence between the rigid Reformed theological image prohibition and the practice of the adaptation of the church interior. The placement of Ten Commandments panels in the Reformed church interior highlights their symbolic value: It signified the need for self-examination of the participants in the Lord’s Supper. The original spatial setting of Ten Commandments panels also shows how the newly Reformed furnishing and use of church space was rooted in its late medieval Catholic past.

Visualizing Marvell

2019 ◽  
pp. 243-262
Author(s):  
Katherine Acheson
Keyword(s):  
Seventeenth Century ◽  
Visual Culture ◽  
Early Modern ◽  
Critical Reception ◽  
Visual Features ◽  
Plastic Arts ◽  
Visual Evidence ◽  
The Many

Marvell’s poetry is distinguished by its preoccupation with forms, practices, and theories of the visual and plastic arts. Among the many fields of visual culture in which Marvell’s imagination played is that of print itself. This chapter focuses on visual features of print that might contribute to our understanding of Marvell’s identity as a poet within the culture in which his work circulated. First, the chapter considers Marvell’s early printed elegies and commendatory verses and how their layout represents the early modern poet in print. Second, the chapter considers the frontispiece portrait of Marvell printed in Miscellaneous Poems in the context of seventeenth-century portraits of poets and in relation to critical reception of his work in more recent times. The chapter demonstrates how visual evidence can lead to deeper understanding of how poets imagined themselves and their work in relation to their audiences, their genres and modes, and their peers.

The Visual Culture of a Lutheran Court

2017 ◽  
Author(s):  
Bridget Heal
Keyword(s):  
Seventeenth Century ◽  
Visual Culture ◽  
Political Stability ◽  
Religious Art ◽  
Cultural Connections

Chapter 7 turns from the devotional to the magnificent image, exploring the role of religious art at the Dresden court of the Saxon elector. The chapter focuses on the second half of the seventeenth century, on the period of religious and political stability that followed the Peace of Westphalia (1648). It investigates Dresden’s cultural connections to Italy. By the seventeenth century Lutheran texts provided a theologically grounded aesthetic that acknowledged the spiritual value of beautiful images. During this age of princely collecting—of the Kunstkammer—piety and politics merged. The castle chapel in Dresden provides a wonderful example, examined in detail in this chapter: here a rich visual and liturgical culture served not only to promote proper Lutheran piety but also to demonstrate the magnificence of the prince, in this case Elector Johann Georg II (r. 1656–80).

scholarly journals Kanda Sōtei: The Shogun’s Sacred Painters and their Realm of Influence

2020 ◽  
Vol 47 (2) ◽  
Author(s):  
Tomoë I. M. Steineck
Keyword(s):  
Seventeenth Century ◽  
Visual Culture ◽  
Financial Distress ◽  
Edo Period ◽  
New School ◽  
Political Implications ◽  
Successive Generations ◽  
Sphere Of Influence

The sacrosanct painting atelier of Kan’eiji was headed throughout the Edo period by successive generations of the holder of the name Kanda Sōtei. Despite its special mandate, it has remained largely disregarded to this day, partly due to its alleged artistic conservatism and the limited number of recognized works. Given that the atelier was affiliated with Kan’eiji, the most powerful Tendai temple during the Edo period and one of the primary temples of the Tokugawa shogunate, a consideration of the religious, and most certainly political, implications behind its establishment is urgently needed. There is evidence that the scope of production and sphere of influence of the Kanda Sōtei lineage by far exceeded what has been previously assumed. Based on newly discovered materials, this article discusses the lineage’s conservatism and classicism in relation to the deification strategy of the Tokugawa shogunate, their consolidation of power based on the introduction of a new school of Shinto and the new deity Tōshō Daigongen, and its influence on the religious visual culture of the Edo period following the financial distress of the regime during the late seventeenth century.

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