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Indecent Bodies in Early Modern Visual Culture.

By: Contributor(s): Material type: TextTextSeries: Visual and Material Culture, 1300-1700 SeriesPublisher: Amsterdam : Amsterdam University Press, 2022Copyright date: ©2022Edition: 1st edDescription: 1 online resource (294 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9789048551774
Subject(s): Genre/Form: Additional physical formats: Print version:: Indecent Bodies in Early Modern Visual CultureDDC classification:
  • 704.942
LOC classification:
  • N6750 .I534 2023
Online resources:
Contents:
Cover -- Table of Contents -- Indecent Bodies in Early Modern Visual Culture: An Introduction -- Fabian Jonietz, Mandy Richter, Alison G. Stewart -- 1. Taste, Lust, and the Male Body: Sexual Representations in Early Sixteenth-Century Northern Europe -- Alison G. Stewart -- 2. Private Viewings: The Frankfurt Context of Sebald Beham's Die Nacht -- Miriam Hall Kirch -- 3. To Show or Not to Show? Marcantonio Raimondi and the Representation of Female Pubic Hair -- Mandy Richter -- 4. Treating Bodily Impurities: Skin, Art, and Medicine -- Romana Sammern -- 5. Indecent Exposure and Honourable Uncovering in Renaissance Portraits of Women -- Bette Talvacchia -- 6. Lust in Translation: Agency, Sexuality, and Gender Configuration in Pauwels Franck's Allegories of Love -- Ricardo De Mambro Santos -- 7. 'So This Guy Walks into a Forest…:' Obscenity, Humour, Sex, and the Equine Body in Hans Baldung's Horses in a Forest Woodcuts (1534) -- Pia F. Cuneo -- 8. Indecent Creativity and the Tropes of Human Excreta -- Fabian Jonietz -- 9. 'It All Turns to Shit' - The Land of Cockaigne in Sixteenth-Century German Woodcuts -- Susanne Meurer -- 10. Noëls and Bodily Fluids: The Business of Low-Country Ceremonial Fountains -- Catherine Emerson -- Index -- List of Illustrations -- Figure 0.1: Isaac Cruikshank, Indecency, coloured etching, 1799, Washington, D.C., Library of Congress Prints and Photographs Division, PC 3 - 1799 - Indecency (A size) [P&amp -- P], https://www.loc.gov/item/2003652525/. -- Figure 0.2: Master of the Hours of Henri II, Francis I as Minerva, parchment on oak, c. 1545, 234 × 134 mm, Paris, Bibliothèque nationale de France, Estampes, Rés. Na 255. -- Figure 0.3: Hans Liefrinck after Leonardo da Vinci, Two Grotesque Heads, engraving, 1538, 115 × 157 mm, New York, Metropolitan Museum of Art, acc. no. 2008.577.3, Gift of Leo Steinberg, 2008.
Figure 0.4: Domenico Ghirlandaio, Old Man and his Grandson, tempera on wood, c. 1490, 62.7 × 46.3 cm, Paris, Musée du Louvre, inv. RF 266, RMN-Grand Palais (Musée du Louvre) / Franck Raux, https://collections.louvre.fr/en/ark:/53355/cl010064987. -- Figure 0.5: German painter, The Giant Anton Frank with the Dwarf Thomele, canvas, end of sixteenth century, 266.8 × 162.5 cm, Vienna, Kunsthisto­risches Museum, inv. Gemäldegalerie, 8299 © KHM-Museumsverband. -- Figure 0.6: Master of the Crucifixion of Kempten, detail of Crucifixion, panel painting, c. 1460/70, Nuremberg, Germanisches Nationalmuseum, loan of the Bayerischen Staatsgemäldesammlungen Munich, inv. Gm879. -- Figure 0.7: Albrecht Dürer, Portrait of Willibald Pirckheimer, silverpoint drawing, c. 1503, 21.1 × 15 cm, Berlin, SMB, Kupferstichkabinett, KdZ 24623, © Kupferstichkabinett. Staatliche Museen zu Berlin. -- Figure 1.1: Sebald Beham, Joseph and Potiphar's Wife (P. 14-I), engraving, 1526, 52 × 52 mm (sheet), Herzog Anton Ulrich-Museum Braunschweig, Kunstmuseum des Landes Niedersachsen, inv. h-s-beham-ab3-0013. -- Figure 1.2: Sebald Beham, Joseph and Potiphar's Wife (P. 14-state III), engraving, 1526, Ø 53 mm, © Kupferstich­kabinett, Staatliche Museen zu Berlin, inv. 423-4. -- Figure 1.3: Monogrammist AC, Joseph and Potiphar's Wife (P. 14b), etching, c.­1526 - 1550, 88 × 84 mm (sheet), Vienna, Albertina Museum, inv. DG1937/429. -- Figure 1.4: Monogrammist WI, Joseph and Potiphar's Wife (P. 14c), engraving, Ø 58 mm (plate), Kunstsammlungen der Fürsten zu Waldburg-Wolfegg. -- Figure 1.5: Sebald Beham (?), copy of Joseph and Potiphar's Wife (P. 14a), engraving, 1526, Vienna, Albertina Museum, inv. DG1936/1305 (with added colour).
Figure 1.6: Sebald Beham, Joseph and Potiphar's Wife (P. 15-IIII), engraving, 1544, 81 × 56 mm, © Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin, inv. 424-4. -- Figure 1.7: Sebald Beham (?), copy of Joseph and Potiphar's Wife (P. 15b-II), engraving, 1544, 85 × 54 mm, Braunschweig, Herzog Anton Ulrich-Museum, Kunstmuseum des Landes Niedersachsen, inv. h-s-beham-ab3-0015. -- Figure 1.8: Sebald Beham, Death and the Lascivious Couple (P. 153-I), engraving, 1529, 82 × 49 mm (sheet), Braunschweig, Herzog Anton Ulrich-Museum, Kunstmuseum des Landes Niedersachsen, inv. h-s-beham-ab3-0155. -- Figure 1.9: Sebald Beham, Death and the Lascivious Couple (P. 153-II), engraving, 1529, 82 × 49 mm (plate), Vienna, Albertina Museum, inv. DG1930/1175. -- Figure 1.10: Sebald Beham, Death and the Lascivious Couple (P. 153-II), engraving, 1529, 82 × 49 mm (plate), Amsterdam, Rijksmuseum, inv. RP-P-H-1040, on loan from the Rijksakademie van Beeldende Kunsten. -- Figure 2.1: Sebald Beham, Die Nacht, P. 154, engraving, 1548, state III, 110 × 78 mm (plate), Amsterdam, Rijksmuseum, inv. RP-P-OB-4601. -- Figure 2.2: Sebald Beham, Nude Girl with a Dog, P. 213, engraving, n.d., Ø 53 mm (plate), Amsterdam, Rijksmuseum, inv. RP-P-OB-10.925. -- Figure 2.3: Gian Jacopo Caraglio, perhaps after Perino del Vaga, Mercury, Aglauros, and Herse, from Loves of the Gods, T. 14, engraving, n.d., state I, 211 × 134 mm (trimmed), Amsterdam, Rijksmuseum, inv. RP-P-OB-35.615. -- Figure 2.4: Cornelis Bos after Michelangelo, Leda and the Swan, engraving, n.d., 302 × 413 mm (sheet), New York, The Metropolitan Museum of Art, inv. 57.658.153. -- Figure 2.5: Sebald Beham, Expulsion from Paradise, P. 8, engraving, 1543, 82 × 58 mm (plate), Williamstown, Mass., Clark Art Institute, inv. 1990.16.
Figure 2.6: Conrad Faber von Kreuznach, Portrait of Justinian von Holzhausen and Anna Fürstenberg, mixed media on linden panel, 1536, 68.6 × 98.5 cm, Frankfurt am Main, Städel Museum, inv. 1729. -- Figure 2.7: Heinrich Aldegrever, A Couple of Lovers Seated, engraving, 1529, Ø 52 mm, Washington, D.C., National Gallery of Art, Rosenwald Collection, inv. 1943.3.284. -- Figure 3.1: Marcantonio Raimondi, Venus Wringing her Hair, engraving, 1506, 214 × 152 mm, New York, The Metropolitan Museum of Art, inv. 29.44.13, anonymous gift, 1929. -- Figure 3.2: Marcantonio Raimondi, Venus Wringing her Hair, engraving, 1506, 215 × 150 mm, Amsterdam, Rijksmuseum, inv. RP-P-OB-11.950. -- Figure 3.3: Albrecht Dürer, Adam and Eve, engraving, 1504, 251 × 200 mm, New York, The Metropolitan Museum of Art, inv. 19.73.1, Fletcher Fund, 1919. -- Figure 3.4: Marcantonio Raimondi, Adam, pen and brown ink on light tan paper, 1505-1509, 195 × 109 mm, Princeton University Art Museum, inv. X1945-47, gift of Frank Jewett Mather Jr. -- Figure 3.5: Marcantonio Raimondi, Young Man Protected by Fortune, engraving, 147 × 91 mm, Yale University Art Gallery, inv. 1941.248, gift of the Associates of Fine Art. -- Figure 3.6: Marcantonio Raimondi, Young Man Protected by Fortune, engraving, 148 × 91 mm, Bologna, Pinacoteca Nazionale, inv. PN 2256 © su concessione del Ministero della Cultura - Archivio Fotografico Direzione regionale Musei dell'Emilia-Romagna. -- Figure 3.7: Marcantonio Raimondi, Mars, Venus, and Cupid, engraving, 1508, 298 × 209 mm, New York, Metropolitan Museum of Art, inv. 17.37.302, gift of Henry Walters, 1917. -- Figure 3.8: Details of figs. 3.1 and 3.2 (Venus Wringing her Hair), fig. 3.5 (Young Man Protected by Fortune), and fig. 3.7 (Mars, Venus, and Cupid).
Figure 4.1: French or Italian, Comb, ivory, paint and gilding, fifteenth or sixteenth century, 88 × 129 × 4 mm, New York, The Metropolitan Museum of Art, acc. no. 17.190.245. -- Figure 4.2: French painter, detail of Venus with a Mirror, oil on wood, sixteenth century, 54 × 34 cm, Mâcon, Musée des Ursulines, inv. A.700, photo © Wikimedia Commons (public domain). -- Figure 4.3: Lavinia Fontana, Hieronymus Mercurialis with an edition of Vesalius' 'On the Fabric of the Human Body' (1542), oil on canvas, 130.8 × 97.1 cm, Baltimore, Walters Art Museum, acc. no. 37.1106, photo © Wikimedia Commons (public domain). -- Figure 4.4: Giambattista della Porta (John Baptista Porta), Natural Magick (London: Thomas Young and Samuel Speed, 1658), title page with author portrait, London, Wellcome Collection, photo Attribution 4.0 International (CC BY 4.0). -- Figure 5.1: Domenico Tintoretto, Lady Covering her Breast, oil on canvas, 1580 - 1590, 65 × 51 cm, Madrid, Prado Museum, inv. P000384, © Museo del Prado. -- Figure 5.2: Domenico Tintoretto, Lady Revealing her Breast, oil on canvas, 1580 - 1590, 62 × 55.6 cm, Madrid, Prado Museum, inv. P000382, © Museo del Prado. -- Figure 5.3: Domenico Tintoretto, Portrait of a Courtesan, oil on canvas, 1590s, 100 × 84 cm, Venice, Private Collection. -- Figure 5.4: Mores italiae, 'Veronica Franco', water-colour drawing on paper, 1575, 185 × 130 mm, Beinecke MS 457, fol. 6, New Haven, Yale University, Beinecke Library. -- Figure 5.5: Giacomo Franco, 'A Noblewoman', from Habiti delle Donne Venetiane, engraving and woodcut, c.1591-1610, 280 × 210 mm, New York, The Metropolitan Museum of Art, acc. no. 34.68, Harris Brisbane Dick Fund, 1934.
Figure 5.6: Giacomo Franco, 'A Famous Courtesan', from Habiti delle Donne Venetiane, engraving and woodcut, c.1591-1610, 280 × 210 mm, New York, The Metropolitan Museum of Art, acc. no. 34.68, Harris Brisbane Dick Fund, 1934.
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Cover -- Table of Contents -- Indecent Bodies in Early Modern Visual Culture: An Introduction -- Fabian Jonietz, Mandy Richter, Alison G. Stewart -- 1. Taste, Lust, and the Male Body: Sexual Representations in Early Sixteenth-Century Northern Europe -- Alison G. Stewart -- 2. Private Viewings: The Frankfurt Context of Sebald Beham's Die Nacht -- Miriam Hall Kirch -- 3. To Show or Not to Show? Marcantonio Raimondi and the Representation of Female Pubic Hair -- Mandy Richter -- 4. Treating Bodily Impurities: Skin, Art, and Medicine -- Romana Sammern -- 5. Indecent Exposure and Honourable Uncovering in Renaissance Portraits of Women -- Bette Talvacchia -- 6. Lust in Translation: Agency, Sexuality, and Gender Configuration in Pauwels Franck's Allegories of Love -- Ricardo De Mambro Santos -- 7. 'So This Guy Walks into a Forest…:' Obscenity, Humour, Sex, and the Equine Body in Hans Baldung's Horses in a Forest Woodcuts (1534) -- Pia F. Cuneo -- 8. Indecent Creativity and the Tropes of Human Excreta -- Fabian Jonietz -- 9. 'It All Turns to Shit' - The Land of Cockaigne in Sixteenth-Century German Woodcuts -- Susanne Meurer -- 10. Noëls and Bodily Fluids: The Business of Low-Country Ceremonial Fountains -- Catherine Emerson -- Index -- List of Illustrations -- Figure 0.1: Isaac Cruikshank, Indecency, coloured etching, 1799, Washington, D.C., Library of Congress Prints and Photographs Division, PC 3 - 1799 - Indecency (A size) [P&amp -- P], https://www.loc.gov/item/2003652525/. -- Figure 0.2: Master of the Hours of Henri II, Francis I as Minerva, parchment on oak, c. 1545, 234 × 134 mm, Paris, Bibliothèque nationale de France, Estampes, Rés. Na 255. -- Figure 0.3: Hans Liefrinck after Leonardo da Vinci, Two Grotesque Heads, engraving, 1538, 115 × 157 mm, New York, Metropolitan Museum of Art, acc. no. 2008.577.3, Gift of Leo Steinberg, 2008.

Figure 0.4: Domenico Ghirlandaio, Old Man and his Grandson, tempera on wood, c. 1490, 62.7 × 46.3 cm, Paris, Musée du Louvre, inv. RF 266, RMN-Grand Palais (Musée du Louvre) / Franck Raux, https://collections.louvre.fr/en/ark:/53355/cl010064987. -- Figure 0.5: German painter, The Giant Anton Frank with the Dwarf Thomele, canvas, end of sixteenth century, 266.8 × 162.5 cm, Vienna, Kunsthisto­risches Museum, inv. Gemäldegalerie, 8299 © KHM-Museumsverband. -- Figure 0.6: Master of the Crucifixion of Kempten, detail of Crucifixion, panel painting, c. 1460/70, Nuremberg, Germanisches Nationalmuseum, loan of the Bayerischen Staatsgemäldesammlungen Munich, inv. Gm879. -- Figure 0.7: Albrecht Dürer, Portrait of Willibald Pirckheimer, silverpoint drawing, c. 1503, 21.1 × 15 cm, Berlin, SMB, Kupferstichkabinett, KdZ 24623, © Kupferstichkabinett. Staatliche Museen zu Berlin. -- Figure 1.1: Sebald Beham, Joseph and Potiphar's Wife (P. 14-I), engraving, 1526, 52 × 52 mm (sheet), Herzog Anton Ulrich-Museum Braunschweig, Kunstmuseum des Landes Niedersachsen, inv. h-s-beham-ab3-0013. -- Figure 1.2: Sebald Beham, Joseph and Potiphar's Wife (P. 14-state III), engraving, 1526, Ø 53 mm, © Kupferstich­kabinett, Staatliche Museen zu Berlin, inv. 423-4. -- Figure 1.3: Monogrammist AC, Joseph and Potiphar's Wife (P. 14b), etching, c.­1526 - 1550, 88 × 84 mm (sheet), Vienna, Albertina Museum, inv. DG1937/429. -- Figure 1.4: Monogrammist WI, Joseph and Potiphar's Wife (P. 14c), engraving, Ø 58 mm (plate), Kunstsammlungen der Fürsten zu Waldburg-Wolfegg. -- Figure 1.5: Sebald Beham (?), copy of Joseph and Potiphar's Wife (P. 14a), engraving, 1526, Vienna, Albertina Museum, inv. DG1936/1305 (with added colour).

Figure 1.6: Sebald Beham, Joseph and Potiphar's Wife (P. 15-IIII), engraving, 1544, 81 × 56 mm, © Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin, inv. 424-4. -- Figure 1.7: Sebald Beham (?), copy of Joseph and Potiphar's Wife (P. 15b-II), engraving, 1544, 85 × 54 mm, Braunschweig, Herzog Anton Ulrich-Museum, Kunstmuseum des Landes Niedersachsen, inv. h-s-beham-ab3-0015. -- Figure 1.8: Sebald Beham, Death and the Lascivious Couple (P. 153-I), engraving, 1529, 82 × 49 mm (sheet), Braunschweig, Herzog Anton Ulrich-Museum, Kunstmuseum des Landes Niedersachsen, inv. h-s-beham-ab3-0155. -- Figure 1.9: Sebald Beham, Death and the Lascivious Couple (P. 153-II), engraving, 1529, 82 × 49 mm (plate), Vienna, Albertina Museum, inv. DG1930/1175. -- Figure 1.10: Sebald Beham, Death and the Lascivious Couple (P. 153-II), engraving, 1529, 82 × 49 mm (plate), Amsterdam, Rijksmuseum, inv. RP-P-H-1040, on loan from the Rijksakademie van Beeldende Kunsten. -- Figure 2.1: Sebald Beham, Die Nacht, P. 154, engraving, 1548, state III, 110 × 78 mm (plate), Amsterdam, Rijksmuseum, inv. RP-P-OB-4601. -- Figure 2.2: Sebald Beham, Nude Girl with a Dog, P. 213, engraving, n.d., Ø 53 mm (plate), Amsterdam, Rijksmuseum, inv. RP-P-OB-10.925. -- Figure 2.3: Gian Jacopo Caraglio, perhaps after Perino del Vaga, Mercury, Aglauros, and Herse, from Loves of the Gods, T. 14, engraving, n.d., state I, 211 × 134 mm (trimmed), Amsterdam, Rijksmuseum, inv. RP-P-OB-35.615. -- Figure 2.4: Cornelis Bos after Michelangelo, Leda and the Swan, engraving, n.d., 302 × 413 mm (sheet), New York, The Metropolitan Museum of Art, inv. 57.658.153. -- Figure 2.5: Sebald Beham, Expulsion from Paradise, P. 8, engraving, 1543, 82 × 58 mm (plate), Williamstown, Mass., Clark Art Institute, inv. 1990.16.

Figure 2.6: Conrad Faber von Kreuznach, Portrait of Justinian von Holzhausen and Anna Fürstenberg, mixed media on linden panel, 1536, 68.6 × 98.5 cm, Frankfurt am Main, Städel Museum, inv. 1729. -- Figure 2.7: Heinrich Aldegrever, A Couple of Lovers Seated, engraving, 1529, Ø 52 mm, Washington, D.C., National Gallery of Art, Rosenwald Collection, inv. 1943.3.284. -- Figure 3.1: Marcantonio Raimondi, Venus Wringing her Hair, engraving, 1506, 214 × 152 mm, New York, The Metropolitan Museum of Art, inv. 29.44.13, anonymous gift, 1929. -- Figure 3.2: Marcantonio Raimondi, Venus Wringing her Hair, engraving, 1506, 215 × 150 mm, Amsterdam, Rijksmuseum, inv. RP-P-OB-11.950. -- Figure 3.3: Albrecht Dürer, Adam and Eve, engraving, 1504, 251 × 200 mm, New York, The Metropolitan Museum of Art, inv. 19.73.1, Fletcher Fund, 1919. -- Figure 3.4: Marcantonio Raimondi, Adam, pen and brown ink on light tan paper, 1505-1509, 195 × 109 mm, Princeton University Art Museum, inv. X1945-47, gift of Frank Jewett Mather Jr. -- Figure 3.5: Marcantonio Raimondi, Young Man Protected by Fortune, engraving, 147 × 91 mm, Yale University Art Gallery, inv. 1941.248, gift of the Associates of Fine Art. -- Figure 3.6: Marcantonio Raimondi, Young Man Protected by Fortune, engraving, 148 × 91 mm, Bologna, Pinacoteca Nazionale, inv. PN 2256 © su concessione del Ministero della Cultura - Archivio Fotografico Direzione regionale Musei dell'Emilia-Romagna. -- Figure 3.7: Marcantonio Raimondi, Mars, Venus, and Cupid, engraving, 1508, 298 × 209 mm, New York, Metropolitan Museum of Art, inv. 17.37.302, gift of Henry Walters, 1917. -- Figure 3.8: Details of figs. 3.1 and 3.2 (Venus Wringing her Hair), fig. 3.5 (Young Man Protected by Fortune), and fig. 3.7 (Mars, Venus, and Cupid).

Figure 4.1: French or Italian, Comb, ivory, paint and gilding, fifteenth or sixteenth century, 88 × 129 × 4 mm, New York, The Metropolitan Museum of Art, acc. no. 17.190.245. -- Figure 4.2: French painter, detail of Venus with a Mirror, oil on wood, sixteenth century, 54 × 34 cm, Mâcon, Musée des Ursulines, inv. A.700, photo © Wikimedia Commons (public domain). -- Figure 4.3: Lavinia Fontana, Hieronymus Mercurialis with an edition of Vesalius' 'On the Fabric of the Human Body' (1542), oil on canvas, 130.8 × 97.1 cm, Baltimore, Walters Art Museum, acc. no. 37.1106, photo © Wikimedia Commons (public domain). -- Figure 4.4: Giambattista della Porta (John Baptista Porta), Natural Magick (London: Thomas Young and Samuel Speed, 1658), title page with author portrait, London, Wellcome Collection, photo Attribution 4.0 International (CC BY 4.0). -- Figure 5.1: Domenico Tintoretto, Lady Covering her Breast, oil on canvas, 1580 - 1590, 65 × 51 cm, Madrid, Prado Museum, inv. P000384, © Museo del Prado. -- Figure 5.2: Domenico Tintoretto, Lady Revealing her Breast, oil on canvas, 1580 - 1590, 62 × 55.6 cm, Madrid, Prado Museum, inv. P000382, © Museo del Prado. -- Figure 5.3: Domenico Tintoretto, Portrait of a Courtesan, oil on canvas, 1590s, 100 × 84 cm, Venice, Private Collection. -- Figure 5.4: Mores italiae, 'Veronica Franco', water-colour drawing on paper, 1575, 185 × 130 mm, Beinecke MS 457, fol. 6, New Haven, Yale University, Beinecke Library. -- Figure 5.5: Giacomo Franco, 'A Noblewoman', from Habiti delle Donne Venetiane, engraving and woodcut, c.1591-1610, 280 × 210 mm, New York, The Metropolitan Museum of Art, acc. no. 34.68, Harris Brisbane Dick Fund, 1934.

Figure 5.6: Giacomo Franco, 'A Famous Courtesan', from Habiti delle Donne Venetiane, engraving and woodcut, c.1591-1610, 280 × 210 mm, New York, The Metropolitan Museum of Art, acc. no. 34.68, Harris Brisbane Dick Fund, 1934.

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