Bibliography for HART3105: Advanced Undergraduate Course in the History of Art: The Early Modern Technologies of Vision BETA

Ackerman, James S. ‘Early Renaissance “Naturalism” and Scientific Illustration’. Distance Points: Essays in Theory and Renaissance Art and Architecture. Cambridge, MA: M.I.T. Press, 1991. 185–207. Web. <https://contentstore.cla.co.uk/secure/link?id=7781b4d6-8089-e711-80cb-005056af4099>.

Alina Alexandra Payne. ‘Introduction’. Vision and Its Instruments: Art, Science, and Technology in Early Modern Europe. Ed. Alina Alexandra Payne. University Park, Pennsylvania: The Pennsylvania State University Press, 2015. 1–9. Web. <https://contentstore.cla.co.uk/secure/link?id=5bc338be-ff78-e711-80cb-005056af4099>.

Bette, Talvacchia. ‘Mythology, Sexuality and Science in Charles Estienne’s Manual of Anatomy’. Taking Positions: On the Erotic in Renaissance Culture. Princeton, N.J: Princeton University Press, 1999. 161–187. Web. <https://contentstore.cla.co.uk/secure/link?id=a91918ae-b6fa-e711-80cd-005056af4099>.

Carlino, Andrea. ‘Representations: An Iconographic Investigation of the Dissection Scene’. Books of the Body: Anatomical Ritual and Renaissance Learning. Chicago, Ill: University of Chicago Press, 1999. 8–68. Web. <https://contentstore.cla.co.uk/secure/link?id=e74e7f8b-2f99-e711-80cb-005056af4099>.

Charles Dempsey. ‘Caravaggio and the Two Naturalistic Styles: Specular vs. Macular’. Caravaggio: Realism. Cranbury: University of Delaware Press, 2006. 91–100. Print.

‘Circuit-Bending History: Sketches toward a Digital Schematic’. (2015): n. pag. Web. <http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=7120878>.

David, Landau & Peter W. Parshall. ‘Printed Herbals and Descriptive Botany’. The Renaissance Print, 1470-1550. New Haven: Yale University Press, 1994. 245–259. Web. <https://contentstore.cla.co.uk/secure/link?id=964a7659-fd78-e711-80cb-005056af4099>.

Eisenstein, Elizabeth L. The Printing Press as an Agent of Change. Cambridge: Cambridge University Press, 1980. Web. <http://ebooks.cambridge.org/ref/id/CBO9781107049963>.

Elizabeth L. Eisenstein. ‘Defining the Initial Shift; Some Features of Print Culture’. The Printing Press as an Agent of Change : Communications and Cultural Transformations in Early-Modern Europe / Vol.1 / Elizabeth L. Eisenstein. Vol. 1. N.p. 43–159. Print.

Elizabeth L. Eisenstein, 1923-. The Printing Press as an Agent of Change : Communications and Cultural Transformations in Early-Modern Europe / Vol.2 / Elizabeth L. Eisenstein. N.p. Print.

Elke Anna Werner. ‘Anthropomorphic Maps: On the Aesthetic Form and Political Function of Body Metaphors’. The Anthropomorphic Lens: Anthropomorphism, Microcosmism and Analogy in Early Modern Thought and Visual Arts. Ed. Walter Melion. Leiden ; Boston: Brill, 2014. 251–272. Web. <https://brill.com/view/title/24727>.

Findlen, Paula. ‘Anatomy Theaters, Botanical Gardens, and Natural History Collections’. The Cambridge History of Science. Ed. Katharine Park and Lorraine Daston. Cambridge: Cambridge University Press, 2006. 272–289. Web. <http://universitypublishingonline.org/ref/id/histories/CBO9781139054010A018>.

Gaudio, Michael. ‘Savage Marks: The Scriptive Techniques of Early Modern Ethnography’. Engraving the Savage: The New World and Techniques of Civilization. Minneapolis: University of Minnesota Press, 2008. 1–44. Web. <https://www.jstor.org/stable/10.5749/j.cttts63r.5>.

Gaudio, Michael. ‘Savage Marks: The Scriptive Techniques of Early Modern Ethnography.’ Engraving the Savage: The New World and Techniques of Civilization. Minneapolis: University of Minnesota Press, 2008. 1–43. Web. <https://www.jstor.org/stable/10.5749/j.cttts63r>.

Glenn Harcourt. ‘Andreas Vesalius and the Anatomy of Antique Sculpture’. Representations 17 (1987): 28–61. Web. <http://www.jstor.org/stable/3043792#page_scan_tab_contents>.

Hanneke, Grootenboer. ‘The Rhetoric of Perspective’. The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting. Chicago: University of Chicago Press, 2005. 97–135. Print.

Ivins, William Mills. ‘The Road Block Broken: The Fifteenth Century’. Prints and Visual Communication. N.p. 21–50. Web. <https://www.fulcrum.org/epubs/8w32r584h#/6/102[xhtml00000051]!/4/1:0>.

Jacques, Lacan. ‘Anamorphosis’. The Four Fundamental Concepts of Psycho-Analysis. London: Vintage, 1998. 79–90. Web. <https://contentstore.cla.co.uk/secure/link?id=0b6f5164-b4fa-e711-80cd-005056af4099>.

Jill Burke. ‘Nakedness and Other Peoples: Rethinking the Italian Renaissance Nude’. Art History 36.4 (2013): 714–739. Web.

Karen Reeds. ‘Leonardo Da Vinci and Botanical Illustration: Nature Prints, Drawings, and Woodcuts ca 1500’. Visualizing Medieval Medicine and Natural History, 1200-1550. AVISTA studies in the history of medieval technology, science and art. Aldershot: Ashgate, 2006. 205–237. Web. <https://contentstore.cla.co.uk/secure/link?id=989b2279-7f89-e711-80cb-005056af4099>.

Karr Schmidt, Suzanne. ‘Handling Religion’. Interactive and Sculptural Printmaking in the Renaissance. Brill, 2017. 23–55. Web. <http://booksandjournals.brillonline.com/content/books/b9789004354135_003>.

Katherine, Rowe. ‘“Gods Handy Worke” Divine Complicity and the Anatomist’s Touch’. The Body in Parts : Fantasies of Corporeality in Early Modern Europe. Taylor and Francis, 2013. 285–309. Web. <https://ebookcentral.proquest.com/lib/ucl/reader.action?docID=1111756&ppg=5>.

Kenaan, Hagi. ‘The “Unusual Character” of Holbein’s “Ambassadors”’. Artibus et Historiae 23.46 (2002): 61–75. Web.

Koerner, Joseph Leo. ‘Not Made by Human Hands’. The Moment of Self-Portraiture in German Renaissance Art. Chicago: University of Chicago Press, 1993. 80–127. Web. <https://contentstore.cla.co.uk/secure/link?id=6f4251c2-0279-e711-80cb-005056af4099>.

Lucia, Nuti. ‘The Perspective Plan in the Sixteenth Century: The Invention of a Representational Language’. The Art Bulletin 76.1 (1994): 105–128. Web.

Margaret Iversen. ‘The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan’. Oxford Art Journal 28.2 (2005): 193–202. Web. <http://www.jstor.org/stable/4500016?seq=1#page_scan_tab_contents>.

Massey, Lyle. Picturing Space, Displacing Bodies: Anamorphosis in Early Modern Theories of Perspective. University Park, Pa: Pennsylvania State University Press, 2007. Print.

Park, Katharine. ‘The Empire of Anatomy’. Secrets of Women: Gender, Generation, and the Origins of Human Dissection. New York: Zone, 2006. 207–259. Web. <https://contentstore.cla.co.uk/secure/link?id=adbd2beb-f799-e711-80cb-005056af4099>.

Paul Dyck, Ryan Rempel & Stuart Williams. ‘Digitizing Collection, Composition, and Product: Tracking the Work of Little Gidding’. Digitizing Medieval and Early Modern Material Culture. Ed. Brent Nelson and Melissa M. Terras. volume 3. Toronto, Ontario, Canada: Iter in collaboration with ACMRS, 2012. 229–256. Print.

Pon, Lisa. ‘Imprint: Paper, Print, and Matrix’. A Printed Icon in Early Modern Italy. Cambridge: Cambridge University Press, 2015. 39–80. Web. <http://ebooks.cambridge.org/ref/id/CBO9781316162293A011>.

Rosenthal, M. F. ‘Fashions of Friendship in an Early Modern Illustrated Album Amicorum: British Library, MS Egerton 1191’. Journal of Medieval and Early Modern Studies 39.3 (2009): 619–641. Web.

Rublack, Ulinka. ‘Nationhood’. Dressing up: Cultural Identity in Renaissance Europe. Oxford: Oxford University Press, 2010. 125–176. Web. <https://contentstore.cla.co.uk/secure/link?id=1850b754-f678-e711-80cb-005056af4099>.

Sachiko Kusukawa. ‘Leonhart Fuchs on the Importance of Pictures’. Journal of the History of Ideas 58.3 (1997): n. pag. Web.

San Juan, Rose Marie. ‘The Anthropomorphic Image: Negotiations of Space Between Body and Landscape’. Vertiginous Mirrors: The Animation of the Visual Image and Early Modern Travel. Rethinking art’s histories. Manchester: Manchester University Press, 2011. 56–85. Web. <https://contentstore.cla.co.uk/secure/link?id=81cf4fb6-862e-e811-80cd-005056af4099>.

Stephen, Orgel,. ‘Textual Icons: Reading Early Modern Illustrations’. The Renaissance Computer: Knowledge Technology in the First Age of Print. Ed. Neil Rhodes and Jonathan Sawday. London: Routledge, 2000. 57–92. Web. <https://www.taylorfrancis.com/books/e/9781134599806/chapters/10.4324%2F9780203463307-12>.

Stuart, Clark. ‘Introduction’. Vanities of the Eye: Vision in Early Modern European Culture. Oxford: Oxford University Press, 2007. 1–8. Print.

---. ‘Species, Visions and Values’. Vanities of the Eye: Vision in Early Modern European Culture. Oxford: Oxford University Press, 2007. 9–38. Print.

Svetlana, Alpers. ‘The Mapping Impulse in Dutch Art’. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago: University of Chicago Press, 1983. 119–168. Web. <https://contentstore.cla.co.uk/secure/link?id=3432d9ac-abfa-e711-80cd-005056af4099>.

---. ‘“Ut Pictura, Ita Visio”: Kepler’s Model of the Eye and the Nature of Picturing in the North’. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago: University of Chicago Press, 1983. 26–71. Print.

Traub, Valerie. ‘Mapping the Global Body’. Early Modern Visual Culture: Representation, Race, and Empire in Renaissance England. New cultural studies. Philadelphia: University of Pennsylvania Press, 2000. 44–97. Web. <https://contentstore.cla.co.uk/secure/link?id=0664e3b1-f999-e711-80cb-005056af4099>.

Valerie Traub. ‘The Nature of Norms in Early Modern England: Anatomy, Cartography, “King Lear”’. South Central Review 26.1 (2009): 42–81. Web. <http://www.jstor.org/stable/40211291?seq=1#page_scan_tab_contents>.

Victor Ieronim, Stoichiță, et al. ‘Paintings, Maps and Mirrors’. The Self-Aware Image: An Insight into Early Modern Metapainting. Ed. Lorenzo Pericolo. New, improved, and updated edition. London: Harvey Miller Publishers, 2015. 151–197. Print.

Wilkin, Rebecca M. ‘Figuring the Dead Descartes: Claude Clerselier’s                            (1664)’. Representations 83.1 (2003): 38–66. Web.

William H, Sherman. ‘Afterword: The Future of Past Readers’. Used Books: Marking Readers in Renaissance England. Philadelphia, Pa: University of Pennsylvania Press, 2008. 179–182. Web. <https://contentstore.cla.co.uk/secure/link?id=f1de2fce-bc10-e811-80cd-005056af4099>.

William, Mills. Ivins Jr. ‘The Road Block Broken-The Fifeteenth Century’. Prints and Visual Communication. Cambridge, Mass: M.I.T. Press, 1978. 21–50. Print.

Wilson, Bronwen. ‘From Myth to Metropole: Sixteenth-Century Maps of Venice’. The World in Venice: Print, the City and Early Modern Identity. Studies in book and print culture. Toronto: University of Toronto Press, 2005. 23–69. Web. <https://contentstore.cla.co.uk/secure/link?id=6bc1f26f-0079-e711-80cb-005056af4099>.

Wolloch, Nathaniel. ‘Dead Animals and the Beast-Machine: Seventeenth-Century Netherlandish Paintings of Dead Animals, as Anti-Cartesian Statements’. Art History 22.5 (1999): 705–727. Web.