1.4 Art History with Chris Nygren

This week’s episode is based on Chris Nygren’s session at the summer school in 2018, and a follow-up interview we conducted with him afterwards. Chris is an assistant professor of Art History at the University of Pittsburgh. He discusses the genealogy of art written by Giorgio Vasari in 16th century Florence, and the ways that it is taken to be normative in what constitutes “modernity” in art even into the 21st century.

Resources

  • Alberti, Leon Battista, and Rocco Sinisgalli. *Leon Battista Alberti: On Painting: a New Translation and Critical Edition*. Cambridge University Press, 2013.

    Campbell, Stephen J. “On Renaissance Nonmodernity.” *I Tatti Studies in the Italian Renaissance* 20, no. 2, 2017.

    Nagel, Alexander and Wood, Christopher. "Anachronic Renaissance." *Historische Anthropologie* 19, no. 3, 2011.

    Squire, Michael. *Image and Text in Graeco-Roman Antiquity*. Cambridge: Cambridge University Press, 2009.

    Vasari, Giorgio, De Vere Gaston du C., and David Ekserdjian. *Lives of the Painters, Sculptors, and Architects*. London: Everymans Library, 1996.

    Armenini, Giovanni Battista, and Edward J. Olszewski. *Giovanni Battista Armenini on the True Precepts of the Art of Painting*. Place of publication unknown: Franklin, 1977.

    Bynum, Caroline Walker. *Christian Materiality: An Essay on Religion in Late Medieval Europe*. New York, 2011.

  • Colantuono, Anthony. *Count Carlo Cesare Malvasia, Malvasias Life of the Carracci*. Comm. and Trans. Anne Summerscale. University Park, PA: The Pennsylvania State University Press, 2000.

    Danto, Arthur Coleman., and Lydia Goehr. *After the End of Art: Contemporary Art and the Pale of History*. Princeton, NJ: Princeton University Press, 2014.

    Danto, Arthur C. Art: Sienese Painting, in: idem: Encounters & Reflections: Art in the Historical Present, Berkeley et al. 1997

    Elkins, James. *Is Art History Global?* New York: Routledge, 2014.

    Fried, Michael. Art and Objecthood, in: idem: Art and Objecthood: Essays and Review, Chicago et al. 1998.

    Friedberg, Anne. *The Virtual Window: From Alberti to Microsoft*. Cambridge 2006.

    Goldthwaite, Richard A. *Economy of Renaissance Florence*. Johns Hopkins University Press, 2011.

    Greenberg, Clement, and John O’Brian. *The Collected Essays and Criticism*. Chicago: University of Chicago Press, 1986.

    Hirst, Michael. "Sebastiano’s Pieta for the Commendador Mayor." *Burlington Magazine* 114, no. 834, 1972.

    Koerner, Joseph Leo. *Self Portraiture and Crisis of Interpretation in German Renaissance Art: Albrecht Dürer, Hans Baldung Grien and Lucas Cranach the Elder*. Ann Arbor: UMI Research Press, 1991.

    Masheck, Joseph. Alberti’s ‘Window’: Art-Historical Notes on an Antimodernist Misprision, in: Art Journal 50.1, 1991.

    Melion, Walter S. *Shaping the Netherlandish Canon: Karel Van Manders Schilder-Boeck*. Chicago: University of Chicago Press, 1991.

    Moschini, Giovanni Antonio. Dell Incisione in Venezia. Memoria Di Giannantonio Moschini. Pp. xiii. 221. Venezia, 1926.

    Mozo, Ana González. “2 Painted Stone: Idea and Practice in Italian Renaissance.” Almost Eternal: Painting on Stone and Material Innovation in Early Modern Europe, January 2018. [doi.org/10.1163/9789004361492_005][1].

    [1]: https://doi.org/10.1163/9789004361492_005

    Nygren, Christopher J. “Titian’s Ecce Homo on Slate: Stone, Oil, and the Transubstantiation of Painting,” *Art Bulletin* 99.1, 2017.

    Nygren, Christopher J. *Titian’s Icons: Tradition, Innovation, and Devotion in Renaissance Italy*, forthcoming.

    Pliny, Philemon Holland, and J. Newsome. *Pliny’s Natural History: a Selection from Philemon Hollands Translation*. Oxford: Clarendon Press, 1964.

    Seifertova, Hana. *Painting on Stone: an Artistic Experiment in the 16th and Early 17th centuries*. Prague, 2007.

    Summers, David. *Real Spaces: World Art History and the Rise of Western Modernism*. London: Phaidon Press, 2003.

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