.............................................................................................................................. II Acknowledgements ........................................................................................................... III List of figures ................................................................................................................... VII Chapter

Homeliness and Worldliness: Materiality and the Making of New Netherland, 1609-1740

.............................................................................. Acknowledgments ................................................................ List of Illustrations .................................................................. Introduction ........................................................................... Chapter One: Hendrick Goltzius’s the Life of the Virgin, 1593-94: Marian Piety for a Multiconfessional Audience ....................................... Chapter Two: ‘Als Vrouwe, of Moeder, en als Maagt’: Mary as Everywoman in Dutch Prints of the Holy Family................................................ Chapter Three: The Chapel of Our Lady of Need in Heiloo and Marian Devotion in Seventeenth-Century Dutch Catholic Print Culture .......................... Chapter Four: Rembrandt’s the Death of the Virgin, Cartesianism, and Modernity in the Seventeenth-Century Dutch Republic ...................................... Conclusion ........................................................................... Bibliography ......................................................................... Illustrations ........................................................................... iii

Re -forming Mary in seventeenth-century Dutch prints

....................................................................................................................iii Acknowledgements ................................................................................................... iv Illustrations .............................................................................................................viii Thesis Introduction .................................................................................................... 1 Thesis structure 6 Section I The Context .............................................................................................. 11 Chapter One: Rembrandt the ‘Protestant’ artist: a short history of criticism ........ 12 Introduction 12 What is Protestant art? 20 Recent research 26 Chapter Two: An Historical Context ..................................................................... 29 Introduction 29 The reformation of ideas 30 The medieval mind 31 The protagonists 32 The place of the image in early reformed thought 35 A re-formed Calvin 40 Iconoclasm 41 The re-formation of the image 42 The ambivalence of iconography 44 A new religious imagery 45 The difficulties of distinction 48 The place of the Virgin Mary in a reformed world 49 Mary as role-model 51 Conclusion 54 Chapter Three: Rembrandt’s Personal Perspective ............................................... 57 Introduction 57 A family faith 59 Rembrandt’s documents 60 A Mennonite Rembrandt? 63 Rembrandt’s relationship with the Jews 65

A disquieting presence: The Virgin Mary in Rembrandt’s 'Protestant' art

Animals and Animality in the Babylonian Talmud selects key themes in animal studies - animal intelligence, morality, sexuality, suffering, danger, personhood - and explores their development in the Babylonian Talmud. Beth A. Berkowitz demonstrates that distinctive features of the Talmud - the new literary genre, the convergence of Jewish, Christian, and Zoroastrian cultures, the Talmud's remove from Temple-centered biblical Israel - led to unprecedented possibilities within Jewish culture for conceptualizing animals and animality. She explores their development in the Babylonian Talmud, showing how it is ripe for reading with a critical animal studies perspective. When we do, we find waiting for us a multi-layered, surprisingly self-aware discourse about animals as well as about the anthropocentrism that infuses human relationships with them. For readers of religion, Judaism, and animal studies, her book offers new perspectives on animals from the vantage point of the ancient rabbis.

Animals and Animality in the Babylonian Talmud

Existing theories of empathic response to visual art works postulate the primacy of automatic embodied reaction to images based on mirror neuron mechanisms. Arguing for a more inclusive concept of empathy-related response and integrating four distinct bodies of literature, we discuss contextual, and personal factors which modulate empathic response to depicted people. We then present an integrative model of empathy-related responses to depicted people in art works. The model assumes that a response to empathy-eliciting figural artworks engages the dynamic interaction of two mutually interlinked sets of processes: socio-affective/cognitive processing, related to the person perception, and esthetic processing, primarily concerned with esthetic appreciation and judgment and attention to non-social aspects of the image. The model predicts that the specific pattern of interaction between empathy-related and esthetic processing is co-determined by several sets of factors: (i) the viewer's individual characteristics, (ii) the context variables (which include various modes of priming by narratives and other images), (iii) multidimensional features of the image, and (iv) aspects of a viewer's response. Finally we propose that the model is implemented by the interaction of functionally connected brain networks involved in socio-cognitive and esthetic processing.

/pdf/empathy-related-responses-to-depicted-people-in-art-works-18iru10n9i.pdf

Empathy-Related Responses to Depicted People in Art Works.

Covering all the media that Rembrandt worked in throughout his career, "Rembrandt's Faith" is the only art-historical study to address the full breadth of the artist's religious imagery. Rembrandt weighed in on important religious issues of his day and was a close student of the Bible, using traditional approaches based on Saint Paul to employ typology between the Old and New Testaments. He also shared the Dutch propensity to draw analogies between the biblical tales of the 'chosen people' and Dutch society, including commentary on righteous leadership under God's covenant. Rembrandt's close reading of the Bible and biblical commentary by Calvin and other theologians was greatly abetted by the publication, in 1637, of the "Dutch States Bible" translation with notes. He also avidly studied seventeenth-century reconstructions of the Jerusalem Temple and frequently located his biblical narratives in re-creations of these spaces. "Rembrandt's Faith" raises essential questions about the complex relationships among Rembrandt's art, religion, and the theological debates of his time.

Rembrandt's Faith: Church and Temple in the Dutch Golden Age

An Irenic Vision of Utopia: Rembrandt's "Triumph of Mordecai" and the New Jerusalem

The drawings and prints of the celebrated and prolific 17th-century French artist Jacques Callot have long been studied by scholars as imaginative and revealing images of the world in which he lived. Born and raised in the court of Lorraine, he spent the greater part of his life in ducal courts, serving as printmaker to such illustrious patrons as the Grand Duke Cosimo II of Tuscany (r. 161022) and the dukes of Lorraine. Drawing upon a wide diversity of sources,1 he executed nearly ' 3,000 engravings, etchings, and sketches representing a variety of historical, religious, genre, and theatrical subjects.2 The sources for his interpretation of Admiral Inghirami Presenting Barbary Prisoners to Ferdinand I (fig. 1), a drawing in the collections of the Detroit Institute of Arts,3 came from his own art and eyewitness observations, as well as from works by Italian artists of the late 16th and early 17th centuries.

Callot's "Admiral Inghirami Presenting Barbary Prisoners to Ferdinand I"

Near the end of his life, Cardinal Lorenzo Magalotti, Bishop of Ferrara, commissioned Guercino to paint Esther Before Ahasuerus, a canvas portraying Queen Esther's audience with King Ahasuerus, an Old Testament subject long viewed as the prefiguration of Mary's intercession to God. On one level interpreted as Esther's petitioning of Ahasuerus, onanother as the Virgin's appeal to God, Guercino's painting may also reflect the self-proclaimed mission of its patron, as expressed in Magalotti's statutory and synodial decrees.

Shelley Perlove

Papers

Rembrandt's Faith: Church and Temple in the Dutch Golden Age

An Irenic Vision of Utopia: Rembrandt's "Triumph of Mordecai" and the New Jerusalem

Callot's "Admiral Inghirami Presenting Barbary Prisoners to Ferdinand I"

Guercino's "Esther Before Ahasuerus" and Cardinal Lorenzo Magalotti, Bishop of Ferrara