Carter Janine M. - Perspectives on Western art source documents and readings in social history from the ancient near east through the middle ages

First published 1994 by Westview Press

Published 2018 by Routledge

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PERSPECTIVES ON WESTERN ART ( VOL . 2). Copyright 1994 by Linnea H. Wren.

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FIRST EDITION

Library of Congress Cataloging-in-Publication Data

(Revised for vol. 2)

Wren, Linnea Holmer.

Perspectives on Western art.

(Icon editions)

Includes bibliographical references and indexes.

Contents: [1]. Source documents and readings in social history from the ancient Near East through the Middle Ages [2]. Source documents and readings from the Renaissance to the 1970s.

1. ArtHistory. I. Wren, David. II. Carter, Janine . III. Title. IV. Series.

N5303.W74 1986 709 85-45244

ISBN 0-06-438942-1 (cloth: v. 1)

ISBN 0-06-430154-0 (paper: v. 1)

ISBN 0-06-438943-X (cloth: v. 2)

ISBN 0-06-430191-5 (paper: v. 2)

ISBN 13: 978-0-06-430191-6 (pbk)

ISBN 13: 978-0-06-438943-3 (hbk)

I wish to express my appreciation to the many people who have assisted me throughout the preparation of this book. The idea for this volume and the companion volume which preceded it resulted from my participation in an interdisciplinary program for teaching the humanities at Gustavus Adolphus College. Participating with me were two colleagues, Claus Buechmann, a scholar of English Renaissance literature, and Clair Johnson, a professor of religion and specialist in the history of American religion. Our discussion about the relationships among Western literature, religion, and art did much to suggest the need for a volume of this kind and to point to its eventual shape. I am indebted to many other colleagues for their assistance and insight. Kathleen Mitchell and Mark Fuehrer offered valuable advice on the documents related to Renaissance art. Marianne Berardi and Henry Adams guided me in the selection and interpretation of readings related to Baroque art. William Freiert and Cass Canfield, Jr., generously gave me their assistance in shaping the sections on nineteenth- and twentieth-century art.

I would also like to acknowledge the contributions of my students in art history who responded willingly and cheerfully to their role as the initial audience for this endeavor. Numerous students undertook additional research in areas of special interest to them. These students include Stephanie Hammerschmidt, Erica Rootness, Sarah Carter, Lisa Mahoney, Becky Bill-meyer, and Alejandra Jimenez. Two students, Kimberley Becker and Julie Speck, not only devoted patient labor throughout their undergraduate years to the project, but also exhibited creative flair in searching out sources and translations. Two former students and now current colleagues, Amanda Eggers and Joan La Valle, have assisted me throughout by their sympathetic editing of my essays and their expert researching of source materials.

I also wish to express my gratitude to the staffs of the Folke Bernadotte Library at Gustavus Adolphus College and the College of St. Catherine Library. At Gustavus, thanks to Michael Haeuser and Carole ORourke, who placed the resources of the library at my disposal; to Howard Cohrt and Barbara Fister, for their help in locating research materials; and, most especially, to Susan Gravelin for her unceasing efforts to locate documents and archival sources. At the second institution, my thanks go to Karen Harwood, who extended me full access to the library facilities; and to Jim Newsome and Mary Ellen Hals, who were unfailing in their efforts to assist me. I would also like to express my appreciation to the President of Gustavus Adolphus College, Axel Steuer, for the extensive support I have received from my college, and to the President of the College of St. Catherine, Anita Pampusch, for being granted full faculty status.

Assistance in the physical preparation of the manuscript was received from Carol Hanson of the Department of Art and Art History at Gustavus Adolphus College. Carol met sudden deadlines by devoting working days, late nights, and weekends to typing this volume. Her husband, James Hanson, a professor at the University of Minnesota, was gracious enough to volunteer for the task of proofreader. To both I owe my warmest thanks.

Financial support for this project was provided by the National Endowment for the Humanities and by the Committee for Research, Scholarship, and Creativity of Gustavus Adolphus College. A sabbatical leave from Gustavus further assisted the completion of this volume.

I am deeply in the debt of Cass Canfield, Jr., at HarperCollins. His encouragement and enthusiasm, his patient nurturing of the idea of this anthology, and his insightful recommendations during its preparation have been crucial contributions to the work.

I also wish to express my appreciation of the skillful editing of Ann Finlayson. On matters both of style and substance, her comments and suggestions have resulted in many improvements in the text.

Linnea H. Wren
January 1994