Interactive and sculptural printmaking in the Renaissance
著者
書誌事項
Interactive and sculptural printmaking in the Renaissance
（Brill's studies in intellectual history, v. 270 . Brill's studies on art,
Brill, c2018
- : hardback
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注記
Includes bibliographical references (p. [409]-431) and indexes
内容説明・目次
内容説明
Suzanne Karr Schmidt's Interactive and Sculptural Printmaking in the Renaissance tells the story of a hands-on genre of prints: how innovative paper engineering redefined the relationship of early modern viewers to art, humanism, and science.
Interactive and sculptural prints pervaded the European reading market of the sixteenth and seventeenth centuries. Single sheets and book illustrations featured movable flaps and dials, and functioned as kits to build three-dimensional scientific instruments. These hybrid constructions-part text, part image, and part sculpture-engaged readers; so did the polemical, satirical, and, occasionally, erotic content. By manipulating dials and flaps, or building and using the instruments, viewers learned to think through images as well as words, interacting visually with desires, social critique, and knowledge itself.
目次
Acknowledgments
List of Illustrations
Abbreviations
Introduction
Revelatory Playthings: The Religious Origins of the Interactive Print
1 Handling Religion
2 Folding Triptychs
3 Dials and the Printed Host
Anatomy of the Reformation: Nosce Antichristum
4 Anatomies both Normal and Deformed
5 Bodily Shame
6 Indecent Exposure to the Anatomically Incorrect
Instrumentle auff Papir: Georg Hartmann of Nuremberg and the Printed Scientific Instrument Trade
7 Georg Hartmann as Interactive Printmaker
8 Instrument Printmaking before Hartmann
9 Hartmann as Collaborator
Consumption and Exploitation: The International Expansion of the Interactive Book
10 Conspicuous Consumption and Private Presses
11 Lotteries, Gaming, and the Public Reaction
12 Liftable Skirts and Deadly Secrets
Afterword: A User's Guide to Art?
Bibliography
Index
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