This collection of essays explores hybridity in early modern art through two primary lenses: hybrid media and hybrid time.
The varied approaches in the volume to theories of hybridity reflect the increased presence in art historical scholarship of interdisciplinary frameworks that extend art historical inquiry beyond the single time or material. The essays engage with what happens when an object is considered beyond the point of origin or as a legend of information, the implications of the juxtaposition of disparate media, how the meaning of an object alters over time, and what the conspicuous use of out-of-date styles means for the patron, artist, and/or viewer. Essays examine both canonical and lesser-known works produced by European artists in Italy, northern Europe, and colonial Peru, ca. 1400–1600.
The book will be of interest to art historians, visual culture historians, and early modern historians.
Table of Contents
Introduction: Hybridity in Early Modern Art
Ashley Elston and Madeline Rislow
Part 1: Hybrid Media
1. Connecting Human and Divine: Carlo Crivelli’s Hybrid Media
2. Collaboration and Dissonance in Siena’s Bichi Altarpiece
3. Emblems and Hybridity in a Southern German Epitaph Sculpture
4. Hybridity, Media, and Source Material in Visual Representations of the Wild Woman: Transitions from Hand-Copied Manuscripts to Hand-Press Prints
5. A Material Legacy: Hybridity and French Manuscript Illumination from the Late Fifteenth through Sixteenth Centuries
Part 2: Hybrid Time
6. Visual Hybridity in the Sancta Sanctorum (Rome): Reframing the Middle Ages
7. (Re-)Encasing the Ashes of St. John the Baptist in Genoa Across Time
8. Recycling, Renaissance Style: Hybridity and Giorgio Vasari’s Pieve Altarpieces
Sally J. Cornelison
9. Style and Meaning Beyond Europe: Bernardo Bitti and Mannerism
Ashley Elston is Associate Professor of Art History at Berea College.
Madeline Rislow is Associate Professor and Director of Art History, School of Fine Arts, Missouri Western State University.