Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-t5tsf Total loading time: 0 Render date: 2024-11-05T16:05:27.729Z Has data issue: false hasContentIssue false

Introduction

from Part VI - Visual Arts

Published online by Cambridge University Press:  17 August 2019

Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Sources cited

Chaney, Edward. The Evolution of the Grand Tour: Anglo-Italian Cultural Relations since the Renaissance. London: Frank Cass, 1998.Google Scholar
Doran, Susan, ed. Elizabeth: The Exhibition at the National Maritime Museum. London: Chatto and Windus, 2003.Google Scholar
Gent, Lucy. Picture and Poetry 1560–1620: Relations between Literature and the Visual Arts in the English Renaissance. Leamington Spa: James Hall, 1981.Google Scholar
Gent, Lucy, and Llewellyn, Nigel, eds. Albion’s Classicism: The Visual Arts in Britain 1550–1660. New Haven: Yale UP, 1995.Google Scholar
Glanville, Philippa. “The Crafts and Decorative Arts.” The Cambridge Cultural History of Britain. Vol. 3: Sixteenth-Century Britain. Ed. Ford, Boris. Cambridge: Cambridge University Press, 1992. 269300.Google Scholar
Hearn, Karen, ed. Dynasties: Painting in Tudor and Jacobean England 1530–1630. London: Tate, 1995.Google Scholar
Hilliard, Nicholas. The Art of Limning. Ed. Thornton, R. K. R. and Cain, T. G. S.. Manchester: Carcanet, 1992.Google Scholar
Llewellyn, Nigel. Funeral Monuments in Post-Reformation England. Cambridge: Cambridge University Press, 2000.Google Scholar
Lomazzo, Giovanni Paolo. A Tracte Containing the Curious Artes of Paintinge, Carvinge & Building. Trans. Haydocke, Richard. Oxford: Joseph Barnes, 1598.Google Scholar
Marr, Alexander. “‘A Duche graver sent for’: Cornleis Boel, Salomon de Caus, and the production of La perspective auec la raison des ombres et miroirs.” Prince Henry Revived: Image and Exemplarity in Early Modern England. Ed. Wilks, Timothy. London: Paul Holberton, 2007. 212–38.Google Scholar
Scott-Warren, Jason. Sir John Harington and the Book as Gift. Oxford: Oxford UP, 2001.Google Scholar
Smith, Bruce. The Key of Green: Passion and Perception in Renaissance Culture. Chicago: U of Chicago P, 2009.Google Scholar
Strong, Roy. The English Icon: Elizabethan and Jacobean Portraiture. London: Routledge and Kegan Paul, 1969.Google Scholar
Strong, Roy. Henry, Prince of Wales, and England’s Lost Renaissance. London: Thames and Hudson, 1986.Google Scholar
Wells-Cole, Anthony. Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints, 1558–1625. New Haven: Yale UP, 1997.Google Scholar
Williams, Richard L.Collecting and Religion in Sixteenth-Century England.” The Evolution of English Collecting: Receptions of Italian Art in the Tudor and Stuart Periods. Ed. Chaney, Edward. New Haven: Yale UP, 2003. 159200.Google Scholar

Further reading

Archer, Jayne E., Goldring, Elizabeth, and Knight, Sarah, eds. The Progresses, Pageants and Entertainments of Queen Elizabeth I. Oxford: Oxford UP, 2007.Google Scholar
Cooper, Tarnya. Citizen Portrait: Portrait Painting and the Urban Elite of Tudor and Jacobean England and Wales. New Haven: Yale UP, 2012.Google Scholar
Fumerton, Patricia. Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament. Chicago: U of Chicago P, 1991.Google Scholar
Gent, Lucy, and Llewellyn, Nigel, eds. Renaissance Bodies: The Human Figure in English Culture c. 1540–1660. London: Reaktion, 1990.Google Scholar
Glanville, Philippa. Silver in Tudor and Early Stuart England: A Social History and Catalogue of the National Collection. London: Victoria and Albert Museum, 1990.Google Scholar
Hind, Arthur M. Engraving in England in the Sixteenth and Seventeenth Centuries. Cambridge: Cambridge University Press, 1952.Google Scholar
Orgel, Stephen, and Strong, Roy. Inigo Jones: The Theatre of the Stuart Court. London: Sotheby Parke Benet, 1973.Google Scholar
Strong, Roy. The Cult of Elizabeth: Elizabethan Portraiture and Pageantry. London: Pimlico, 1999.Google Scholar
Strong, Roy. The English Renaissance Miniature. London: Thames and Hudson, 1983.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×