The document summarizes how objects from other cultures were collected and displayed in early modern European curiosity cabinets. These collections tried to categorize natural and man-made artifacts but often did so through a Eurocentric lens, mislabeling and recontextualizing items. Objects of wonder from unfamiliar places fascinated viewers but were also used by royal collectors to assert political power and dominance. The document examines specific works that incorporated exotic plants, animals and artifacts into European paintings, sculptures and illustrations to reinforce this worldview while inspiring awe.
The document discusses Gothic ivory carving from the 14th century. It provides context on the rise of Gothic art in France and importance of ivory material. Specifically, it summarizes that the piece is a carved ivory from Paris in the first third of the 14th century depicting mirror cases and courtly scenes. Ivory was a luxury material popular for secular objects like mirror cases during this time period, as shown by this piece from Paris in the early 14th century.
Ivory carving was a popular art form from the 4th to 15th centuries, especially in Western Europe. Artists used tools like axes and chisels to sculpt ivory into religious figures, secular objects, and personal items. The most common subject was the Virgin and Mary, though ivory was also used for diptychs, caskets, chess sets, and sculptures depicting courtly love or literature. Major workshops producing ivory sculpture were located in Paris, Venice, and the Netherlands. By the 15th century, diminished economies and conflicts in Europe reduced the demand for ivory artwork.
according to the ancient Greeks is born of the blood of Medusa beheaded by Perseus
in Christianity symbol of the blood of Christ’s passion
used as an amulet to protect against the forces of evil, against the evil eye, counter evil spells and particularly from fascination by witches ...
The document provides an overview of Gothic art and architecture, highlighting some of its distinctive visual features. It summarizes that Gothic art and architecture is striking due to its beauty, engineering feats, and hypnotic qualities. Specific elements mentioned include stained glass windows, Gothic armor, manuscripts like the Luttrell Psalter containing strange illustrations, and surreal paintings by Hieronymus Bosch depicting fantastical scenes. The document suggests the Gothic period produced such vivid and imaginative art even during times of hardship, with the visuals sometimes appearing hallucinatory or whimsical.
The document discusses Dutch and French art from the Baroque period. It provides information on several Dutch artists such as Jacob van Ruisdael, Jan Vermeer, Jan Steen, and Rachel Ruysch who painted landscapes and scenes of everyday life with great attention to realistic details. It also covers French artists like Nicolas Poussin, Claude Lorrain, and Georges de La Tour who painted in a classical style with calm, ordered compositions and idealized landscapes. The rise of the "Sun King" Louis XIV moved the center of European art and culture to France in the 17th century.
The document summarizes the representation of apes in medieval art from early Christianity through the Gothic period. It discusses how apes were depicted as the Devil in early Christian works, as symbols of vice or lust in fables and bestiaries of the Romanesque period, and as humorous parodies of human behavior in marginalia and tapestries of the Gothic period. Skulls and depictions of real apes from archaeological sites also demonstrate their increasing presence in Europe. Over time, the ape shifted from solely representing the Devil to broader depictions of vice or as entertainers.
The document discusses Gothic ivory carving from the 14th century. It provides context on the rise of Gothic art in France and importance of ivory material. Specifically, it summarizes that the piece is a carved ivory from Paris in the first third of the 14th century depicting mirror cases and courtly scenes. Ivory was a luxury material popular for secular objects like mirror cases during this time period, as shown by this piece from Paris in the early 14th century.
Ivory carving was a popular art form from the 4th to 15th centuries, especially in Western Europe. Artists used tools like axes and chisels to sculpt ivory into religious figures, secular objects, and personal items. The most common subject was the Virgin and Mary, though ivory was also used for diptychs, caskets, chess sets, and sculptures depicting courtly love or literature. Major workshops producing ivory sculpture were located in Paris, Venice, and the Netherlands. By the 15th century, diminished economies and conflicts in Europe reduced the demand for ivory artwork.
according to the ancient Greeks is born of the blood of Medusa beheaded by Perseus
in Christianity symbol of the blood of Christ’s passion
used as an amulet to protect against the forces of evil, against the evil eye, counter evil spells and particularly from fascination by witches ...
The document provides an overview of Gothic art and architecture, highlighting some of its distinctive visual features. It summarizes that Gothic art and architecture is striking due to its beauty, engineering feats, and hypnotic qualities. Specific elements mentioned include stained glass windows, Gothic armor, manuscripts like the Luttrell Psalter containing strange illustrations, and surreal paintings by Hieronymus Bosch depicting fantastical scenes. The document suggests the Gothic period produced such vivid and imaginative art even during times of hardship, with the visuals sometimes appearing hallucinatory or whimsical.
The document discusses Dutch and French art from the Baroque period. It provides information on several Dutch artists such as Jacob van Ruisdael, Jan Vermeer, Jan Steen, and Rachel Ruysch who painted landscapes and scenes of everyday life with great attention to realistic details. It also covers French artists like Nicolas Poussin, Claude Lorrain, and Georges de La Tour who painted in a classical style with calm, ordered compositions and idealized landscapes. The rise of the "Sun King" Louis XIV moved the center of European art and culture to France in the 17th century.
The document summarizes the representation of apes in medieval art from early Christianity through the Gothic period. It discusses how apes were depicted as the Devil in early Christian works, as symbols of vice or lust in fables and bestiaries of the Romanesque period, and as humorous parodies of human behavior in marginalia and tapestries of the Gothic period. Skulls and depictions of real apes from archaeological sites also demonstrate their increasing presence in Europe. Over time, the ape shifted from solely representing the Devil to broader depictions of vice or as entertainers.
The document discusses Roman ruins in Spain. It notes that while Italy contains many Roman ruins, Spain is also noteworthy for its ruins. Several unique ruins in Spain are mentioned, such as the Alhambra palace and ruins that showcase the coexistence of Christian, Jewish, and Muslim cultures. Visiting these ruins provides insights into Spain's rich history and the various cultures that have influenced the country.
This document discusses a medieval reliquary statue of Sainte Foy from the Abbey Church of Conques in France. The reliquary, made in the late 9th or 10th century, housed the physical remains or ashes of the saint and was adorned with gold, gems, and precious materials. For medieval pilgrims, physically traveling to the site to stand before the reliquary and make a tangible connection to the saint's remains was highly significant. The value of the piece came first from the relics themselves, then the precious materials used, and least from its artistic representation of the enthroned saint.
1. The document provides an overview of sculpture from prehistoric to Gothic periods.
2. It describes key characteristics of sculptures from different eras, including materials used, common themes, and styles.
3. Examples are given of famous sculptures from each period to illustrate the discussed characteristics, such as the Venus of Willendorf, sculptures of Queen Nefertiti and Pharaoh Menkaure from Ancient Egypt, the Discobolus by Myron from Ancient Greece, and the Resurrection of the Virgin from Gothic cathedrals.
Prehistoric cave paintings were first discovered in the 19th century but the most famous were found in 1940 at the Lascaux caves in France. The paintings mostly depict human and animal figures, often hunting scenes, and were created using simple paints mixed with materials like blood and mud that were applied using bone tools. Later discoveries in the 20th century revealed more prehistoric cave art sites across Europe and uncovered different styles that developed over time, providing insight into the cultural beliefs and rituals of paleolithic humans. The 1990 discovery of the Chauvet caves in France contained some of the oldest and most impressive cave paintings ever found, dating as far back as 32,000 years ago.
The document discusses how the concept of value in art has changed over time, from the Middle Ages to the Renaissance. In the Middle Ages, art was valued based on its materials and religious significance. During the Renaissance, artists began to promote themselves and argue that art should be valued based on the skill and representation created by the artist, rather than just materials. This shift reflected changes in painting styles and techniques that allowed for more realistic representations.
The emergence of the museum as a socio-cultural institution during the Renais...Erden Ibrayev
In the European culture of the Renaissance, collections and offices were repositories of not only material values, but also collections of objects of memorial, historical and artistic significance in accordance with the ideas prevailing at that time.
These places partly carried out the functions that museums will perform in the next era.
This document provides a preview of items to be auctioned by Koller Auctions in March 2020. It summarizes 3 key items:
1) A Gothic enamel reliquary from 13th century Limoges, France estimated at CHF 70,000-120,000. It depicts Marian scenes and would have held saints' relics.
2) A panel painting from 1455-60 by the Bessarion Master depicting an historiated initial B. It is estimated at CHF 25,000-35,000.
3) An 18th century chest of drawers by French ébéniste François Lieutaud, originally from the court of Ansbach. It represents the
Albrecht Dürer was a famous 15th-16th century German artist considered one of the greatest of the Northern Renaissance. He created woodcuts, engravings, and paintings that combined detailed Northern styles with Renaissance ideals of balance and proportion. Some of his most renowned works include the Apocalypse series of woodcuts, self-portraits that depicted himself as religious figures, and meticulously detailed natural studies of animals. Dürer helped establish printmaking as a fine art form and wrote influential treatises on mathematics and human proportion.
Top Eight Most Beautiful Illuminated ManuscriptsJuan Flores
The document discusses eight medieval illuminated manuscripts:
1) The Decretum Gratiani, a 12th century collection of canon law.
2) The Codex Aureus of St. Emmeram, a 9th century Gospel Book with gold lettering and illustrations.
3) The Lindisfarne Gospels, a 7th century manuscript produced in honor of St. Cuthbert containing the Gospels in Latin.
4) The Tres Riches Heures du Duc de Berry, a 15th century book of hours with lavish illustrations commissioned by the Duke of Berry.
Part 1 of the Basic Art History Course by Architect and Art History Writer Helena Lopes.
Introduction to art and art history
Prehistoric Art
Mesoponamian art
This document provides an overview of ancient Greek art and society through several paragraphs and images. It discusses the city-state structure of Greece, the patriarchal society where women had few rights, and evidence that homosexual relationships between male warriors were common. The document also summarizes the major periods and styles of Greek pottery, sculpture, and architecture. It provides examples and analyses of specific works from each period to illustrate the evolution of Greek art over time.
The Kunera database was created in 1998 by researchers at Radboud University to catalog medieval pilgrimage souvenirs and badges. It has since expanded to include over 10,000 objects from collections across Europe and the U.S. Each entry includes an image and description of the object, classifications, measurements, origins, and references. The database aims to document this fragile material and make it accessible to researchers. It is maintained ongoingly as new discoveries are made. While not exhaustive, Kunera provides a valuable research tool for studying pilgrimage in the medieval period.
The iconography of 'Madonna and Child' and 'Venus and Cupid' in the most repr...PasqualeRaimo
Questo ciclo di lezioni in lingua inglese, prende il titolo “Un viaggio nell’arte tra l’amore sacro e profano”. In pratica viene messo a confronto il tema iconografico della Madonna con il Bambino e quello di Venere con Cupido attraverso le opere d’arte più rappresentative esposte in quattro tra i più rappresentativi musei d’Europa: The State Hermitage Museum di SanPietroburgo, il Victoria and Albert Museum di Londra, il Museo di Capodimonte di Napoli e il Museo del Prado di Madrid.
Prima di passare alla visione le singole opere d’arte, il progetto prevede un conciso cenno storico circa l’origine e la struttura dei suddetti musei. Le opere che saranno analizzate sono soprattutto dipinti, oscillanti cronologicamente tra l’XI e il XIX secolo, ma non mancherà la descrizione anche di oggetti d’arte di diversa tipologia (sculture, bronzi, arti applicate, etc.). Per ogni opera esaminata, prima della sua descrizione si procederà con una breve introduzione biografica dell’autore.
This document provides a summary of different art eras from prehistoric to medieval times. It discusses key developments in each era such as prehistoric cave paintings from the Stone Age, Egyptian paintings focusing on the afterlife, Greek paintings emphasizing naturalism and detail, Roman paintings depicting a variety of subjects in frescoes and mosaics, Byzantine paintings carrying Christian themes, Romanesque paintings using strict frontal poses in mosaics, and Gothic paintings confined to manuscript illuminations and stained glass windows in churches. Each era contributed unique artistic styles and purposes that helped establish the importance of art throughout history.
associated with the soul, the image of the destiny of the soul, symbol of resurrection,
allegory of the transience and fragility of existence,
her beauty and short lifespan made it a symbol of physical beauty that threatens virtue and leads to human downfall …
The document discusses the genre of "Collector's Cabinets in Painting" which depicts art and curiosity collections. Frans Francken the Younger and Jan Brueghel the Elder were the first to create such paintings in the 1620s, showing large rooms displaying numerous paintings and precious items. Early works also included scientific instruments and natural specimens alongside the art. Some paintings portrayed the owners of the collections or artists working. The genre became immediately popular and was emulated by other artists such as Jan Brueghel the Younger, Cornelis de Baellieur, and David Teniers the Younger.
Heart Touching Romantic Love Shayari In English with ImagesShort Good Quotes
Explore our beautiful collection of Romantic Love Shayari in English to express your love. These heartfelt shayaris are perfect for sharing with your loved one. Get the best words to show your love and care.
The document discusses Roman ruins in Spain. It notes that while Italy contains many Roman ruins, Spain is also noteworthy for its ruins. Several unique ruins in Spain are mentioned, such as the Alhambra palace and ruins that showcase the coexistence of Christian, Jewish, and Muslim cultures. Visiting these ruins provides insights into Spain's rich history and the various cultures that have influenced the country.
This document discusses a medieval reliquary statue of Sainte Foy from the Abbey Church of Conques in France. The reliquary, made in the late 9th or 10th century, housed the physical remains or ashes of the saint and was adorned with gold, gems, and precious materials. For medieval pilgrims, physically traveling to the site to stand before the reliquary and make a tangible connection to the saint's remains was highly significant. The value of the piece came first from the relics themselves, then the precious materials used, and least from its artistic representation of the enthroned saint.
1. The document provides an overview of sculpture from prehistoric to Gothic periods.
2. It describes key characteristics of sculptures from different eras, including materials used, common themes, and styles.
3. Examples are given of famous sculptures from each period to illustrate the discussed characteristics, such as the Venus of Willendorf, sculptures of Queen Nefertiti and Pharaoh Menkaure from Ancient Egypt, the Discobolus by Myron from Ancient Greece, and the Resurrection of the Virgin from Gothic cathedrals.
Prehistoric cave paintings were first discovered in the 19th century but the most famous were found in 1940 at the Lascaux caves in France. The paintings mostly depict human and animal figures, often hunting scenes, and were created using simple paints mixed with materials like blood and mud that were applied using bone tools. Later discoveries in the 20th century revealed more prehistoric cave art sites across Europe and uncovered different styles that developed over time, providing insight into the cultural beliefs and rituals of paleolithic humans. The 1990 discovery of the Chauvet caves in France contained some of the oldest and most impressive cave paintings ever found, dating as far back as 32,000 years ago.
The document discusses how the concept of value in art has changed over time, from the Middle Ages to the Renaissance. In the Middle Ages, art was valued based on its materials and religious significance. During the Renaissance, artists began to promote themselves and argue that art should be valued based on the skill and representation created by the artist, rather than just materials. This shift reflected changes in painting styles and techniques that allowed for more realistic representations.
The emergence of the museum as a socio-cultural institution during the Renais...Erden Ibrayev
In the European culture of the Renaissance, collections and offices were repositories of not only material values, but also collections of objects of memorial, historical and artistic significance in accordance with the ideas prevailing at that time.
These places partly carried out the functions that museums will perform in the next era.
This document provides a preview of items to be auctioned by Koller Auctions in March 2020. It summarizes 3 key items:
1) A Gothic enamel reliquary from 13th century Limoges, France estimated at CHF 70,000-120,000. It depicts Marian scenes and would have held saints' relics.
2) A panel painting from 1455-60 by the Bessarion Master depicting an historiated initial B. It is estimated at CHF 25,000-35,000.
3) An 18th century chest of drawers by French ébéniste François Lieutaud, originally from the court of Ansbach. It represents the
Albrecht Dürer was a famous 15th-16th century German artist considered one of the greatest of the Northern Renaissance. He created woodcuts, engravings, and paintings that combined detailed Northern styles with Renaissance ideals of balance and proportion. Some of his most renowned works include the Apocalypse series of woodcuts, self-portraits that depicted himself as religious figures, and meticulously detailed natural studies of animals. Dürer helped establish printmaking as a fine art form and wrote influential treatises on mathematics and human proportion.
Top Eight Most Beautiful Illuminated ManuscriptsJuan Flores
The document discusses eight medieval illuminated manuscripts:
1) The Decretum Gratiani, a 12th century collection of canon law.
2) The Codex Aureus of St. Emmeram, a 9th century Gospel Book with gold lettering and illustrations.
3) The Lindisfarne Gospels, a 7th century manuscript produced in honor of St. Cuthbert containing the Gospels in Latin.
4) The Tres Riches Heures du Duc de Berry, a 15th century book of hours with lavish illustrations commissioned by the Duke of Berry.
Part 1 of the Basic Art History Course by Architect and Art History Writer Helena Lopes.
Introduction to art and art history
Prehistoric Art
Mesoponamian art
This document provides an overview of ancient Greek art and society through several paragraphs and images. It discusses the city-state structure of Greece, the patriarchal society where women had few rights, and evidence that homosexual relationships between male warriors were common. The document also summarizes the major periods and styles of Greek pottery, sculpture, and architecture. It provides examples and analyses of specific works from each period to illustrate the evolution of Greek art over time.
The Kunera database was created in 1998 by researchers at Radboud University to catalog medieval pilgrimage souvenirs and badges. It has since expanded to include over 10,000 objects from collections across Europe and the U.S. Each entry includes an image and description of the object, classifications, measurements, origins, and references. The database aims to document this fragile material and make it accessible to researchers. It is maintained ongoingly as new discoveries are made. While not exhaustive, Kunera provides a valuable research tool for studying pilgrimage in the medieval period.
The iconography of 'Madonna and Child' and 'Venus and Cupid' in the most repr...PasqualeRaimo
Questo ciclo di lezioni in lingua inglese, prende il titolo “Un viaggio nell’arte tra l’amore sacro e profano”. In pratica viene messo a confronto il tema iconografico della Madonna con il Bambino e quello di Venere con Cupido attraverso le opere d’arte più rappresentative esposte in quattro tra i più rappresentativi musei d’Europa: The State Hermitage Museum di SanPietroburgo, il Victoria and Albert Museum di Londra, il Museo di Capodimonte di Napoli e il Museo del Prado di Madrid.
Prima di passare alla visione le singole opere d’arte, il progetto prevede un conciso cenno storico circa l’origine e la struttura dei suddetti musei. Le opere che saranno analizzate sono soprattutto dipinti, oscillanti cronologicamente tra l’XI e il XIX secolo, ma non mancherà la descrizione anche di oggetti d’arte di diversa tipologia (sculture, bronzi, arti applicate, etc.). Per ogni opera esaminata, prima della sua descrizione si procederà con una breve introduzione biografica dell’autore.
This document provides a summary of different art eras from prehistoric to medieval times. It discusses key developments in each era such as prehistoric cave paintings from the Stone Age, Egyptian paintings focusing on the afterlife, Greek paintings emphasizing naturalism and detail, Roman paintings depicting a variety of subjects in frescoes and mosaics, Byzantine paintings carrying Christian themes, Romanesque paintings using strict frontal poses in mosaics, and Gothic paintings confined to manuscript illuminations and stained glass windows in churches. Each era contributed unique artistic styles and purposes that helped establish the importance of art throughout history.
associated with the soul, the image of the destiny of the soul, symbol of resurrection,
allegory of the transience and fragility of existence,
her beauty and short lifespan made it a symbol of physical beauty that threatens virtue and leads to human downfall …
The document discusses the genre of "Collector's Cabinets in Painting" which depicts art and curiosity collections. Frans Francken the Younger and Jan Brueghel the Elder were the first to create such paintings in the 1620s, showing large rooms displaying numerous paintings and precious items. Early works also included scientific instruments and natural specimens alongside the art. Some paintings portrayed the owners of the collections or artists working. The genre became immediately popular and was emulated by other artists such as Jan Brueghel the Younger, Cornelis de Baellieur, and David Teniers the Younger.
Similar to Constructing Curiosity Slideshow.pptx (17)
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Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
2. Entering the Curiosity Cabinet
In Duke Cosimo de Medici’s curiosity cabinet, pre-colonial Mesoamerican cloaks were
inventoried as “costumes,” and a pair of turquoise Aztec masks labeled as “jewelry.”
According to surviving catalogues, none of the objects in his collection were sorted by
geographical origin, but instead integrated into Eurocentric understandings of tradition and
purpose. Such misappropriations are at the defining core of the cabinet of curiosity, or
Wunderkammer (“wonder room”). As furniture or rooms that held collections of foreign
objects, curiosity cabinets assumed conflicting roles. On one hand, they attempted to
preserve and categorize naturalia—flora, fauna, and minerals—alongside artificialia—
human-made artifacts like coins and pottery. On the other, most collections were owned by
princes or emperors, and were political tools used to impress nobility. Curious cabinets in
practice exhibited a desire to control and reframe the newly unfamiliar, to reconcile
indigenous artifacts and native species with European conceptions of tradition, nature,
religion, and myth. Constructing Curiosity considers how objects of wonder functioned as
miniature curiosity cabinets—inspiring awe and fascination in viewers, while also
reinforcing a pervasive worldview that erased other cultural and natural histories.
Display cabinet (Kabinettschrank) from Augsburg, Germany, c. 1630. J. Paul
Getty Museum.
3. Frontispiece of Olaus Worm
Inspired by the curiosity cabinets he saw on a tour of Europe
in 1605, Danish physician and professor Ole Worm began
collecting objects of naturalia in his own Museum
Wormianum. This frontispiece illustration for the collection
catalogue displays either a representation of the actual
museum, or a metaphorical summation of its contents.
Unlike the cabinets of Italian and Austrian royalty, which
were accessible only to nobility, Worm invited students into
his Museum Wormianum, where they could handle the
objects and learn observational methods of scientific inquiry.
Through this process of knowledge-gathering, Worm in
many ways better understood the objects in his collection
than most of his contemporaries. But the catalogue still
reveals certain inaccuracies, like the use of European myth
to explain unknown natural specimens—Worm had labeled
one item in the catalogue, for instance, as a “giant’s skull.”
Frontispiece of Olaus Worm, 1665, Museum Wormianum
sue Historia rerum rariorium.
4. Fall of the Rebel Angels
Brimming with chaos, abundance, and bizarre fantasy, Bruegel’s Fall of the
Rebel Angels is a curiosity cabinet in narrative form. Depicting the first
first confrontation between good and evil from the Book of Revelation, the
image is split between heaven and hell—blue skies and glowing light in the top
register, a dark pit of grotesque demons below. These demons, or fallen angels,
are not only meant to be sinister but also outlandish, assembled out of
recognizable examples of exotic naturalia. In the upper right, a pink inflated
blowfish faces the wrath of an angel. Blowfish occur in the Pacific and Indian
Oceans, and became highly coveted by collectors in the 16th century. Placed
alongside other flying fish in the heavenly sky, Bruegel uses the blowfish to
represent a world upside down, made topsy turvy by evil at work. Similarly, in
the lower right, he cloaks one of his fallen angels in the armor of an armadillo,
reimagined in metal but identical in shape to the species found exclusively in
North and South America. Bruegel effectively melds these foreign animals with
Christian narrative, juxtaposing his conceptualization of “good”—white, pastel,
and robed human angels—with those things the European viewer perceived as
evil and diabolical – spines, exoskeletons, scales, feathers, and other alien
forms from unfamiliar and distant places that are, in turn, reinforced as all the
more strange and exotic.
Pieter Bruegel the Elder, 1562, oil on oak wood. Royal
Museums of Fine Arts of Belgium, Brussels.
6. Clement Kicklinger, lidded cup with ostrich egg, 1570-1575. Ostrich
egg, coral and silver, partially gilded and painted.
A prized marvel of the curiosity cabinet, the ostrich egg was an early modern
emblem of bestiary legend and Christian religious devotion. This gilded cup was
crafted for the Augsburg cabinet of Archduke Ferdinand II, and fuses sculpture,
goldsmithing, and vibrant coral fragments with a polished ostrich egg. A colonial
construction of foreign rarities, this cup plays on the interests, knowledge, and
expectations of the European viewer. In the eyes of one person, the cup may have
been a reminder to observe God diligently. To another, it might have been a
container for myth and magic. Coral was thought to have amuletic powers, and
ostriches were believed to be robust animals—strong enough to digest iron,
represented by the horseshoe in its mouth. This ostrich egg cup, like many other
objects of wonder, recontextualized “exotic” species within a European
worldview, and in turn, played an oft underestimated role in sponsoring political
power and cultural dominance.
Lidded Cup with Ostrich Egg
7. The Rhinoceros
In 1515, an Indian rhinoceros arrived in Lisbon to keen
spectators, eager to see the imposing creature from another
continent. Shipped as a gift from the Sultan of Gujarat to the
ruler of Portugal, the rhinoceros would be memorialized in
Albrecht Dürer’s widely circulated and reproduced woodblock
print. But despite the description on the print’s upper register,
Dürer himself never actually saw the rhinoceros. On its next
journey from Lisbon to Rome, the animal perished in a
shipwreck, and Dürer instead crafted his representation based on
a sketch sent back to Germany by a merchant. Dürer’s print
consequently could be better described as a fantastical
impression of a rhino than an encyclopedic recreation. Yet the
print and its inaccuracies became a standard image for the rhino
in early modern Europe, included in illustrated natural histories
for over two centuries.
Albrecht Durer, 1515, German, woodcut on paper, 21.5 x 30 cm.
8. In 1515, an Indian
Dürer’s version of the rhino features hard plates of armor, scaled legs and feet, a scalloped breastplate, speckled skin, and most peculiarly, an extra horn above its shoulders. His
mistranslation of the rhino reveals one of the crucial tensions in European objects of wonder. Though artists tried to accurately reflect foreign cultures and species, their models were
imperfect—specimens were usually dead and fragmented; images were copied from previous illustrators, who introduced their own errors. Left to fill in the gaps, artists like Dürer inserted
their own interpretations and imaginings. As a result, the rhinoceros and its true character would not be fully understood in Europe until centuries later.
Can you spot Dürer’s mistakes?
9. Giovanni Martini da Udine, botanical
festoons at the Loggia of Cupid &
Psyche (above), Villa Farnesina, 1515-
1517, fresco. Maize detail (right).
Tucked into a framework of botanical festoons, eight groupings of a distinctly
North American crop adorn the ceiling of the Loggia of Cupid & Psyche at the
Villa Farnesina in Rome. Maize was among the first goods to be sent back to
Europe by Christopher Columbus in the late 15 th century, and quickly found its
way into the imaginations of Italian artists. The botanical festoons at the loggia
frame two celebratory scenes from the Cupid and Psyche classical myth. The
maize in these festoons, however, contain peculiar inconsistencies. Some ears
are depicted with strange, wispy extensions, and most lack any type of shank.
Even more unusual, some are comprised of interlocking kernels. It may be that
the artist was drawing from a singular detached ear—and a poorly adapted one.
Despite their anatomical errors, these American crops on the loggia ceiling are
spoils of colonization elevated into the pleasures of the gods. And like the
classical gods, European power is expansive, capturing natural resources from
distant corners of the earth.
Maize at the Villa Farnesina
10. Raphael, Council and Banquet of the Gods, fresco, ceiling of the Loggia of Cupid & Psyche.
11. Follower of Bernard Palissy, Platter, late 16th century, lead-glazed
earthenware.
A plate or a pond? Covered in highly detailed casts of snakes, insects, lizards,
frogs, plants, and flowers, Bernard Palissy’s rustic ceramics transform the
domestic and familiar into microhabitats teeming with life. A French naturalist
and chemist, Palissy made clay casts of live specimens from nearby ponds and
waterways. After sculpting each specimen into a larger composition, the final
piece would be coated in translucent lead glazes that retained even
infinitescimal details, like the veins on leaves. Inspired by prevailing scientific
interests in naturalism, but with a greater interest in the unusual forms from his
own backyard than those discovered oceans away, Palissy’s hallmark was to
repurpose commonplace forms into the peculiar and highly decorative. The
16 th -century European viewer would have understood artifacts and art based
on preestablished categories and classifications. But Palissy creations, which
blur the realms of art and nature much like global objects of wonder, defied and
challenged those categories, fascinating viewers with their complexity and
novelty.
Platter
12. Bernard Palissy, Pilgrim Flask, 1556-1567, lead-glazed earthenware.
Like Palissy’s other rustic ceramics, this pilgrim flask displays his signature
reimagining of familiar objects into constructed containers of natural wonder.
An object with European Christian cultural significance, pilgrim flasks were
used by religious devotees to hold holy oil when traveling to and from holy
sites throughout the Middle Ages. By adorning a pilgrim flask in layers of cast
seashells, plant matter, and a coiled snake, Palissy turns a recognizable
historical object into something newly foreign and exotic. The pilgrim flask is
no longer functional as a religious tool, but instead exists purely for visual
aestheticism and delight. Palissy also draws on timely themes of migration and
scientific exploration through this flask, visually connecting a symbol of human
movement across regions with early modern interests in the natural world.
Pilgrim Flask
13. 1520, lovely cotinga, roseate spoonbill, Altamira oriole, and other
feathers; gold pigments and dyes; cotton, leather, and reeds.
Weltmuseum, Vienna.
Assembled with the vibrant feathers of tropical birds, this shield is one of just four
surviving works of its kind from colonial Mesoamerica. Produced and used widely
by the Nahuas, featherworks have complex individual histories that were largely
erased through their placement and misinterpretation in European collections.
Featherworks were worn by Nahua rulers, nobles, and warriors, and crafted with
striking feathers acquired through trade and tribute payments. They were understood
to display tonalli, an animating force that adhered in humans, animals, and certain
objects, including particular types of feathers categorized as tlazohihhuitl, or living
beings. Tonalli was a central concern of artists who took great care in the handling
of living feathers, which displayed bright colors and high gloss. The coyote shield is
a Nahua feather mosaic that combines living feathers with less colorful, inanimate
ones to create a work that holds and displays its own tonalli. Once placed on a ruler
or warrior, featherworks like this shield amplified the powerful tonalli of their
wearers. Unlike European objects of wonder, which used native species from Pre-
Columbian America to create exotic novelties, indigenous peoples like the Nahuas
incorporated environmental materials as part of important cultural traditions that
existed firmly outside a Eurocentric worldview.
Coyote shield