Designed for use in the classroom, the posters, CD-ROM slides, timeline, copies of original fifteenth- and sixteenth-century writings, and lesson plans in this boxed resource will help students explore the richness and diversity of Renaissance art.The tote box provides illustrations and discussions of works from the Metropolitan that embody the Renaissance interest in classical learning, fame, and beautiful objects. Texts explore the great cities and powerful personalities of the age. Students study gesture and narrative, working as Renaissance artists did when they created paintings and drawings. As they learn about perspective, the students examine the era’s interest in science and mathematics. Through projects based on poetic forms of the time, they write about their responses to art. The activities and lesson plans are designed for a variety of classroom needs and can be adapted to a specific curriculum as well as used for independent study.The Metropolitan Museum of Art’s teacher-training programs and accompanying materials are made possible, in part, through a generous grant from Mr. and Mrs. Frederick P. Rose.

The Art of Renaissance Europe: A Resource for Educators

Arts & Photography

Burnham, Rika

Krohn, Deborah L.

Raditsa, Bosiljka

Arkenberg, Rebecca

Lydecker, Kent

Russo, Teresa

History & Criticism

Metropolitan Museum of Art

Commemorating the 400th anniversary of Henry Hudson’s voyage and the lasting legacy of Dutch culture in New York, this book explores the life and times of a fascinating woman, her family, and her things. Margrieta was born in the Netherlands but lived at the extremes of the Dutch colonial world, in Malacca on the Malay Peninsula and in Flatbush, Brooklyn. When she came to New York in 1686 with her husband and set up a shop, she brought an astonishing array of Eastern goods, many of which were documented in an inventory made after her death in 1695. Extensive archival research has enabled a collaborative team to reconstruct her story and establish the depth of her connection to Dutch trading establishments in Asia. This is a groundbreaking contribution to the histories of New York City, the Dutch overseas empire, women, and material culture.

Dutch New York, between East and West: The World of Margrieta van Varick

Miller, Peter N.

De Filippis, Marybeth

Collections, Catalogs & Exhibitions

Yale University Press

Georges Hoentschel (1855–1915) was a leading French interior designer in historic styles, head of a decorating firm, and ceramicist during the Belle Epoque. He found inspiration for his designs in medieval and 18th-century French art, which he avidly collected, amassing more than 4,000 pieces of furniture, woodwork, metalwork, sculpture, paintings, and textiles. After visiting Hoentschel in Paris, the American financier J. Pierpont Morgan acquired the collection and bequeathed it to the Metropolitan Museum of Art in 1906 and 1916–17. These works greatly enriched the museum’s medieval art department and became the nucleus of its decorative arts department, profoundly influencing American tastes in the early 20th century. Through texts, early documentary photographs, and images of newly conserved works, Salvaging the Past goes behind the scenes to explore the history and influence of this remarkable collection.

Salvaging the Past: Georges Hoentschel and French Decorative Arts from The Metropolitan Museum of Art, 1907-2013

Kisluk-Grosheide, Daniëlle O.

Leben, Ulrich

Bard Center

Many famous Italian Renaissance artworks were made to celebrate love and marriage. They were the pinnacles of a tradition―dating from the early Renaissance―of commemorating betrothal, marriage, and the birth of a child by commissioning extraordinary objects or exchanging them as gifts. This important volume is the first to examine the entire range of works to which Renaissance rituals of love and marriage gave rise and makes a major contribution to our understanding of Renaissance art in its broader cultural context. Some 140 works of art, dating from about 1400 to 1600, are discussed by a distinguished group of scholars and are reproduced in full color.
 Marriage and childbirth gifts are the point of departure. These range from maiolica, glassware, and jewelry to birth trays, musical instruments, and nuptial portraits. Bonds of love of another sort were represented in erotic drawings and prints. From these precedents, an increasingly inventive approach to subjects of love and marriage culminated in paintings by some of the greatest artists of the Renaissance, including Giulio Romano, Lorenzo Lotto, and Titian. [This book was originally published in 2008 and has gone out of print. This edition is a print-on-demand version of the original book.]

Art and Love in Renaissance Italy

Musacchio, Jacqueline Marie

Syson, Luke

Turner, James Grantham

Bayer, Andrea

Wolk-Simon, Linda

Edwards, Nancy

Thornton, Dora

Brown, Beverly Louise

Fahy, Everett

Food and Knowledge in Renaissance Italy: Bartolomeo Scappi's Paper Kitchens (Visual Culture in Early Modernity)

Though Bartolomeo Scappi's Opera (1570), the first illustrated cookbook, is well known to historians of food, up to now there has been no study of its illustrations, unique in printed books through the early seventeenth century. In Food and Knowledge in Renaissance Italy, Krohn both treats the illustrations in Scappi's cookbook as visual evidence for a lost material reality; and through the illustrations, including several newly-discovered hand-colored examples, connects Scappi's Opera with other types of late Renaissance illustrated books. What emerges from both of these approaches is a new way of thinking about the place of cookbooks in the history of knowledge. Krohn argues that with the increasing professionalization of many skills and trades, Scappi was at the vanguard of a new way of looking not just at the kitchen-as workshop or laboratory-but at the ways in which artisanal knowledge was visualized and disseminated by a range of craftsmen, from engineers to architects. The recipes in Scappi's Opera belong on the one hand to a genre of cookery books, household manuals, and courtesy books that was well established by the middle of the sixteenth century, but the illustrations suggest connections to an entirely different and emergent world of knowledge. It is through study of the illustrations that these connections are discerned, explained, and interpreted. As one of the most important cookbooks for early modern Europe, the time is ripe for a focused study of Scappi's Opera in the various contexts in which Krohn frames it: book history, antiquarianism, and visual studies.

Food and Knowledge in Renaissance Italy (Visual Culture in Early Modernity)

Routledge

Though Bartolomeo Scappi's Opera (1570), the first illustrated cookbook, is well known to historians of food, up to now there has been no study of its illustrations, unique in printed books through the early seventeenth century. In Food and Knowledge in Renaissance Italy, Krohn both treats the illustrations in Scappi's cookbook as visual evidence for a lost material reality; and through the illustrations, including several newly-discovered hand-colored examples, connects Scappi's Opera with other types of late Renaissance illustrated books. What emerges from both of these approaches is a new way of thinking about the place of cookbooks in the history of knowledge. Krohn argues that with the increasing professionalization of many skills and trades, Scappi was at the vanguard of a new way of looking not just at the kitchen-as workshop or laboratory-but at the ways in which artisanal knowledge was visualized and disseminated by a range of craftsmen, from engineers to architects. The recipes in Scappi's Opera belong on the one hand to a genre of cookery books, household manuals, and courtesy books that was well established by the middle of the sixteenth century, but the illustrations suggest connections to an entirely different and emergent world of knowledge. It is through study of the illustrations that these connections are discerned, explained, and interpreted. As one of the most important cookbooks for early modern Europe, the time is ripe for a focused study of Scappi's Opera in the various contexts in which Krohn frames it: book history, antiquarianism, and visual studies.

A first of its kind exploration of early modern European culinary history. Staging the Table in Europe represents the first book-length study of sixteenth- and seventeenth-century illustrated handbooks for cooking and dining that provided instruction for nearly every element of the dining experience, from expertly carving meats and fruits to folding napkins into animal forms, performing tableside magic tricks, and creating tablescapes for courtly banquets. Deborah L. Krohn opens a window into a world of culinary spectacle and sheds light on what became a pan-European culture of elaborate performance surrounding the preparation and presentation of food. Krohn shows that the rise of instructional manuals followed the decline of formalized, in-person modes of craft education, such as guilds and familial instruction. More broadly, she demonstrates how these manuals illuminate the material and social worlds of their readers. Beautifully illustrated, Staging the Table in Europe reveals the rich material culture that accompanied lavish banquets and state events as well as everyday dining, enabling readers to imagine the tastes, smells, and sights of Europe's early modern culinary world. &nbsp;

Staging the Table in Europe: 1500-1800

Bard Graduate Center

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