9783731903963

This volume examines the role that Frankfurt am Main played in the rise of the commercial art market in general and in particular of painting and printmaking during the early modern period from 1500–1800. Although the Frankfurt Book Fair remains a major publishing event, art historians have not yet focused sufficiently on its precursor, the Frankfurt fair, an important location for the trade in paintings and prints. What figures and what motives brought artists to Frankfurt and where did they come from? Who intersected with the art market in such areas as commerce or book and intaglio printing? What did elite culture in the city look like, and how did it tie Frankfurt to wider intellectual and artistic circles? How did the change of the place of coronation of the emperors from Aachen to Frankfurt in 1562 with all visitors, coronation feasts and ephemeral art influence the art market?

Miriam Kirch studied art history and is Professor in the Department of Visual Arts and Design at the University of North Alabama, which she joined in 2005. Her research focuses on collecting in German-speaking areas during the early modern period, and an ongoing project concerns the 1557 inventory of a princely collection. She has published on the Heller Altarpiece in the context of Frankfurt material culture; her recent book, however, is The Changing Face of Science and Technology in the Ehrensaal of the Deutsches Museum, 1903-1955 (Munich 2017).Dr. Lisa Kirch has taught art history in the Art Department since 2005. A 2003 graduate of the University of Texas at Austin, Dr. Kirch is a specialist in the art of Early Modern Northern Europe. Her particular field is court visual culture in sixteenth-century Germany, and her most recent publication is "Many kinds of old, imperial, heathen pennies and the like antiquities" (Journal of the History of Collections). Dr. Kirch is a member of the College Art Association and the Renaissance Society of America. Birgit Ulrike Münch is Professor for Art History at the University of Bonn. She specializes in late medieval and early modern Northern art. Her interests include Renaissance and Baroque Paintings and Prints (primarily Northern and Southern Netherlands, Germany and France), Art in the Era of confessionalization, the social history of the artist, Proverb images, the birth of genre paintings and its art theory and the history of the body and sexuality. Recent publications include: Reframing Jordaens. Pictor doctus - techniques – workshop practise [in cooperation with Justus Lange], Petersberg 2017; ’Grünhanß’ or, How Hans Baldung Became a ’Green Artist’, in: Imagery and Ingenuity in Early Modern Europe: Essays in Honor of Jeffrey Chipps Smith, Turnhout 2018, and: Praying Against Pox. New reflections on Albrecht Dürer s Jabach Altarpiece, in: The Primacy of the Image in Northern European Art. Essays in Honor of Larry Silver, Leiden 2017. The research of Alison G. Stewart, Hixson-Lied Professor of Art History at the University of Nebraska-Lincoln, has focused on secular art and prints and recently on Sebald Beham’s move to Frankfurt, changing taste, and Pieter Bruegel. Her books include Before Bruegel. Sebald Beham and the Origins of Peasant Festival Imagery, Saints, Sinners, and Sisters, and Unequal Lovers. New publications include “New Documents on Printing and Frankfurt before 1550. Sebald Beham and the Augsburg Printer Niclas vom Sand,” Imagery and Ingenuity in Early Modern Europe. Essay in Honor of Jeffrey Chipps Smith, 2018, and “Arousal, the Bible, and Bruegel’s Codpieces. The Male Body in Early Modern Visual Culture,” The Body, Bloomsbury, 2019.

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Crossroads Frankfurt am Main As Market for Northern Art 1500–1850

Crossroads Frankfurt am Main As Market for Northern Art 1500–1850

3731903962

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