Arthur J . DiFuria
Dissertation Topic: Heemskerck's Rome: Antiquity, Memory, and the Berlin Sketchbooks (University of Delaware, 2008).
Professor of Art History, Savannah College of Art and Design, 2010 - Present.
Chair of Liberal Arts, Moore College of Art and Design, Fall 2008 - Spring 2010.
Assistant Professor of Art History and Curatorial Studies, Moore College of Art and Design, 2008 - 2010.
Visiting Scholar of Art History, Moore College of Art and Design, 2002 - 2008.
Adjunct Instructor of Art History, Moore College of Art and Design, 1998 - 2002.
Adjunct Instructor, Art History, University of Delaware, 1999 - 2004.
Adjunct Instructor, Art History, Tyler School of Art, 1996 - 98.
Supervisors: Linda Pellecchia, H. Perry Chapman, David M. Stone, and Larry Silver
Professor of Art History, Savannah College of Art and Design, 2010 - Present.
Chair of Liberal Arts, Moore College of Art and Design, Fall 2008 - Spring 2010.
Assistant Professor of Art History and Curatorial Studies, Moore College of Art and Design, 2008 - 2010.
Visiting Scholar of Art History, Moore College of Art and Design, 2002 - 2008.
Adjunct Instructor of Art History, Moore College of Art and Design, 1998 - 2002.
Adjunct Instructor, Art History, University of Delaware, 1999 - 2004.
Adjunct Instructor, Art History, Tyler School of Art, 1996 - 98.
Supervisors: Linda Pellecchia, H. Perry Chapman, David M. Stone, and Larry Silver
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Profession by Arthur J . DiFuria
Books (as author, editor, or co-editor) by Arthur J . DiFuria
advanced rhetorical exercise that verbally reproduces the
experience of viewing a person, place, or thing; more specifically, it
often purports to replicate the experience of viewing a work of art.
Not only what was seen, but also how it was beheld, and the
emotions attendant upon first viewing it, are implicitly construed
as recoverable, indeed reproducible.
This volume examines how and why many early modern pictures
operate in an ekphrastic mode: such pictures claim to reconstitute
works of art that solely survived in the textual form of an ekphrasis;
or they invite the beholder to respond to a picture in the way s/he
responds to a stirring verbal image; or they call attention to their
status as an image, in the way that ekphrasis, as a rhetorical figure,
makes one conscious of the process of image-making; or finally,
they foreground the artist’s or the viewer’s agency, in the way that
the rhetor or auditor is adduced as agent of the image being
verbally produced.
Building on the methods of his predecessors, Van Heemskerck mastered a dazzling array of methods to portray Rome in compelling fashion. Upon his return home, his Roman drawings sustained him for the duration of his prolific career. Maarten van Heemskerck’s Rome concludes with the first ever catalog to bring together all of Van Heemskerck’s ruin drawings in state-of-the-art digital photography.
Published Articles, Essays, Book Chapters by Arthur J . DiFuria
van Heemskerck (1498–1574) and humanist engraver Dirck Volkertszoon Coornhert (1522–1590) prompted discourse on a range of pressing topics encroaching on the judicious practice of exegesis. Heemskerck’s design for his print of the Temple purification episode from 2 Maccabees retains the composition of Raphael’s Vatican painting of the same episode but revises myriad details. The print’s departures from its Vatican prototype provided discursive loci for a diverse, interconnected audience and highlighted crucial relationships between European religious politics and visual and literary interpretations of scripture. To this audience, the circulation in 1549 of a print portraying a scene from Maccabees would have been a pointed enough gesture, since Maccabees was apocryphal according to Luther, canonical according to the Vatican. But a print revising a famous Vatican painting must have seemed particularly provocative to knowledgeable viewers: Heemskerck and Coornhert brought an image previously belonging to a privileged Vatican audience to a far wider audience of potential viewers and visual exegetes. The print thus goes beyond imitatio and emulatio to embody a multivalent translatio – the interrogation and revision of received authority.
Book Reviews by Arthur J . DiFuria
https://doi.org/10.1017/rqx.2023.649
advanced rhetorical exercise that verbally reproduces the
experience of viewing a person, place, or thing; more specifically, it
often purports to replicate the experience of viewing a work of art.
Not only what was seen, but also how it was beheld, and the
emotions attendant upon first viewing it, are implicitly construed
as recoverable, indeed reproducible.
This volume examines how and why many early modern pictures
operate in an ekphrastic mode: such pictures claim to reconstitute
works of art that solely survived in the textual form of an ekphrasis;
or they invite the beholder to respond to a picture in the way s/he
responds to a stirring verbal image; or they call attention to their
status as an image, in the way that ekphrasis, as a rhetorical figure,
makes one conscious of the process of image-making; or finally,
they foreground the artist’s or the viewer’s agency, in the way that
the rhetor or auditor is adduced as agent of the image being
verbally produced.
Building on the methods of his predecessors, Van Heemskerck mastered a dazzling array of methods to portray Rome in compelling fashion. Upon his return home, his Roman drawings sustained him for the duration of his prolific career. Maarten van Heemskerck’s Rome concludes with the first ever catalog to bring together all of Van Heemskerck’s ruin drawings in state-of-the-art digital photography.
van Heemskerck (1498–1574) and humanist engraver Dirck Volkertszoon Coornhert (1522–1590) prompted discourse on a range of pressing topics encroaching on the judicious practice of exegesis. Heemskerck’s design for his print of the Temple purification episode from 2 Maccabees retains the composition of Raphael’s Vatican painting of the same episode but revises myriad details. The print’s departures from its Vatican prototype provided discursive loci for a diverse, interconnected audience and highlighted crucial relationships between European religious politics and visual and literary interpretations of scripture. To this audience, the circulation in 1549 of a print portraying a scene from Maccabees would have been a pointed enough gesture, since Maccabees was apocryphal according to Luther, canonical according to the Vatican. But a print revising a famous Vatican painting must have seemed particularly provocative to knowledgeable viewers: Heemskerck and Coornhert brought an image previously belonging to a privileged Vatican audience to a far wider audience of potential viewers and visual exegetes. The print thus goes beyond imitatio and emulatio to embody a multivalent translatio – the interrogation and revision of received authority.
https://doi.org/10.1017/rqx.2023.649
Review of: A. DiFuria, Maarten van Heemskerck’s Rome : antiquity, memory, and the cult of ruins, 2019
Co-edited by
Suzanne Karr Schmidt, Art Institute of Chicago
Edward H. Wouk, Art History and Visual Studies, University of Manchester (UK)
Publisher: Amsterdam University Press
Series: Visual & Material Culture
This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today.
Table of Contents:
List of Illustrations
Acknowledgements
1. Introduction: An Historiographical Perspective on Women Making Netherlandish Art History
Elizabeth Sutton
2. Catharina Van Hemessen’s Self-Portrait: The Woman Who Took Saint Luke’s Palette
Céline Talon
3. By Candlelight: Uncovering Early Modern Women’s Creative Uses of Night
Nicole Elizabeth Cook
4. In Living Memory: Architecture, Gardens, and Identity at Huis ten Bosch
Saskia Beranek
5. Louise Hollandine and the Art of Arachnean Critique
Lindsay Ann Reid
6. Reclaiming Reproductive Printmaking
Amy Reed Frederick
7. Towards an Understanding of Mayken Verhulst and Volcxken Diericx
Arthur J. DiFuria
Index
190 pages, 8 colour, 31 b/w illustrations
Hardback
ISBN 978 94 6372 140 0
e-ISBN 978 90 4854 298 7
€99.00 / £89.00 / $120.00
€98.99 / £88.99 / $119.99