To complete research for a new book, Dr. Barnes will travel to England to examine the Dyce collection of prints after Michelangelo's works in the Victoria and Albert Museum; the Royal Collection at Windsor Castle, and the British Library. In Rome, she will work at the Calcografia Nazionale, which holds the surviving engraved plates of some of the most important sixteenth-century reproductions after Michelangelo, and recheck some of the works in the Gabinetto Disegni e Stampe. In Paris, she will study the fundamental collection of prints at the Bibliothèque Nationale.
Following up on her Michelangelo's Last Judgment: the Renaissance
Response (Berkeley: California UP, 1998), the new book will
examine how works by Michelangelo became public, how they were selected
for publication, then edited, marketed, and received in printed
media. It will be among the first comprehensive analyses of large
collections of prints that have barely been studied and raise a
number of interesting questions about public reaction, the concept
of privacy in the Renaissance, and whose purposes the prints served.
These prints also show, for the first time, that recently made works
of art or architecture could be objects of historical study, since
Michelangelo's works are the first to have been recorded as historical
objects, rather than as sources of motifs for artists or as a form
of publicity for new works. While no one today is surprised to think
of Michelangelo's work as canonical, this study of the prints shows
how social and historical forces worked to construct the canon we
now take for granted. The availability of printed images of Michelangelo's
work allowed a critical discussion to take place, and it can even
be said, allowed a method of art historical study to take shape.
Professor Lubin will be one of seven fellows selected to examine the annual theme, "cultural reverberations of war." His book will trace two separate but dialectically interconnected trajectories in US culture from 1863 to 2003: visual representation, with its evolving technologies, conventions, and modes of distribution to targeted audiences, and warfare, with its own developing technologies, rules of engagement, and modes of delivery to targeted adversaries. Can war ever be represented in visual images, either mimetic or abstract, without gaining an order and rationality that belies its chaotic and extremely violent nature? How have changes in the way war is waged altered US visual culture, and how have they altered the way Americans regard their wars?
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