Oddział Zbiorów Graficznych

List of Illustrations . . ix
Acknowledgements . . xv
Colour Plates . . xvii
Introduction . . xxxiii

PART ONE: THE HERITAGE AND SOURCES
Chapter One. Medieval Sources of Renaissance Animal Symbolism . . 3
Chapter Two. Renaissance Naturalists and Animal Symbolism: Fact and Fantasy . . 23
Chapter Three. Emblematic Literature and Related Sources . . 35

PART TWO: CASE STUDIES
Chapter Four. The Birds and Animals of Carpaccio's Miles Christianus . . 53
Chapter Five. The Enigma of Carpaccio's Venetian Ladies . . 95
Chapter Six. Animals in the Paintings of Titian: A Key to Hidden Meanings . . 135
Chanter Seven. Titian's London Allegory and the Three Beasts of his Selva Oscura . . 165
Chapter Eight. Animal Heads and Hybrid Creatures: The Case of the San Lorenzo Lavabo and its Sources . . 195
Chapter Nine. Andrea del Sarto's Madonna of the Harpies and the Human-Animal Hybrid in the Renaissance . . 241
Chapter Ten. The Ambivalent Scorpio in Bronzino's London Allegory . . 263

Epilogue . . 291
Select Bibliography . . 297
Index . . 305

Zur Einfuhrung . . 7
Antikenstudium der Kunstlerin . . 9
Körpenwelten - Antkie, weibliche Mode und Attitude im ausgehenden 18. Jahrhundert . . 11
Körperwelten - Antiken im weiblichen Portrait bei Joshua Reynolds . . 19
"Sentiment", Liebes- und Ehe-Ikonographie und Geschlechtbeziehungen in der Biltwelt des Neoklassizismus . . 25
Verlassenheit, Trauer und Ohnmacht der Heldinnen - Ausdruckformen weiblicher Handlungsmuster im ausgehenden 18. Jahrhundert? . . 33
Abgekurtz zizierte Literatur . . 46
Leihgeber . . 46

Vorbemerkung und Dank . . 15
Vorwort . . 18
Zur Vorgeschichte . . 20

Einleitung . . 23
Biographie . . 39

Katalog . . 49
Einfuhrung in den Katalog . . 50
A note on the catalogue . . 52

Katalog der autorisierten Werke . . 55
Erste Versuche 1788-1790/94 . . 57
Die Kopenhagener Akademiezeit 1794-1798 . . 75
Frühwerk 1798-1805 . . 97
Mittlere Schaffenszeit 1805-1828 (bis KaL-Nr. 546) . . 403

Acknowledgements . . ix
List of Illustrations . . xv

Introduction . . 1
1 Christ: The True Icon . . 13
2 The Cross . . 45
3 The Heart . . 81
4 The Lion . . 113
5 Mona Lisa . . 141
6 Che . . 167
7 Napalmed and Naked . . 197
8 Stars and Stripes . . 225
9 COKE: The Bottle . . 253
10 DNA . . 279
11 E=mc2 . . 307
12 Fuzzy Formulas . . 339

Picture Acknowledgements . . 355
Index . . 359

Foreword . . v
List of Contributors . . xxiii

Editors' Introduction . . 1
1. Making Sense of Art, Making Art of Sense . . 9
2. The Science and Art of the Sixth Sense . . 19
3. The Art of Touch in Early Modern Italy . . 59
4. The Multisensory Perception of Touch . . 85
5. Aesthetic Touch . . 107
6. Rendering the Sensory World Semantic . . 115
7. Sculpture and Touch . . 133
8. Touch and the Cinematic Experience . . 149
9. Hearing Scents, Tasting Sights: Toward a Cross-Cultural Multimodal Theory of Aesthetics . . 161
10. The Science of Taste and Smell . . 183
11. 'Sound Bites': Auditory Contributions to the Perception and Consumption of Food and Drink . . 207
12. Thinking Multisensory Culture . . 239
13. Sighting Sound: Listening with Eyes Open . . 251
14. The Sight and Sound of Music: Audiovisual Interactions in Science and the Arts . . 265
15. Improvisation in Time: The Art of Jazz . . 293
16. Musical Tension . . 311
17. Cause and Affect: A Functional Perspective on Music and Emotion . . 329
18. The Mystery of Representation: A Conversation with Vik Muniz . . 351
19. Pictorial Cues in Art and in Visual Perception . . 359
20. The Many Dimensions of the Third One . . 395
21. Film, Narrative, and Cognitive Neuroscience . . 435
22. Mirror Neurons and Art . . 455
23. Pictorial Art Beyond Sight: Revealing the Mind of a Blind Painter . . 465
24. Visual Music in Arts and Minds: Explorations with Synaesthesia . . 481
25. Visual Music and Musical Paintings: The Quest for Synaesthesia in the Arts . . 495
26. Dance, Choreography, and the Brain . . 513
27. Neuroaesthetics of Performing Arts . . 529
28. Multisensory Aesthetics in Product Design . . 543
29. Architecture and the Body . . 571
30. Architecture and the Existential Sense: Space, Body, and the Senses . . 579
31. Multimodal, Interactive Media and the Illusion of Reality . . 599

Index . . 619

Acknowledgments . . vii
List of Illustrations . . viii

Prologue . . 1
Chapter One: Passionate Spectators . . 9
Chapter Two: Under the Leaves . . 39
Chapter Three: Open-plan Living . . 62
Chapter Four: Reluctant Domestication . . 76
Chapter Five: Privacy, Intimacy, and The Selves . . 92
Chapter Six: Personal Power and Social Control . . 109
Chapter Seven: Passionate Exhibitors . . 148
Chapter Eight: What Will the Servants Say? . . 164
Chapter Nine: Virtual Eaves . . 189
Chapter Ten: Intimacy by Theft . . 204

Notes . . 221
References . . 234
Index . . 257

Acknowledgements . . viii
List of Illustrations . . xiii

Prologue . . xix
1. Introduction . . 1
2. Looking at the Self . . 33
3. The Look of Religion . . 81
4. Nationhood . . 125
5. Looking at Others . . 177
6. Clothes and Consumers . . 211
7. Bourgeois Taste and Emotional Styles . . 231
Epilogue: An Old Regime of Dress? . . 259

Notes . . 286
Select Bibliography . . 317
Index . . 347

OVERVIEW . . 1
FORM AND STRUCTURE . . 27
PROCESS AND TIME . . 43
COMPARE AND CONTRAST . . 59
CASE STUDIES . . 75
INTERACTIVE GRAPHICS . . 109
VISUAL INDEX . . 143
APPENDIX . . 151

A Visual History of the Cold War . . 8
The Cartoonists' Cold War . . 11
Reimagining the Enemy . . 21
Cartooning under Communism . . 31
Drawn Apart: The Cartoons . . 33

Index . . 187
Contributors . . 191