Picturing Courtiers and Nobles from Castiglione to Van Dyck: Self Representation by Early Modern Elites

Description

Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- Dedication -- Table of Contents -- List of Illustrations -- Acknowledgements -- Abbreviations used in the Notes -- Quotations, Translations and Nomenclature -- Introduction -- Notes -- Chapter 1 Courtiers, Nobles and Visual Representation -- The Courtier as a Work of Art -- The Sculpture and Architecture of Conduct -- Portraying the Court and the Courtier -- Nobility and Representation -- The Image of Nobility -- Nobility Reproduced or Created? -- The Visual Art of Virtuous Nobility -- Nobility as Self-Picturing -- Notes -- Chapter 2 Sprezzatura and its Afterlife: From Castiglione to Faret -- The Art of Sprezzatura -- Sprezzatura Revised: Writer and Narrator in the Galateo -- Guazzo and Sprezzamento -- Tasso: Sprezzatura, Prudence and Feigning -- De Refuge: The Art of Courtly Dissimulation -- Faret: How to Impersonate Oneself Honestly -- Notes -- Chapter 3 Nobility and the Art of Painting -- Elyot: Visual Art, Knowledge and Virtue -- Peacham: Picturing Complete Gentility -- Peacham: 'Scientia' and Pictorial Art -- Aristotle and Castiglione: The Nobility of Pictorial Art -- Peacham: Pictorial Art and Gentlemanly Moderation -- Junius on Grace and Facility -- Notes -- Chapter 4 The Nobly Negligent Painter -- From the 'Courtesy' Literature to Art Theory -- The Virtue and Nobility of Painting -- Bellori on the Wisdom and Nobility of Van Dyck -- Van Dyck's 'Heureuse Négligence' -- Notes -- Chapter 5 Van Dyck's Almost Complete Gentleman -- The Courtly Connoisseur -- Heraldry and Antiquity in Early Baroque Rome -- Narrative and Subplot -- Courtier, Gentleman, Virtuoso -- Notes -- Chapter 6 Nobles and Nobilities: English Double Portraits -- Portrayal and Enlightenment -- Le Rouge et le Noir -- Nobility by Halves -- Courtiers, Gentlemen and Friends: Sir Anthony and Mr Porter -- Notes.