Polychrome Art in the Early Modern World: 1200–1800

Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
List of Figures
List of Contributors
Introduction
Part 1 Pigments, Color, and the Paragone
	1 \"The Color to Imitate a Man\": On the Meaning of Flesh Tones on Panel Paintings from Antiquity to the High Middle Ages
	2 The Colors of the Virgin: Romanesque Polychrome Wood Sculptures in Italy and a Question About Azurite
	3 Naming Blue Pigments and Colors in Medieval Catalonia: The Case of Lluís Borrassà
	4 Spanish Polychromed Sculpture in the Low Countries: A Journey through Art History and Techniques
	5 Pacheco\'s Art of Painting: The Parangón and the Techniques of Spanish Seventeenth-Century Polychrome Sculpture
Part 2 Sculptures in Context
	6 Statue Painting in Colonial Andes: \'Indian\' Virgins and Resacralization of the Religious Landscape
	7 Worms Cannot Eat Stone: The Pugliese Presepe and the Materiality of Devotion in Early Modern Puglia
	8 Faith, Spectacle, and the Polychromed Processional Figures of Luis Antonio de los Arcos and Luisa Roldán
	9 Patrons, Sculptors, and Painters in Eighteenth-Century Spain: Polychroming Duque Cornejo\'s Sculptures
	10 More than Wood: Sculpture and Blasphemy in Seventeenth-Century New Spain
	11 The Retablos of Mani: The Convergence of Maya and Spanish Art
	12 Artists, Techniques, and Sacred Materials: Revisiting the Case of the Christ of Ixmiquilpan
Index