Global Interests: Renaissance Art Between East and West
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Sort order. Karl Galle rated it really liked it Mar 07, Eric Pecile rated it liked it Jan 13, Tam rated it it was ok Jan 30, John rated it liked it Feb 20, Trudy O'Hara rated it really liked it Apr 15, Ms rated it liked it Apr 21, Corrina rated it liked it Feb 15, Kelly PT rated it it was amazing Dec 12, Eric rated it liked it Oct 27, Rachael Gough rated it it was amazing Jul 07, Melisa rated it did not like it Jul 19, Jennie rated it really liked it May 31, Elizabeth rated it liked it Sep 07, Rebecca Semple rated it really liked it Jun 13, Payal Padmanabhan rated it really liked it Mar 17, Joost Perreijn rated it it was amazing Apr 06, Genevieve rated it really liked it Apr 26, Layla marked it as to-read Jun 23, Lauren Albert marked it as to-read Oct 04, Marissa added it Jan 26, Sharon Miller marked it as to-read Sep 21, Silvia marked it as to-read Dec 28, Darren Burton marked it as to-read Jan 16, Jayme Waltz added it Feb 17, Mickslibrarian marked it as to-read Mar 02, Cheryl Roach marked it as to-read Apr 15, LPenting marked it as to-read Nov 17, Krishna Kumar Menon marked it as to-read Jan 04, Hend marked it as to-read Jul 05, Amar Baines marked it as to-read Nov 03, Lissa Notreallywolf marked it as to-read Nov 15, Sculusoy marked it as to-read May 20, Bryn Hammond marked it as to-read Jun 10, Julie Bozza marked it as to-read Jun 11, BookDB marked it as to-read Aug 28, Claire Taylor marked it as to-read Sep 18, Stephen Wong marked it as to-read Sep 26, In effect they claim the influence of the East during the Renaissance has been systematically buried since the nineteenth century only to be "excavated" p.
While this may be the case, the cultural history of Europe, at least from the mid-nineteenth century, suggests that, in fact, the East has exerted a strong grip over European minds in the fields of art, design, mathematics and metaphysics, to name but a few, and that Eastern artistic objects have been highly prized and widely assimilated. Therefore, while the book recycles the assumed conflation between "barbarism," "exoticism" and "The East" without presenting it as having a substantial factual base, the impression is created of a general derogation of the East by the West that is not historically accurate.
And while the methodology of analyzing visual arts in terms of power relations throws up useful insights, it cannot supplant more aesthetic readings without reducing works to dry political fact-sheets.
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What's more, such "power-based" analysis can hardly be called "new" in the light of a long tradition of similar criticism going back through Foucault to Marx. Given the academic provenance of the authors, one would have expected a much tighter, more securely grounded case that did not leave non-specialists, like myself, questioning the very basis of the book's thesis.
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