Ut pictura amor

Walter Melion is Asa Griggs Candler Professor of Art History at Emory University in Atlanta, and Foreign Member of the Royal Netherlands Academy of Arts and Sciences. He has published extensively on Dutch and Flemish art and art theory of the 16th and 17th centuries, on Jesuit image-theory, on the relation between theology and aesthetics in the early modern period, and on the artist Hendrick Goltzius.Joanna Woodall teaches at The Courtauld Institute of Art, University of London. She has a longstanding interest portraiture, and hence the relationship between realism and desire. Her publications include studies of the importance of love and friendship to the creation of works of art, and to conceptions of art, in the early modern Netherlands.Michael Zell is Associate Professor of Art History at Boston University. He has published widely on seventeenth-century Dutch artistic culture, with a particular focus on Rembrandt and Vermeer, religious imagery, gift giving, and the poetics of painting.

• Acknowledgements Introduction: Picturing Love and ArtificeWalter S. Melion, Joanna Woodall, and Michael ZellPART IVision, Imagination, and Erotic Desire1 Figments of the Imagination: Medical and Moral Discourses on Love in the Counter-ReformationWietse de Boer2 The Gods of Water – Baths, Country Houses and Their Decoration in Sixteenth-and Seventeenth-Century FlandersUrsula Härting3 Hishikawa Moronobu and the Imprinting of ‘Love’ in Early Modern JapanJoshua S. Mostow4 Chinese ‘Paintings of Beautiful Women’ and Images of Asia in a Jesuit Text Dawn OdellPART IIMetamorphic Imagery of Love1 Enacting the Erotic Body: Pictorial and Spectatorial Evocations of Corporeality Among Jan Gossaert and His PatronsHaohao Lu2 The Trope of Anthropomorphosis in Hendrick Goltzius’s Venus and Cupid (1590), Venus, Bacchus, and Ceres (1593), and Portrait of Frederick de Vries (1597)Walter S. MelionPART IIIOptics, Aesthetics, and the Visual Poetics of Desire1 Between the Human and the Divine: The Majālis al-ushshāq and the Materiality of Love in Early Safavid ArtKishwar Rizvi2 The Painting Looks Back: Reciprocal Desire in the Seventeenth CenturyThijs WeststeijnPART IVAmorous Desire, Domestic Virtue, and Love’s Mirror1 Agape, Caritas, and Conjugal Love in Paintings by Rembrandt and Van DyckStephanie S. Dickey2 Vermeer’s Milkmaid in the Discourse of LoveH. Rodney Nevitt, Jr.3 The Mirror as Rival: Metsu, Mimesis, and Amor in Seventeenth-Century Dutch Genre Painting Michael ZellPART VPortrayals of Spousal Love1 What’s Love Got to Do with It? Unlacing the Love Knots in Margaret of Austria’s Royal Monastery at BrouLaura D. Gelfand2 Rubens, Rembrandt and the Spousal Model/MuseH. Perry ChapmanPART VIYouth, Friendship, and Other Inflections of Divine Love1 The Dynamics of Divine Love: Francis De Sales’s Picturing of the Biblical Mystery of the VisitationJoseph F. Chorpenning2 Intimacy and Longing: Jacob Cornelisz Van Oostsanen and the Distance of LoveHenry Luttikhuizen3 Amor Dei in Emblems for Dutch YouthEls Stronks PART VIIDesire, Fellowship, and Marian Mimesis1 Marten de Vos and the Virgin Mary: Love, Mimesis and MusicMargit Thøfner2 Bernardo Accolti, Raphael, and the Sistine Madonna: The Poetics of Desire and Pictorial GenerationJonathan UnglaubPART VIIIPicturing Love in the Marketplace1 For Love and Money: The Circulation of Value and Desire in Abraham Ortelius’s Album Amicorum Joanna Woodall2 Frans Francken the Younger’s Discovery of Achilles: Desire, Deception, and Inalienable PossessionLisa Rosenthal3 Desire by Candlelight: Body and Coin in Gerrit van Honthorst’s Old Woman With CoinsNatasha SeamanIndex

“extremely stimulating […] Ut pictura amor delivers a richly rewarding, interdisciplinary look at the different ways love was understood and visualized in the early modern period.” - Jeffrey Chipps Smith, University of Texas at Austin, in: Jounal of Jesuit Studies, Vol. 5, No. 2 (2018), pp. 324-326 [DOI: 10.1163/22141332-00502005-13]“Meticulously researched, beautifully illustrated and with a thematic coherence rarely found in edited volumes, this volume presents its central argument with flair and erudition. Although at over 750 pages it is not for the faint- hearted, the consistently high standard of the contributions provides a compelling insight into the relationship between art and love, and the complexity of the affective viewing experience, in early modern northern art.” - Lisa Beaven, La Trobe University, in: Emotions, Vol. 2, No. 2 (2018), pp. 352-354