About this product Product Information An illustrated exploration of artists' depictions of war and warriors, from antiquity to modern times. Additional Product Features Author s. Theodore Rabb is emeritus professor of history, Princeton University. A historian of early modern Europe, he has published many books during his career and has contributed major reviews in history and art to the Times Literary Supplement, the New York Times, and numerous other journals.
He lives in Princeton, NJ. Show more Show less. No ratings or reviews yet. Be the first to write a review. Best-selling in Non Fiction See all. Wolfe Paperback, 1. Save on Non Fiction Trending price is based on prices over last 90 days. You may also like. Johan Huizinga , another who championed a cultural approach, derived the inspiration for his celebrated Autumn of the Middle Ages from the paintings of the brothers Hubert and Jan van Eyck. In our own generation, Simon Schama has demonstrated the value of the visual arts for historians in a celebrated series of books and television series.
No one has done more to encourage and, at times, to force historians to use their eyes than Theodore K. A distinguished member of the History Department at Princeton University for many decades, Rabb has been notably innovative in his approach throughout his career. After initial research illuminating the political history of early Stuart England, he became a pioneer in the use of computers in quantitative history, writing an important study of gentry investment in English overseas expansion between the s and Subsequently he has written a series of wide-ranging and influential studies of European history between the 15th and 17th centuries, viewed comparatively and from a broadly cultural perspective.
He was also one of the two founders of the influential Journal of Interdisciplinary History, of which he remains an editor, and he has pursued his campaign for greater awareness of visual material in its pages. Some of the essays and reviews now brought together in Why Does Michelangelo Matter? Published as a book two years later, it brought together a team of specialists who individually and collectively made an overwhelmingly case that historians should recognise the potential value of visual evidence. Pointing to the fact that both history and art history originated as a branch of rhetoric, he has been careful to recognise one crucial difference: historians approach the visual arts as potential sources for their studies, while their art-historian counterparts are concerned to understand these artefacts per se.
Rightly critical of using illustrations merely to decorate a book and cautioning against imputing too much meaning to paintings or architecture, he is careful not to prescribe how historians should handle works of art. Though never made fully explicit, he clearly believes that paintings and architecture are records of an age and are to be considered alongside more familiar historical records such as private correspondence or where they exist newspapers.
War Paint | Hoover Institution
This is the mark of a pragmatic scholar steeped in the best traditions of connoisseurship. Although the lack of dogmatic prescription is attractive, it courts the danger that scholars less sophisticated in their visual appreciation than Rabb will mishandle sources that pose their own special problems of understanding, and so derive incomplete or even faulty conclusions from their examination of art and architecture.
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