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Contamination and Purity in Early Modern Art and Architecture

Contamination and Purity in Early Modern Art and Architecture

The concepts of purity and contamination preoccupied early modern Europeans fundamentally, structuring virtually every aspect of their lives, not least how they created and experienced works of art and the built environment. In an era that saw a great number of objects and people in motion, the meteoric rise of new artistic and building technologies, and religious upheaval exert new pressures on art and its institutions, anxieties about the pure and the contaminated - distinctions between the clean and unclean, sameness and difference, self and other, organization and its absence - took on heightened importance. In this series of geographically and methodologically wide-ranging essays, thirteen leading historians of art and architecture grapple with the complex ways that early modern actors negotiated these concerns, covering topics as diverse as Michelangelo's unfinished sculptures, Venetian plague hospitals, Spanish-Muslim tapestries, and emergency currency. The resulting volume offers surprising new insights into the period and into the modern disciplinary routines of art and architectural history.
  • Cover
  • Table of Contents
  • Introduction: Contamination and Purity in Early Modern Art and Architecture
    • Lauren Jacobi and Daniel M. Zolli
  • 1. Generation and Ruination in the Display of Michelangelo’s Non-finito
    • Carolina Mangone
  • 2. The Sacrilege of Soot: Liturgical Decorum and the Black Madonna of Loreto
    • Grace Harpster
  • 3. Sedimentary Aesthetics
    • Christopher J. Nygren
  • 4. ‘Adding to the Good Silver with Other Trickery’: Purity and Contamination in Clement VII’s Emergency Currency
    • Allison Stielau
  • 5. Tapestry as Tainted Medium: Charles V’s Conquest of Tunis
    • Sylvia Houghteling
  • 6. Bruegel’s Dirty Little Atoms
    • Amy Knight Powell
  • 7. Leakage, Contagion, and Containment in Early Modern Venice
    • Lisa Pon
  • 8. Contamination, Purification, Determinism: The Italian Pontine Marshes
    • Lauren Jacobi
  • 9. Colonial Consecrations, Violent Reclamations, and Contested Spaces in the Spanish Americas
    • Carolyn Dean and Dana Leibsohn
  • 10. Contamination | Purification
    • Caroline A. Jones and Joseph Leo Koerner
  • Index
  • List of Illustrations
    • Figure 0.1. Adam Kraft, Life-size self-portrait on the Eucharistic tabernacle, 1493–1496, sandstone with partial polychromy, St. Lorenz, Nuremberg. Photo: Uoeai1, licensed under CC BY-SA 4.0
    • Figure 0.2. Donatello, Marzocco, c. 1418–1420, macigno, Museo Nazionale del Bargello, Florence. Photo: Daniel M. Zolli
    • Figure 0.3. Caravaggio, David with the Head of Goliath, 1599, oil on canvas, Museo del Prado, Madrid. Photo: © Museo Nacional del Prado / Art Resource, NY
    • Figure 0.4. Georgius Agricola, Woodcut depicting iron smelting process, from De re metallica (1556), Book IX, p. 341. Photo: Library of Congress, Lessing J. Rosenwald Collection
    • Figure 0.5. Seal of the Wool Guild, fourteenth or fifteenth century, stone, Museo di San Marco, Florence. Photo: Daniel M. Zolli
    • Figure 0.6. Letter with cloth swatches from the Datini Company of Barcelona sent in 1402 or 1403 to Prato (Italy), Archivio di Stato di Prato, Datini, busta 1173 codice 1620. Photo: Fondazione Istituto Internazionale di Storia Economica ‘F. Datini,’ Prato
    • Figure 0.7. Trial plate of Henry VIII, 1542 (one of a series received from the Pyx Chapel in 1837). Photo: The Royal Mint Museum, United Kingdom
    • Figure 0.8. Giuliano da Sangallo (design) and Antonio da Sangallo the Younger (realization), Ceiling of Basilica of Santa Maria Maggiore, gilded wood, 1450–1500, Rome. Photo: Alvesgaspar, licensed under CC BY-SA 4.0
    • Figure 0.9. Giambologna with Pietro Tacca, Equestrian monument of Ferdinando I de’ Medici (detail), 1602–1608, bronze, Piazza Santissima Annunziata, Florence. Photo: Daniel M. Zolli
    • Figure 0.10. Theodore de Bry, Ransom payment of Atahualpa brought to Francisco Pizarro at Cajamarca (Peru), engraving, from Americae Pars Sexta sive Historiae ab Hieronymi Benzoni […] (Frankfurt-am-Main: Theodore de Bry, 1596). Photo: Courtesy of the Libr
    • Figure 0.11. Church of San Sisto, Pisa. Photo: Giuseppe Capitano courtesy of Wikimedia Commons licensed under CC BY-SA 4.0
    • Figure 0.12. Original placement of some ceramic bacini on the façade of the Church of San Sisto, Pisa. Photo: Giuseppe Capitano courtesy of Wikimedia Commons licensed under CC BY-SA 4.0
    • Figure 0.13. Maiolica bowl produced in Tunisia used as a bacino in Pisa, c. end of the twelfth or beginning of the thirteenth century, Church of San Michele degli Scalzi, Pisa, now in the Museo Nazionale di San Matteo, Pisa. Photo: Giuseppe Capitano court
    • Figure 0.14. Titian, Portrait of the Pigment Merchant Alvise dalla Scala, oil on canvas 1561–1562, Gemäldegaleries Alte Meister, Staatliche Kunstsammlungen, Dresden. Photo: BPK, Berlin / Art Resource, NY
    • Figure 0.15. Lucas Cranach the Elder, woodcut illustration for the Passional Christi und Antichristi of Martin Luther (Wittenberg: Johann Grünenberg, 1521). Photo: Courtesy of the British Library
    • Figure 0.16. Jörg Breu, woodcut illustration of the ‘Idol of Calicut,’ in Ludovico di Varthema, Die Ritterlich und lobwürdig Reisz […] (Strassburg: J. Knobloch, 1516). Photo: © Österreichische National­bibliothek, Vienna: 72.T.75
    • Figure 0.17. Juan de Roelas, Allegory of the Immaculate Conception, 1616. Oil on canvas. Museo Nacional de Escultura, Valladolid, Spain. Photo: HIP / Art Resource, NY
    • Figure 0.18. Juan de Roelas, Allegory of the Immaculate Conception, detail of nursing mother and Sevillan citizens. Photo: HIP / Art Resource, NY
    • Figure 0.19. Cathedral of the Assumption of the Virgin, 1560–1654, Cuzco. Photo: Diego Delso courtesy of Wikimedia Commons licensed under CC BY-SA 4.0
    • Figure 0.20. Attributed to Kolman Helmschmid (armor) and Daniel Hopfer (etching), Cuirass and Tassets, steel and leather, ca. 1510–1520, Metropolitan Museum of Art, New York. Photo: Metropolitan Museum of Art
    • Figure 1.1. Michelangelo Buonarroti, Medici Chapel (New Sacristy) with the Tomb of Giuliano de’ Medici with statues of Day and Night and the unfinished wall with statues of the Madonna and Child, St. Cosmas (by Giovanni Antonio Montorsoli) and St. Damian
    • Figure 1.2. Bernardo Buontalenti, First chamber of the Grotta Grande with Michelangelo’s Slaves, stucco relief by Pietro Mati, and frescos by Bernardino Poccetti, 1583–1593, Giardino di Boboli, Florence. Photo: © Vanni Archive / Art Resource, NY
    • Figure 1.3. Michelangelo Buonarroti, David/Apollo, 1530s, marble, 1.46 m, Museo Nazionale del Bargello, Florence. Photo: © Erich Kessing / Art Resource
    • Figure 1.4. Maarten van Heemskerck, Sculpture Garden of Jacopo Galli, 1532–1536, pen and brown ink, brown wash, 13 × 20.5 cm, From the Roman Sketchbook I, Inv. 79 D 2, fol. 72 recto, Kupferstichkabinett, Staatliche Museen, Berlin. Photo: © bpk Bildagentur
    • Figure 1.5. Maarten van Heemskerck, St. Luke Painting the Virgin, c. 1545, oil on wood, 207 × 144 cm, Musée des Beaux-Arts, Rennes. Photo: © RMN-Grand Palais / Art Resource, NY
    • Figure 1.6. Michelangelo Buonarroti, Florence Pietà, 1547–1555, marble, 266 cm, Museo dell’Opera del Duomo, Florence. Photo: © Vanni Archive / Art Resource, NY
    • Figure 1.7. Cherubino Alberti, Pietà (reversed) after the statue by Michelangelo set in a landscape, c. 1580, engraving, 46.7 × 31 cm, British Museum, inv. no. 1874,0613.600, asset no. 220359001. Photo: © Trustees of the British Museum
    • Figure 1.8. Imitator of Michelangelo, Palestrina Pietà, after 1597(?), marble, 253 cm, Galleria dell’Accademia, Florence. Photo: © Scala / Ministero per i Beni e le Attività culturali / Art Resource, NY
    • Figure 1.9. Francesco Contini, Altar and wall opening of funerary crypt, c. 1667, Church of Santa Rosalia, Palestrina. Photo: © Carolina Mangone
    • Figure 2.1. Anonymous, The Madonna of Loreto, late fourteenth century (destroyed in 1921), wood, 93 cm. Photo: Bruno Longarini, reproduced with permission of the Delegazione Pontificia per il Santuario della Santa Casa di Loreto, all rights reserved
    • Figure 2.2. Interior of the Holy House of Loreto. Photo: Bruno Longarini, reproduced with permission of the Delegazione Pontificia per il Santuario della Santa Casa di Loreto, all rights reserved
    • Figure 2.3. Leopoldo Celani and Enrico Quattrini, The Madonna of Loreto, 1922, wood, Basilica of the Holy House, Loreto. Photo: Bruno Longarini, reproduced with permission of the Delegazione Pontificia per il Santuario della Santa Casa di Loreto, all righ
    • Figure 2.4. Anonymous, The Madonna of Oropa, wood, 132 cm, Sanctuary of Oropa, Biella. Photo: reproduced with permission of the Archivio del Santuario di Oropa
    • Figure 2.5. Attributed to Nicolò Trometta, The Virgin of Loreto with Angels, early seventeenth century, oil on canvas, 242 × 154 cm, Museo Civico di Urbania. Photo: reproduced with permission of the Museo Civico e Biblioteca Comunale di Urbania
    • Figure 2.6. Attributed to Avanzino Nucci, The Virgin of Loreto with Angels, late sixteenth or early seventeenth century, oil on canvas, 176 × 166 cm, Pinacoteca Diocesana, Senigallia. Photo: reproduced with permission of the Ufficio Arte Sacra e Beni Cult
    • Figure 2.7. Carlo Saraceni, The Virgin of Loreto, late sixteenth or early seventeenth century, oil on canvas, 170 × 125 cm, San Bernardo alle Terme, Rome, patrimony of the Fondo Edifici di Culto. Photo: reproduced with permission of the Direzione Centrale
    • Figure 3.1. Alessandro Allori, Crucifixion, 1602, oil on lapis lazuli, 17.1 × 13.5 cm. Private Collection. Photograph Courtesy of Sotheby’s, Inc. © 2018
    • Figure 3.2. Antonio Tempesta, Pearl Fishing, before 1618, oil on lapis lazuli, 30 × 50 cm. Photo: BPK / RMN / Paris, Musée du Louvre / Jean Schormans
    • Figure 3.3. Cristofano Gaffuri (designed by Jacopo Ligozzi), The Harbor of Livorno, 1601–1604, inlay of lapis lazuli and other hard stones, 107 × 94 cm, Florence, Galleria degli Uffizi. Photo: akg-images / Rabatti & Domingie
    • Figure 3.4. Filippo Napoletano, Jonah and the Whale, c. 1610–1620, oil on pietra d’Arno, 37 × 90 cm, Florence, Museo dell’Opificio delle Pietre Dure. Photo: Christopher Nygren
    • Figure 3.5. ‘Serrated’ pietra d’Arno, 26 × 9.5 cm. Photo: Gpierlu, licensed under CC BY-SA 3.0
    • Figure 3.6. Antonio Tempesta, Landscape with Hunt of Wild Boar, c. 1610, oil on dendrite, 40.7 × 31.2 cm. Photo: © KHM-Museumsverband / Kunsthistorisches Museum, Vienna.
    • Figure 3.7. Filippo Napoletano, Miracle of St. Francis Xavier and the Crab in the Spice Islands, before 1619, oil on pietra d’Arno, 35.5 × 47 cm, Florence, Istituto di Studi Etruschi. Photo: Antonio Quattrone
    • Figure 3.8. Franceso Ligozzi, Dante and Virgil in the Inferno, c. 1620, oil on pietra d’Arno, 31 × 33 cm, Florence, Museo dell’Opificio delle Pietre Dura. Photo: Christopher Nygren, artwork in the public domain
    • Figure 4.1. Ducat, minted in Rome under Pope Clement VII, 1527, silver, 42 mm, 36.1 g. Photo: Vatican Library, inv. no. Mt. Pont Clemens VII A/11
    • Figure 4.2. Ducat, minted in Rome under Pope Clement VII, 1527, silver, 37 × 40 mm, 36, Photo: Vatican Library, inv. no. Mt. Pont Clemens VII 12
    • Figure 4.3. Half-ducat, minted in Rome under Pope Clement VII, 1527, silver, 35 × 33 mm, 17.72 g. Photo: Vatican Library, inv. no. Mt. Pont Clemens VII 12/c
    • Figure 4.4. The Nuremberg goldsmith Kunz Roth at his workbench, 1543, watercolor with red highlight on parchment, 250 × 201 mm, from the Hausbücher of the Nuremberg Zwölfbrüderstiftung. Landauer I, Amb. 279.2°, f. 30v. Photo: Stadtbibliothek im Bildungsca
    • Figure 4.5. Attributed to Francesco Bartoli, drawing of a gold pectoral, made for Pope Clement VII by Benvenuto Cellini, profile showing height of gems, grotesques in relief and enameled foliate scrolls, 1729, watercolor with bodycolor, over black chalk,
    • Figure 4.6. Benvenuto Cellini, Portrait medal of Pope Clement VII with Peace Igniting Arms, 1534, silver, 38 mm, Florence, Museo Nazionale del Bargello, inv. no. 6215. © Photo SCALA, Florence
    • Figure 5.1. Workshop of Willem de Pannemaker (designed by Jan Cornelisz Vermeyen), Map of the Mediterranean, from The Conquest of Tunis series, c. 1548–1551, gold, silver, silk and wool, 520 × 895 cm, Patrimonio Nacional, Madrid (10005895). Photo: COPYRIG
    • Figure 5.2. Workshop of Willem de Pannemaker (designed by Jan Cornelisz Vermeyen), Map of the Mediterranean, detail of the cartographer, from The Conquest of Tunis series, c. 1548–1551, gold, silver, silk and wool, 520 × 895 cm, Patrimonio Nacional, Madri
    • Figure 5.3. Workshop of Willem de Pannemaker, designed by Jan Cornelisz Vermeyen. Map of the Mediterranean, detail of galleys, from The Conquest of Tunis series, c. 1548–1551, gold, silver, silk and wool, 520 × 895 cm, Patrimonio Nacional, Madrid (1000589
    • Figure 5.4. Artisan’s recipe book for dyeing wool, 1680, with supplementary papers from 1653–1762, manuscript with fabric samples, leaf 21v. Photo: Getty Research Institute, Los Angeles (910012)
    • Figure 5.5. Unknown workshop in Brussels (designed by Pieter Coecke van Aelst), Gluttony from the Seven Deadly Sins series, detail of Silenus’s donkey, c. 1550–1560, wool, silk and silver- and silver-gilt-wrapped threads, 388.6 × 678.2 cm. Photo: The Metr
    • Figure 6.1. Pieter Serwouters, frontispiece to Titus Lucretius Carus, De rerum natura (Amsterdam: G. Janssonium, 1620). Photo: Rijksmuseum, Amsterdam
    • Figure 6.2. Michael Burghers, frontispiece to Titus Lucretius Carus, Of the Nature of Things, In Six Books, I, trans. by Thomas Creech (London: Warner, 1722). Photo: Columbia University
    • Figure 6.3. Giordano Bruno, De triplici minimo et mensura (Frankfurt: Joannem Wechelum & Petrum Fisherum, 1591), p. 113. Photo: Courtesy of Biblioteca Nazionale Centrale, Rome licensed under CC BY-NC-SA 4.0
    • Figure 6.4. Pieter Bruegel the Elder, Mountain Landscape, c. 1553, pen and brown ink on paper, 23.6 × 34.3 cm, Paris, Musée du Louvre, inv. no. 19728. Photo: © RMN-Grand Palais / Art Resource, NY
    • Figure 6.5. Johannes and Lucas van Doetechum after Pieter Bruegel the Elder, Large Alpine Landscape, c. 1555/1557, etching and engraving, 36.8 × 46.8 cm. Photo: Courtesy National Gallery of Art, Washington
    • Figure 6.6. Abraham Ortelius, ‘Galliae regni potentiss’ in Theatrum orbis terrarum (Antwerp: Coppenium Diesth, 1574). Photo: State Library Victoria
    • Figure 6.7. Pieter Bruegel the Elder, The Rabbit Hunt (detail), 1560, etching, 21.4 × 28.9 cm. Photo: Rijksmuseum, Amsterdam
    • Figure 6.8. Dirck Volckertsz Coornhert after Maarten van Heemskerck, Heraclitus and Democritus, 1557, engraving and etching, 19 × 25.9 cm. Photo: Bibliothèque municipal de Lyon (N16COO000916)
    • Figure 6.9. Pieter Bruegel the Elder, The Adoration of the Magi in the Snow, 1563, oil on panel, 35 × 55 cm. Photo: Sammlung Oskar Reinhart ‘Am Römerholz,’ Winterthur
    • Figure 6.10. Lucas van Valckenborch, Winter Landscape (January or February), 1586, oil on canvas, 115.5 × 198 cm. Photo: © KHM-Museumsverband / Kunsthistorisches Museum, Vienna
    • Figure 6.11. Johannes Kepler, Strena, seu, De niue sexangula (Frankfurt: Tampach, 1611), p. 10, Toronto, Thomas Fisher Rare Book Library. Photo: University of Toronto
    • Figure 6.12. Pieter Bruegel the Elder, Winter Landscape with Skaters and Birds Trap, 1565, oil on oak panel, 37 × 55.5 cm. Photo: Royal Museum of Fine Arts of Belgium
    • Figure 6.13. Hendrick Avercamp, A Scene on the Ice, c. 1625, oil on panel, 39.2 × 77 cm. Ailsa Mellon Bruce Fund. Photo: National Gallery of Art, Washington
    • Figure 6.14. Jan van Goyen, Heraclitus and Democritus, 1623, black chalk on paper, 11.1 × 16.4 cm. Photo: RKD / Christie’s (New York City) 2016-01-27, nr. 43
    • Figure 6.15. Jan van Goyen, Winter Scene with Huis te Merwede near Dordrect, 1638, oil on panel, 39 × 61 cm. Photo: Museum De Lakenhal, Leiden
    • Figure 7.1. Mapping of Venetian neighborhoods of 1) Lucchesi, 2) ‘Turks,’ 3) Albanians, 4) Tuscans, 5) Persians, 6) Germans, 7) Armenians, 8) Greeks, 9) Jews, onto Jacopo de’ Barbari’s 1500 Bird’s Eye View of Venice. Photo: from Donatella Calabi, ‘Gli str
    • Figure 7.2. Diagram of urban seclusion zones. Photo: from Loïc Wacquant, ‘Designing Urban Seclusion in the Twenty-First Century,’ courtesy of Loïc Wacquant
    • Figure 7.3. Map of Venice’s Ghetto Nuovo (in green), Ghetto Vecchio (in blue) and Ghetto Nuovissimo (in purple). Photo: map data © 2018 Google
    • Figure 7.4. Benedetto Bordone, Isola del Lazzaretto Vecchio (circled in green) and Isola del Lazzaretto Nuovo (circled in blue) from Libro […] nel qual si ragiona de tutte l’isole del mondo (Venice: Nicolò d’Aristotile detto Zoppino, 1528), ff. XXIX verso
    • Figure 7.5. Stone marker, 1631, Jewish Cemetery, Lido. Photo: Lisa Pon
    • Figure 8.1. Leonardo da Vinci, Map of the Pontine Marshes, c. 1514–1515, 27.7 × 40 cm, RCIN 912684. Photo: Alinari / Art Resource, NY
    • Figure 8.2. Cesare Nebbia, Archangel Michael appearing to Sixtus V, Gallery of Maps, Vatican, fresco. Licensed under CC BY-SA 4.0, Wikimedia Commons, courtesy of David Castor
    • Figure 8.3. Map illustrating the hydraulic problem in the reclamation of the Pontine Marshes (key: 1–5, canals; 6, boundary of the Agro Pontino; 7, boundary of the Pontino (east) and Piscinara (west) districts), scale 1:400,000. Photo: Ruth Sterling Frost
    • Figure 8.4. Benito Mussolini working to reclaim the Pontine Marshes, from L’llustrazione Italiana, Year LXV, no. 28 (10 July, 1938). Photo: akg-images / New Picture Library / Biblioteca Ambrosiana
    • Figure 8.5. Construction of canals in the Pontine Marshes. Photo: Courtesy of the Archivio Consorzio di Bonifica dell’Agro Pontino, Fondo Mazzia
    • Figure 9.1. Fred Kabotie and Eleanor Roosevelt, installation view of the exhibition Indian Art of the United States, 1941, photograph. Photo: © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY
    • Figure 9.2. Rattle made from Catholic cross finial, late seventeenth century, copper with molded decoration and gold leaf, 6.5 × 2.9 × 3.5 cm, Awatovi. Photo: © President and Fellows of Harvard College, Peabody Museum of Archaeology and Ethnology, PM# 38-
    • Figure 9.3. Church and friary of San Gregorio de Abó, seventeenth century, New Mexico. Photo: Carolyn Dean
    • Figure 9.4. Qurikancha temple-Santo Domingo church and friary, c. 1400–1700 (Imperial Inka through Spanish colonial period), Cusco, Peru. Photo: Carolyn Dean
    • Figure 9.5. Monument to the Martyrs of San Bernardo de Awatovi, 2013. Photo: courtesy of Suzanne Hammons, Diocese of Gallup, NM
    • Figure 10.1. Albrecht Altdorfer, Virgin Seeking Christ in the Temple, c. 1519–1520, engraving, 6.1 × 4 cm, INV190875, accession no. G31. Harvard Art Museums/Fogg Museum, Gift of William Gray from the collection of Francis Calley Gray, © President and Fell
    • Figure 10.2. Picabia, La Sainte Vierge, as reproduced in 391, Paris, n. 12, March 1920, p. 3. Photo: © Artists Rights Society (ARS), New York / ADAGP, Paris
    • Figure 10.3. Albrecht Altdorfer, Entrance Hall of the Regensburg Synagogue, 1519, etching, 16.4 × 11.6 cm. Photo: © bpk Bildagentur / Hamburger Kunsthalle, Hamburg, Germany / Art Resource, NY
    • Figure 10.4. Albrecht Altdorfer, Interior of the Regensburg Synagogue, 1519, etching, 17 × 12.6 cm. Photo: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY
    • Figure 10.5. Michael Ostendorfer, The Pilgrimage to the Beautiful Virgin at Regensburg, c. 1520, woodcut, 58.2 × 38.9 cm. Photo: © Bildarchiv Foto Marburg / Art Resource, NY
    • Figure 10.6. Albrecht Altdorfer, The Beautiful Virgin of Regensburg, c. 1519–1520, woodcut printed from six blocks in red, green, blue, light orange, brown, and black, 33.9 × 24.6 cm, Rosenwald Collection, 1962.5.1. Photo: Courtesy National Gallery of Art
    • Figure 10.7. Albrecht Altdorfer, Christ Driving the Money Changers from the Temple, c. 1519–1520, engraving, Boston, Museum of Fine Arts, accession no. P799. Photo: Harvey D. Parker Collection – Harvey Drury Parker Fund
    • Figure 10.8. Picabia, La Sainte Vierge (‘Version A’), c. 1920, ink on paper with colored pencil. Chancellerie des Universités de Paris – Bibliothèque littéraire Jacques Doucet, Paris, Photo: © Artists Rights Society (ARS), New York / ADAGP, Paris
    • Figure 10.9. Picabia, La Sainte Vierge (‘Version 3’), 1920, ink on paper, marked for cropping and reproduction in 391. Paris, Musée National d’Art Modern. Photo: © Artists Rights Society (ARS), New York / ADAGP, Paris
    • Figure 10.10. Photograph of the statue at Lourdes proposed in a mock-up design for the cover of l’immaculée conception, Association Atelier André Breton, Collection item #5660010075504. Photo: © Artists Rights Society (ARS), New York / ADAGP, Paris
    • Figure 10.11. André Breton and Paul Éluard, cover as published of L’Immaculée Conception (Paris: Éditions surrealistes, 1930). Photo: © Artists Rights Society (ARS), New York / ADAGP, Paris / © André Breton and Paul Éluard, courtesy Association Atelier An
    • Figure 10.12. Salvador Dalí, The Lugubrious Game, illustration from Georges Bataille, ‘Jeu lugubre,’ Documents (‘Archéologie, Beaux-Arts, Ethnographie, Variétés’) No. 7 (December, 1929): 369–372, p. 371
    • Figure 10.13. Installation photograph of Entartete Kunst exhibition in 1937, showing Max Beckmann’s Descent from the Cross (1917) at the center of this arrangement, possibly in the Munich venue of the traveling exhibition. Photo: bpk Bildagentur / Staatli

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