Sebald Beham and the Augsburg Printer Niclas vom Sand: New Documents on Printing and Frankfurt Before 1550

This essay makes known two unpublished documents from the last years of the life of Sebald Beham (1500 Nuremberg–1550 Frankfurt) and uses them as a means to explore Beham’s relationship to printing, the town of Frankfurt, and the Augsburg printer Niclas vom Sand, who remains an unwritten part of the history of the period. The essay is organized as an autobiographical retrospective by an older man forced in prior decades to move from Nuremberg and seek employment and a new life elsewhere. The end of the essay evaluates the documents and aspects of them

Joseph Drilling

The popularity of Joseph as carpenter-provider for Mary and Jesus was discussed by Cynthia Hahn last year (LXVIII1,9 86, 54- 66) in relation to Campin\u27s Merode Triptych and other examples of 15th-century art and literature. In Campin\u27s painting, Joseph is represented in the right wing seated amid an array of carpenter\u27s tools, pieces of wood, and handmade wooden objects. The oft discussed winepress strainer, or firescreen (the latter suggested by Hahn), which Joseph drills, appears to have a visual correlative in an unpublished anonymous 15th-century Flemish panel painting in the Museo Correr, Venice (Figs. 1, 2). There, on the verso of an Annunciation, which is represented across two small panels, Joseph is shown drilling holes into a thick block of wood that already bears three holes. It is small and rectangular and looks very much like the top of the footstool below Joseph\u27s feet in the Merode Triptych and generally like the block Joseph drills there in much the same manner. In the painting in Venice, Joseph\u27s gown and cape are red, the hood is black, and his head is bald. In Campin\u27s painting the only correspondence is Joseph\u27s red sleeves. In the Correr panel, an unidentified male figure is seated next to Joseph on the other side of a column in another niche. He wears a green robe and what appears to be a fur hat, and he flips through the pages of a book. Although the two figures are represented on separate panels that are now exhibited side by side, it is possible that they were originally displayed separately. Based on a physical examination (materials, panel edges, remains of the old frame, paint gaps), Dr. Giandomenico Romanelli, Director of the Civici Musei Veneziani d\u27Arte e di Storia, concludes that the two panels may have been conceived as separate panels that were parts of a structure that could open. The architectural settings, which appear correct only when viewed from below, according to Dr. Romanelli, suggest that the work, possibly an altarpiece, was originally placed above eye level. Be that as it may, the modest panel with Joseph links the Annunciation with Joseph the carpenter, as in the center panel of the triptych at the Cloisters. Although the object Joseph drills in each painting is slightly different in shape, both of course are linked to carpentry, which is, perhaps, more to the point than their specific identification. In either case, historians of Northern art may now add this small painting in Venice to their considerations of the issue of the winepress and the Merode Triptych

Easier Said than Done--Returning Stolen Art to Its Owners: Review of Michael J. Kurtz, \u3ci\u3eAmerica and the Return of Nazi Contraband: The Recovery of Europe\u27s Cultural Treasures\u3c/i\u3e

The return of cultural treasures stolen by the National Socialists is the subject of a burgeoning field in print and film; Michael J. Kurtz\u27s book of 1985 is here revised and updated to include the events of recent decades: the end of the Soviet Union and a divided Germany, along with the reemergence of looted art and lawsuits seeking to reclaim it. As Kurtz states in his introduction, cultural restitution is an ongoing phenomenon (p. x). This situation is all too clear from Kurtz\u27s book and parallel developments in the last few years. This extremely rich work continues to be of value to specialist readers, but non-specialists might find the book occasionally dense enough to make it difficult going. .. These very minor reservations aside, this book makes an excellent contribution to the literature on art theft in World War II. It will be required reading for anyone interested in art restitution

Non-technical skills learning in healthcare through simulation education: Integrating the SECTORS learning model and Complexity theory

Background: Recent works have reported the SECTORS model for non-technical skills learning in healthcare. The TINSELS programme applied this model, together with complexity theory, to guide the design and piloting of a non-technical skills based simulation training programme in the context of medicines safety. Methods: The SECTORS model defined learning outcomes. Complexity Theory led to a simulation intervention that employed authentic multi-professional learner teams, included planned and unplanned disturbances from the norm and used a staged debrief to encourage peer observation and learning. Assessment videos of non-technical skills in each learning outcome were produced and viewed as part of a Non-Technical Skills Observation Test (NOTSOT) both pre and post intervention. Learner observations were assessed by two researchers and statistical difference investigated using a student’s t-test Results: The resultant intervention is described and available from the authors. 18 participants were recruited from a range of inter-professional groups and were split into two cohorts. There was a statistically significant improvement (P=0.0314) between the Mean (SD) scores for the NOTSOT pre course 13.9 (2.32) and post course 16.42 (3.45). Conclusions: An original, theoretically underpinned, multi-professional, simulation based training programme has been produced by the integration of the SECTORS model for non-technical skills learning the complexity theory. This pilot work suggests the resultant intervention can enhance nontechnical skills

Arousal, the Bible, and Bruegel’s Codpieces: The Male Body in Early Modern Visual Culture

This essay explores varied responses to the male body, including the phallus and its sixteenth- century covering, the codpiece, that existed over the past half millennium in the visual arts during which time discomfort coexisted with more neutral or positive representations of the human form. The essay will show that images indicate no monolithic attitude toward the body, clothed or not, in the centuries emerging from the Middle Ages, thereby agreeing with Bynum that a “cacophony of discourses” existed for many aspects of life, including responses to the body. Bynum’s linking of more general Medieval attitudes to those of our modern world rings true for the body as well. The visual works explored indicate no linear attitude toward the body. Attitudes toward the body have waxed and waned and like fashion, what was in last year may be out the next. In Early Modern Northern Europe, the nude body appears not to have been represented as often as in Italy, nor has the direct representation of the body’s most intimate areas been included in the visual arts in the North as early or as often as in Italy. In addition, the number of extant images showing the male body explicitly has been vastly reduced because of a variety of factors over the centuries. 7 Changing taste, both cultural and personal, has vastly reduced the numbers of such images and altered them to conform to newer taste and approaches. Yet, enough visual art has survived to indicate that such sexual images did exist, how varied attitudes were among people living in earlier centuries, and how similar our attitudes are to theirs. The two case studies presented here are centered in the early to mid sixteenth century in Northern Europe, where attention was paid to the male body, specifically the male member and its clothing. The first case looks at German prints showing the aroused male within biblical contexts. The second case involves a Netherlandish painting where the codpiece, the most brazen part of male dress, was altered because it drew attention to the male sex. Over time, the codpieces were eliminated to conform to changing taste

The Importance of Frankfurt Printing before 1550. Sebald Beham Moves from Nuremberg to Frankfurt

Five hundred years ago, Sebald Beham had reasons enough to leave Nuremberg and more than enough reasons to move to Frankfurt. That town\u27s attraction as a printing center became one of the factors that resulted in Beham\u27s settling permanently in the city on the Main in 1531, leaving behind his home town of Nuremberg, best known as the artistic center of the Renaissance master Albrecht Durer. Despite the high regard the Franconian town and Durer received, the authorities there did not treat other painters in Durer\u27s circle particularlywell. The dubbing of Beham as \u27godless painter\u27 in 1525 constituted one of several encounters with the Nuremberg town council that resulted in his expulsion and later exile, after which he sought a new home. Beham\u27s early life in Nuremberg and the reasons he may have had for moving away, including his encounters with Nuremberg\u27s council, form the first part of this essay. I will then address what drew Beham to Frankfurt in 1531, including new opportunities in painting and book publishing and the production of prints. Using Beham\u27s move to Frankfurt as a case study, this paper claims a greater importance for Frankfurt and its fair for both the history of printing and art history during the first half of the sixteenth century before Frankfurt rose to what Hans-Jorg Kunast has called its prominence as a centre of printing during the second half of the sixteenth century, when important publishers such as Sigmund Feyerabend established theirworkshop[s] in the city . I argue that what drew Beham to Frankfurt was the town\u27s relative lack of importance for printing, in particular its absence of book publishing and resulting openness to it, and its important fair. My work supports the speculation of Peter Parshall and David Landau on the importance of what they call the great trade fairs for the exchange of prints by those engaged in dealing and publishing prints and of book publishers for distributing prints before the middle of the sixteenth century. It is just this link between book publishing and prints that must have clinched Beham\u27s decision to move to Frankfurt and not somewhere else

Sebald Beham\u27s \u3ci\u3eFountain of Youth-Bathhouse\u3c/i\u3e Woodcut: Popular Entertainment and Large Prints by the Little Masters

Sebald Beham designed a woodcut representing a Fountain of Youth-Bathhouse that has been convincingly dated based on copies to the years ca. 1530-31, when Sebald first used the monogram HSB printed at the center of the print. This date is corroborated by the only known dated impression, which also has a text (Oxford, the Ashmolean Museum); the date 1531 and the name of the publisher, Albrecht Glockendon, are printed at the end of the text below the print (Fig. 1). The woodcut is large. It was printed onto four sheets of full-size paper and measures over one foot high by three and one-half feet wide (506 x 1095 mm). It has more the size and format of a large foldout map than that of Sebald\u27s own postage stamp-sized engravings. Beham\u27s print is unique in its juxtaposition of the subjects of the fountain of youth and bathhouse. In the left half of Sebald\u27s woodcut, old men and women, clothed and naked, arrive at the fountain of youth by stretcher and on crutches. Once in the fountain, the bathers--who are mostly male--are transformed into young musclemen who scale the fountain. They are also transformed into amorous bathers in the right part of the fountain basin and in the Bathhouse half of the composition. In the latter, lovers embrace at far right and lounge together in bed at upper center. A variety of bath utensils are strewn about before the bath basin, and a group of spectators on the roof drinks, converses, and provides music. Because Beham\u27s print depicts both the fountain of youth and the bathhouse, which have two distinct pictorial traditions, each subject will be treated individually here

From Lace to Chains. The Making of a Print

How have printed works of art changed over time? Do printmakers today work with the same materials and techniques that printmakers used centuries ago? And does printmaking involve the same motivations, concerns, or methods of distribution today as it did in the past? These were questions asked by University of Nebraska–Lincoln students in a history of prints class in the School of Art, Art History & Design taught by Hixson-Lied Professor of Art History Alison Stewart during fall semester 2018. For this curatorial project, students selected one set of old master prints (pre-1850) and one modern (post-1850) print from Sheldon’s collection, each created with different techniques and for different purposes but with a shared focus on fashion trends of the day. Thinking about the cultural significance of dress and style—be it the prominence of lace in the seventeenth century prints by Wenceslaus Hollar or the gold chain that wraps around the figure in Rozeal’s contemporary print El Oso Me Preguntó—helped students situate these prints within the contexts of their production and reception. The adjacent panels highlight the students’ research and interpretations, which reveal compelling insights into issues of identity and beauty across time. The exhibition material is here presented in a revised and expanded manner for this publication. Student curators were Nadria Beale Ashley Owens Stella Bernadt K C Peters Mariah Livingston Natalie Platel Megan Loughran Ali Syafie Hannah Maakestad Emma Vinchur.https://digitalcommons.unl.edu/zeabook/1072/thumbnail.jp

Teaching friendship making skills to emotionally disturbed children

Numerous studies have demonstrated the efficacy of teaching children appropriate social skill behavior. The present study investigated a coaching procedure to teach emotionally disturbed children appropriate social skills within the context: of fourteen arts and crafts sessions. Using a multiple baseline across groups design, two groups of four children received training. As a result of training, cooperation behavior showed a moderate change, while eye contact increased substantially for both groups. The behaviors of on task and communication changed only slightly. In addition, these changes generalized to different settings and were· maintained over time. However, praising, receiving praise, as well as inappropriate physical and verbal behavior, showed no significant changes. Suggestions for revising the coaching procedure to produce more significant behavioral changes are discussed