The autonomous self-portrait, a central mode of expression in western art, was a Renaissance invention. This book explores for the first time the genesis and early development of this important genre as it took place in Italy in the fifteenth and sixteenth centuries. Joanna Woods-Marsden examines a series of self-portraits in Renaissance Italy and their relation to the social status of art and artists. She argues that these self-images represented the aspirations of their creators to change the status of art and thereby their own social standing.
This paper explores and highlights the value given to craftsmanship or technê in the community of liefhebbers and artists associated with the pictures of collections genre. Taking as its case study a group of gallery interiors by the probable inventor and leading light of the genre, Frans II Francken, it places pictures of collections within the reform of attitudes towards manual dexterity and the mechanical arts that took place in the Early Modern period. Antwerp gallery interiors exemplify the intellectual metamorphosis of the hand, urging us to see in them an appeal both to the senses and to the intellect, which are fused together by the skilled artist’s technical facility.
It is proved, by using topological properties, that when a group automorphism of a locally compact totally disconnected group is ergodic under the Haar measure, the group is compact. The result is an answer for Halmos's question that has remained open for the totally disconnected case.