Patricia Rubin
Biographic Data
| ID | 1049397 |
|---|---|
| NAME | Patricia Rubin |
| GIVEN NAMES | Patricia |
| FAMILY NAME | Rubin |
| SIGNATURE | RUBIN P |
| AFFILIATIONS | Courtauld Institute of Art |
| ORCID | 0000-0002-7577-8859 |
| VERIFIED | Yes |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1969 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Income transfers and household debt. The advancing collateralization of social policy in the midst of restructuring crises
The aim of this article is to address how household debt and contemporary credit markets seem to be the defining elements in the reshaping of social policy both in developing and developed countries. We start off by recalling how the implementation of income policies as the core of a new social protection paradigm has contributed to promote market-based finance. We take Brazil as a case study to illustrate how this new connection between state gu…
The Outcry: Despoilers, donors, and the National Gallery in London, 1909
In April 1909 the Duke of Norfolk accepted an offer for Holbein’s portrait of Christina of Denmark, on loan to the National Gallery since 1880. There was an immediate public reaction to the announcement of the sale, which raised issues around private interest and public benefit. While the potential removal of the portrait from the National Gallery has been frequently discussed, the nearly simultaneous gift of just under 200 paintings from the col…
Art History from the Bottom Up
The Liar’: Fictions of the Person
Che e di questo culazzino: Michelangelo and the Motif of the Male Buttocks in Italian Renaissance Art
In 1497 an adolescent brought before the Florentine Officers of the Night confessed to having been sodomised by several men. He also mentioned a shopkeeper, who did not sodomise him, but who, when the boy passed by his shop, would exclaim: ‘What sort of beautiful bottom is this!’ touching it with his hands (‘“Che è di questo culazzino!” toccandolo colle sue mani ... ').1 This episode neatly encapsulates the relation between desire, sight, and tou…
Mal'Occhio: Looking Awry at the Renaissance - Introduction
This special issue, co-edited with Maria Loh, originated in an Oxford Art Journal conference Mal'occhio: Looking Awry at the Renaissance, held in November 2008, organised under the auspices of the Courtauld Institute of Art Research Forum with generous support from University College London and Oxford University Press. Ugo da Carpi's print of Diogenes from the British Museum (Fig. 1) was used as the poster for the conference and as an emblem for …
Histoire de l'histoire de l'art en Grande-Bretagne: Grandes Tendances Et Nouveaux Débats
Stephen Bann | Histoire de l'histoire de l'art en Grande-Bretagne : grandes tendances et nouveaux debats Apres l'apport des historiens de l'art europeens arrives en Angleterre dans les annees 1930, ou en est l'histoire de l'art en Grande-Bretagne ? Pour comprendre l'evolution recente de l'historiographie britannique (ou anglo-saxonne ?), s'est rapidement impose l'interet de traduire l'article de Stephen Bann (« The History of Art History in Brita…
Signposts of Invention: Artists' Signatures in Italian Renaissance Art
The opening lines of Dante Alighieri's Divine Comedy provide the starting point for a consideration of the ways that artists inscribed themselves within their works during the Renaissance. This is a matter both of signatures and of authorial complicity. This article examines how signatures were defined in the period and how they were used in a process of artistic definition. Conventions of inscription are outlined, and four particularly inventive…
Hierarchies of Vision: Fra Angelico's Coronation of the Virgin from San Domenico, Fiesole
The altarpiece painted by Fra Angelico for the Observant Dominican church outside of Fiesole (now in the Louvre) represents the court of heaven assembled in celebration and contemplation of the Virgin. The company of prophets and saints is carefully selected and arranged to argue a case for the status and authority of the recently established observance. Envisioning the realm of the divine, it also shows modes of viewing: presenting examples of d…
Die Maler von Florenz: Zu Beginn der Renaissance
Renaissance Women Patrons Caterine King
Received
The Art of Colour in Florentine Painting of the Early Sixteenth Century: Rosso Fiorentino and Jacopo Pontormo
Leonardo Da Vinci, the Hayward Gallery, London, 26 January‐16 April 1969
Reviews an exhibition of the drawings of Leonardo da Vinci at the Hayward Gallery, London, that presents Leonardo as artist, scientist, and inventor and attempts to reveal his characteristic ways of seeing and patterns of creativity
What Men Saw: Vasari's Life of Leonardo Da Vinci and the Image of the Renaissance Artist
Images and Identity in Fifteenth-Century Florence
Renaissance Florence, of endless fascination for the beauty of its art and architecture, is no less intriguing for its dynamic political, economic, and social life. In this book Patricia Lee Rubin crosses the boundaries of all these areas to arrive at an original and comprehensive view of the place of images in Florentine society. The author asks an array of questions: Why were works of art made? Who were the artists who made them, and who commis…
Income transfers and household debt. The advancing collateralization of social policy in the midst of restructuring crises
The aim of this article is to address how household debt and contemporary credit markets seem to be the defining elements in the reshaping of social policy both in developing and developed countries. We start off by recalling how the implementation of income policies as the core of a new social protection paradigm has contributed to promote market-based finance. We take Brazil as a case study to illustrate how this new connection between state gu…
Signposts of Invention: Artists' Signatures in Italian Renaissance Art
The opening lines of Dante Alighieri's Divine Comedy provide the starting point for a consideration of the ways that artists inscribed themselves within their works during the Renaissance. This is a matter both of signatures and of authorial complicity. This article examines how signatures were defined in the period and how they were used in a process of artistic definition. Conventions of inscription are outlined, and four particularly inventive…
Images and Identity in Fifteenth-Century Florence
Renaissance Florence, of endless fascination for the beauty of its art and architecture, is no less intriguing for its dynamic political, economic, and social life. In this book Patricia Lee Rubin crosses the boundaries of all these areas to arrive at an original and comprehensive view of the place of images in Florentine society. The author asks an array of questions: Why were works of art made? Who were the artists who made them, and who commis…
Leonardo Da Vinci, the Hayward Gallery, London, 26 January‐16 April 1969
Reviews an exhibition of the drawings of Leonardo da Vinci at the Hayward Gallery, London, that presents Leonardo as artist, scientist, and inventor and attempts to reveal his characteristic ways of seeing and patterns of creativity
What Men Saw: Vasari's Life of Leonardo Da Vinci and the Image of the Renaissance Artist
The Art of Colour in Florentine Painting of the Early Sixteenth Century: Rosso Fiorentino and Jacopo Pontormo
Renaissance Women Patrons Caterine King
Received
Hierarchies of Vision: Fra Angelico's Coronation of the Virgin from San Domenico, Fiesole
The altarpiece painted by Fra Angelico for the Observant Dominican church outside of Fiesole (now in the Louvre) represents the court of heaven assembled in celebration and contemplation of the Virgin. The company of prophets and saints is carefully selected and arranged to argue a case for the status and authority of the recently established observance. Envisioning the realm of the divine, it also shows modes of viewing: presenting examples of d…
Die Maler von Florenz: Zu Beginn der Renaissance
Signposts of Invention: Artists' Signatures in Italian Renaissance Art
The opening lines of Dante Alighieri's Divine Comedy provide the starting point for a consideration of the ways that artists inscribed themselves within their works during the Renaissance. This is a matter both of signatures and of authorial complicity. This article examines how signatures were defined in the period and how they were used in a process of artistic definition. Conventions of inscription are outlined, and four particularly inventive…
Histoire de l'histoire de l'art en Grande-Bretagne: Grandes Tendances Et Nouveaux Débats
Stephen Bann | Histoire de l'histoire de l'art en Grande-Bretagne : grandes tendances et nouveaux debats Apres l'apport des historiens de l'art europeens arrives en Angleterre dans les annees 1930, ou en est l'histoire de l'art en Grande-Bretagne ? Pour comprendre l'evolution recente de l'historiographie britannique (ou anglo-saxonne ?), s'est rapidement impose l'interet de traduire l'article de Stephen Bann (« The History of Art History in Brita…
Che e di questo culazzino: Michelangelo and the Motif of the Male Buttocks in Italian Renaissance Art
In 1497 an adolescent brought before the Florentine Officers of the Night confessed to having been sodomised by several men. He also mentioned a shopkeeper, who did not sodomise him, but who, when the boy passed by his shop, would exclaim: ‘What sort of beautiful bottom is this!’ touching it with his hands (‘“Che è di questo culazzino!” toccandolo colle sue mani ... ').1 This episode neatly encapsulates the relation between desire, sight, and tou…
Mal'Occhio: Looking Awry at the Renaissance - Introduction
This special issue, co-edited with Maria Loh, originated in an Oxford Art Journal conference Mal'occhio: Looking Awry at the Renaissance, held in November 2008, organised under the auspices of the Courtauld Institute of Art Research Forum with generous support from University College London and Oxford University Press. Ugo da Carpi's print of Diogenes from the British Museum (Fig. 1) was used as the poster for the conference and as an emblem for …
The Liar’: Fictions of the Person
The Outcry: Despoilers, donors, and the National Gallery in London, 1909
In April 1909 the Duke of Norfolk accepted an offer for Holbein’s portrait of Christina of Denmark, on loan to the National Gallery since 1880. There was an immediate public reaction to the announcement of the sale, which raised issues around private interest and public benefit. While the potential removal of the portrait from the National Gallery has been frequently discussed, the nearly simultaneous gift of just under 200 paintings from the col…
Art History from the Bottom Up
Income transfers and household debt. The advancing collateralization of social policy in the midst of restructuring crises
The aim of this article is to address how household debt and contemporary credit markets seem to be the defining elements in the reshaping of social policy both in developing and developed countries. We start off by recalling how the implementation of income policies as the core of a new social protection paradigm has contributed to promote market-based finance. We take Brazil as a case study to illustrate how this new connection between state gu…
Art (12 works) · Art history (12 works) · Visual arts (9 works) · History (5 works) · Painting (5 works) · Renaissance and Early Modern Studies (5 works) · The Renaissance (5 works) · Aesthetics (4 works) · Citation (4 works) · Computer Science (4 works)