Important works of many artists from antiquity to the present tell the story of Western civilization in a breathtaking collection of art displayed in this address book.

This fully illustrated guide presents 110 masterworks from the Blanton Museum of Art, the fine arts museum of the University of Texas at Austin and one of the foremost university art museums in the United States.

Publisher description

With a storied past and a strong imperial presence, the southern German city of Augsburg enjoyed a golden age in the late 15th and early 16th centuries - fostering artists such as Hans Burgkmair, Erhard Ratdolt, Daniel Hopfer, Jörg Breu and Hans Weiditz. Focusing on the drawings, prints and illustrated books Augsburg's artists created as well as the innovative printing techniques they used, this volume - the first of its kind in English - serves as an introduction to Augsburg, its artists and its cultural history, during this period.

As the magazine of the Texas Exes, The Alcalde has united alumni and friends of The University of Texas at Austin for nearly 100 years. The Alcalde serves as an intellectual crossroads where UT's luminaries - artists, engineers, executives, musicians, attorneys, journalists, lawmakers, and professors among them - meet bimonthly to exchange ideas. Its pages also offer a place for Texas Exes to swap stories and share memories of Austin and their alma mater. The magazine's unique name is Spanish for "mayor" or "chief magistrate"; the nickname of the governor who signed UT into existence was "The Old Alcalde."

This handsome book will present for the first time a comprehensive overview of the Blanton Museum of Art's notable and distinguished permanent collection. The collection comprises more than 17,000 works of art and is recognized for its Old Master paintings, modern and contemporary American and Latin American art, and an encyclopaedic collection of prints and drawings. Since its founding in 1963, the museum has experienced significant growth and become particularly strong in the following areas: modern and contemporary American art, featuring the Mari and James A. Michener Collection of American art; twentieth-century Latin American art, including the Barbara Duncan Collection; fifteenth-century to contemporary prints and drawings, featuring the recently acquired Leo Steinberg Collection; and European paintings, including works from the Suida-Manning Collection of Renaissance and Baroque art. Through 235 stunning colour illustrations, the handbook features some of the most important holdings in the Blanton's collection, including works by Albrecht Dürer, Correggio, Rubens, Rembrandt, Giovanni Battista Tiepolo, Manet, Picasso, Joaquín Torres-García, Marsden Hartley, Hans Hofmann, Helen Frankenthaler, Jacob Lawrence, Sol LeWitt, Cy Twombly, Jasper Johns, Fernando Botero, Antonio Seguí, and Cildo Meireles.

Hearing Voices takes a fresh look at sound in the poetry and prose of colonial Latin American poet and nun Sor Juana Inés de la Cruz (1648/51–95). A voracious autodidact, Sor Juana engaged with early modern music culture in a way that resonates deeply in her writing. Despite the privileging of harmony within Sor Juana’s work, however, links between the poet’s musical inheritance and subjects such as acoustics, cognition, writing, and visual art have remained unexplored. These lacunae have marginalized nonmusical aurality and contributed to the persistence of both ocularcentrism and a corresponding visual dominance in scholarship on Sor Juana—and indeed in early modern cultural production in general. As in many areas of her work, Sor Juana’s engagement with acoustical themes restructures gendered discourses and transposes them to a feminine key. Hearing Voices focuses on these aural conceits in highlighting the importance of sound and—in most cases—its relationship with gender in Sor Juana’s work and early modern culture. Sarah Finley explores attitudes toward women’s voices and music making; intersections of music, rhetoric, and painting; aurality in Baroque visual art; sound and ritual; and the connections between optics and acoustics. Finley demonstrates how Sor Juana’s striking aurality challenges ocularcentric interpretations and problematizes paradigms that pin vision to logos, writing, and other empirical models that traditionally favor men’s voices. Sound becomes a vehicle for women’s agency and responds to anxiety about the female voice, particularly in early modern convent culture.