This title was first published in 2000:  Fashioning Identities analyses some of the different ways in which identities were fashioned in and with art during the Renaissance, taken as meaning the period c.1300-1600. The notion of such a search for new identities, expressed in a variety of new themes, styles and genres, has been all-pervasive in the historical and critical literature dealing with the period, starting with Burckhardt, and it has been given a new impetus by contemporary scholarship using a variety of methodological approaches. The identities involved are those of patrons, for whom artistic patronage was a means of consolidating power, projecting ideologies, acquiring social prestige or building a suitable public persona; and artists, who developed a distinctive manner to fashion their artistic identity, or drew attention to aspects of their artistic personality either in self portraiture, or the style and placing of their signature, or by exploiting a variety of literary forms. Several papers also attend to the fashioning of identities and meanings in Renaissance art by the spectator or critic and the ways in which these might or might not differ from those that were intended by the patron or artist. Though several of the studies deal with relatively little known material, from Ferrara, Brescia, or Tudor England, the majority aim to treat well known artists and works, such as Giotto, Michelangelo or Cellini, in a fresh way. Most of the essays are based on papers given at the conference of the Association of Art Historians held in 1998.

’...the variety of approaches and the range of insight offered here have produced a comprehensive round-up of current research.’ The Art Newspaper, No. 105 ’...this collection of essays is impressively cohesive...Taken together, these essays are evidence of several exciting new directions in the study of Renaissance art.’ Renaissance Journal ’these essays...are evidence of several exciting new directions in the study of Renaissance art.’ Renaissance Journal 'Ashgate is to be complimented for once again choosing to publish a stimulating collection of Renaissance historical studies and for the high standards of quality applied in its production.' CAA.Reviews

Mary Rogers, University of Bristol, UK and co-editor with Frances Ames-Lewis of Concepts of Beauty in Renaissance Art. Introduction by Joanna Woods-Marsden, University of California, Los Angeles