Early modern objects, images and artworks were often nodes of discussion and contestation. If images were sometimes contested by external and often competing agencies (religious and secular authorities, image theoreticians, various Inquisitions etc.), artists and objects were often just as likely to impose their own rules and standards through the continuation and/or contestation of established visual traditions, styles, iconographies, materialities, reproductions and reframings. While issues such as censorship and iconoclasm have already received much attention from scholars, the actual role and capacity of the image as agent-either in actual legal processes or, more generally, in the creation of new visual standards-has yet to be adequately thematised. At present, no comprehensive study collects the many diverse instances of the multi-layered normative power of images, objects and art. This volume "Contested forms" aims to provide a first exploration of image normativity by means of a series of case studies, which will focus in different ways on the intersections between the limits of the sacred image and the power of art, especially but not exclusively in Europe, between 1450 and 1650. Each essay will approach the question of normativity in sacred images from different perspectives. Dealing with different types of images and materials, authors will discuss the status of images and objects in trials, contested portraits, objects and iconographies, the limits to representations of suffering, the tensions between theology and art, and the significance of copies and adaptations that establish as well as contest visual norms from Europe and beyond.

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