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Books > Arts & Architecture > History of art / art & design styles > 500 CE to 1400
Edward Garrison's work on early Italian panels resulted in the
publication in 1949 of the first comprehensive index of Romanesque
Italian panel painting, which remains the standard work of
reference on the subject. Subsequently, his four-volume Studies in
the History of Medieval Italian Painting, published in Florence
between 1953 and 1962, represents the most considerable body of
research yet published on Italian miniature and panel painting from
the eleventh to the thirteenth centuries. These two volumes collect
together all the author's articles on Italian fresco and panel
painting which have been published in art-historical journals since
1945. This provides both an indispensable supplement to the
author's earlier Studies in the History of Medieval Italian
Painting, and in including three successive Addenda to his Index of
Italian Romanesque Panel Paintings, also serves the function of
updating the earlier publications. Contents: Preface Notes on the
History of Certain Twelfth-Century Central Italian Manuscripts of
Importance for the History of Painting Notes on Certain Italian
Medieval Manuscripts I-II A Giant Venetian Bible of the Earlier
Thirteenth Century A Lucchese Passionary Related to the Sarzana
Crucifix Additional Certainly, Probably and Possibly Lucchese
Manuscripts I-II: A Pisan Homilary with Lucca-lnfluenced Initials
Three Manuscripts for Lucchese Canons of S. Frediano in Rome A
Third 'S. Bononio Manuscript' for S. Michele a Marturi Random Notes
on Early Italian Manuscripts, I-III Saints Equizio, Onorato and
Libertino in Eleventh- and Twelfth-Century Italian Litanies as
Clues to the Attribution of Manuscripts Index.
The early middle ages were an exciting period in the history of European architecture, culminating in the development of the Romanesque style. Major architectural innovations were made during this time including the castle, the church spire, and the monastic cloister. This lucidly-written book expands upon key themes and issues to provide a fresh and radically new approach to the architecture of the period.
In this visually rich volume, Mariah Proctor-Tiffany reconstructs
the art collection and material culture of the fourteenth-century
French queen Clemence de Hongrie, illuminating the way the royal
widow gave objects as part of a deliberate strategy to create a
lasting legacy for herself and her family in medieval Paris. After
the sudden death of her husband, King Louis X, and the loss of her
promised income, young Clemence fought for her high social status
by harnessing the visual power of possessions, displaying them, and
offering her luxurious objects as gifts. Clemence adeptly performed
the role of queen, making a powerful argument for her place at
court and her income as she adorned her body, the altars of her
chapels, and her dining tables with sculptures, paintings,
extravagant textiles, manuscripts, and jewelry-the exclusive
accoutrements of royalty. Proctor-Tiffany analyzes the queen's
collection, maps the geographic trajectories of her gifts of art,
and interprets Clemence's generosity using anthropological theories
of exchange and gift giving. Engaging with the art inventory of a
medieval French woman, this lavishly illustrated microhistory sheds
light on the material and social culture of the late Middle Ages.
Scholars and students of medieval art, women's studies, digital
mapping, and the anthropology of ritual and gift giving especially
will welcome Proctor-Tiffany's meticulous research.
In 1993 and 1994, The Centre for Christianity and the Arts at the
Institute of Church History, University of Copenhagen, arranged
symposia with liturgy and the arts in the Middle Ages as the
uniting theme. Scholars, with different professional backgrounds
and from different European countries, as well as from the USA,
presented papers of which 11 are collected and published in this
book.
Why does a society seek out images of violence? What can the
consumption of violent imagery teach us about the history of
violence and the ways in which it has been represented and
understood? Assaf Pinkus considers these questions within the
context of what he calls galleries of violence, the torment imagery
that flourished in German-speaking regions during the fourteenth
and fifteenth centuries. Exploring these images and the visceral
bodily responses that they produced in their viewers, Pinkus argues
that the new visual discourse on violence was a watershed in
premodern conceptualizations of selfhood. Images of martyrdom in
late medieval Germany reveal a strikingly brutal parade of passion:
severed heads, split skulls, mutilated organs, extracted
fingernails and teeth, and myriad other torments. Stripped from
their devotional context and presented simply as brutal acts, these
portrayals assailed viewers’ bodies and minds so violently that
they amounted to what Pinkus describes as “visual aggressions.”
Addressing contemporary discourses on violence and cruelty, the
aesthetics of violence, and the eroticism of the tortured body,
Pinkus ties these galleries of violence to larger cultural concerns
about the ethics of violence and bodily integrity in the
conceptualization of early modern personhood. Innovative and
convincing, this study heralds a fundamental shift in the scholarly
conversation about premodern violence, moving from a focus on the
imitatio Christi and the liturgy of punishment to the notion of
violence as a moral problem in an ethical system. Scholars of
medieval and early modern art, history, and literature will welcome
and engage with Pinkus’s research for years to come.
Siena of the thirteenth and fourteenth centuries was one of the
great cities of Europe and its artists--Duccio, Simone Martini, and
Ambrogio and Pietro Lorenzetti--were among those who reshaped the
nature and place of painting first in Italy, then across Europe.
Drawing on the extraordinary riches of Sienese archives, on early
unpublished secondary sources, and on the recent work of
historians, Hayden Maginnis situates early Sienese painters within
their society and their city and provides the first comprehensive
account of the economic, social, religious, and intellectual world
of Siena's artists.
Where did painters live? How much were they paid? What was their
social status? Were painters aware of the novel importance of
thirteenth-century optics? Were the famous Sienese painters
isolated figures, surrounded by a few secondary figures, or were
they part of a larger community? These and a host of related
questions structure Maginnis's book, which demonstrates how firmly
painters' lives were embedded in the values and customs of their
society and how important the particular character of their society
was for the patronage artists received. The World of the Early
Sienese Painter is the second volume of a trilogy Maginnis began
with Painting in the Age of Giotto (1997). The third volume will
turn from the broad social and cultural history of the present book
to a history of early Sienese painting.
Cotton Claudius B.iv, an illustrated Old English Hexateuch that is
among the treasures of the British Library, contains one of the
first extended projects of translation of the Bible in a European
vernacular. Its over four hundred images make it one of the most
extensively illustrated books to survive from the early Middle Ages
and preserve evidence of the creativity of the Anglo-Saxon artist
and his knowledge of other important early medieval picture cycles.
In addition, the manuscript contains the earliest copy of Aelfric's
Preface to Genesis, a work that discusses issues of translation and
interpretation.
This easily accessible volume, which grew out of a series of
lectures presented at the Smithsonian Institution in 1991, aims to
provide a coherent introduction to Byzantine culture with a focus
on the interconnected realms of art and religion. The eight
participants have revised their lectures into chapters on Byzantine
history, theology, icons and icon theory, church architecture,
monumental painting, silver church furnishings, illustrated
liturgical books, and pilgrimage. In addition to presenting current
research on this range of topics, the chapters each contribute
original scholarship from authors who are recognized experts in
their respective fields.
The Introduction, by Linda Safran, deals with views and
definitions of Byzantium over the course of its long history and
considers why that civilization deserves our attention today. It
underscores the essential unifying role of the Orthodox religion in
a vast and fluid empire and clarifies how the experiential aspects
of that religion--churches, liturgy, church arts and imagery,
religious travel--open a window into Byzantine culture. Throughout
the book, the past is made vivid by considering what Byzantine
believers heard and said and did, as well as what they saw.
The book's chapters are cross-referenced and are complemented
both by endnotes that cite primary and secondary sources and by
"Suggestions for Further Reading" that include English and
foreign-language references. There is no comparable art history
text that combines this high-caliber range of current scholarship
with more than 250 illustrations, including 16 pages of color
plates, to introduce Byzantine culture to a broad readership.
Contributors are Joseph Alchermes, Susan A. Boyd, Anna
Kartsonis, Henry Maguire, Robert Ousterhout, Eric D. Perl, Nancy
Patterson sevčenko, and Gary Vikan.
Davies' study of medieval Armenian architecture focuses on one of
Armenia's most outstanding medieval monuments, the Church of the
Holy Cross at Aght'amar. The church, built a thousand years ago,
has survived intact and provides a valuable glimpse of the art of
the 10th-century kingdom of Vaspurakin. The sculptural and mural
programmes are discussed in detail as are the influences on the
artwork and the subsequent history of the church up to the present
day.
Barbaric Splendour: the use of image before and after Rome
comprises a collection of essays comparing late Iron Age and Early
Medieval art. Though this is an unconventional approach, there are
obvious grounds for comparison. Images from both periods revel in
complex compositions in which it is hard to distinguish figural
elements from geometric patterns. Moreover, in both periods, images
rarely stood alone and for their own sake. Instead, they decorated
other forms of material culture, particularly items of personal
adornment and weaponry. The key comparison, however, is the
relationship of these images to those of Rome. Fundamentally, the
book asks what making images meant on the fringe of an expanding or
contracting empire, particularly as the art from both periods drew
heavily from - but radically transformed - imperial imagery.
From an intercultural perspective, this book focuses on aesthetic
strategies and forms of representation in premodern Christian and
Islamic sepulchral art. Seeing the tomb as an interface for
eschatological, political, and artistic debate, the contributions
analyze the diversity of memorial space configurations. The
subjects range from the complex interaction between architecture
and tomb topography through to questions relating to the funereal
expression of power and identity, and to practices of ritual
realization in the context of individual and collective memory.
This volume incorporates all the articles and reviews published in
volume 14 (2014) of the Journal of Hebrew Scriptures.
In Moses the Egyptian, Herbert Broderick analyzes the iconography
of Moses in the famous illuminated eleventh-century manuscript
known as the Illustrated Old English Hexateuch. A translation into
Old English of the first six books of the Bible, the manuscript
contains over 390 images, of which 127 depict Moses with a variety
of distinctive visual attributes. Broderick presents a compelling
thesis that these motifs, in particular the image of the horned
Moses, have a Hellenistic Egyptian origin. He argues that the
visual construct of Moses in the Old English Hexateuch may have
been based on a Late Antique, no longer extant, prototype
influenced by works of Hellenistic Egyptian Jewish exegetes, who
ascribed to Moses the characteristics of an Egyptian-Hellenistic
king, military commander, priest, prophet, and scribe. These Jewish
writings were utilized in turn by early Christian apologists such
as Clement of Alexandria and Eusebius of Caesarea. Broderick's
analysis of this Moses imagery ranges widely across religious
divides, art-historical religious themes, and classical and early
Jewish and Christian sources. Herbert Broderick is one of the
foremost historians in the field of Anglo-Saxon art, with a primary
focus on Old Testament iconography. Readers with interests in the
history of medieval manuscript illustration, art history, and early
Jewish and Christian apologetics will find much of interest in this
profusely illustrated study.
Medieval Toledo is famous as a center of Arabic learning and as a
home to sizable Jewish, Muslim, and Christian communities. Yet its
cathedral—one of the largest, richest, and best preserved in all
of Europe—is little known outside Spain. In Toledo Cathedral, Tom
Nickson provides the first in-depth analysis of the cathedral’s
art and architecture. Focusing on the early thirteenth to the late
fourteenth centuries, he examines over two hundred years of change
and consolidation, tracing the growth of the cathedral in the city
as well as the evolution of sacred places within the cathedral
itself. He goes on to consider this substantial monument in terms
of its location in Toledo, Spain’s most cosmopolitan city in the
medieval period. Nickson also addresses the importance and symbolic
significance of Toledo’s cathedral to the city and the art and
architecture of the medieval Iberian Peninsula, showing how it fits
in with broader narratives of change in the arts, culture, and
ideology of the late medieval period in Spain and in Mediterranean
Europe as a whole.
The Tur 'Abdin is a mountainous region in the south-east of modern
Turkey, and is architecturally one of the most interesting areas
for the study of early Christian architecture. In two journeys into
the Tur 'Abdin early in this century, Gertrude Bell examined the
more important monastic sites. Her two reports on these journeys,
published in 1910 and 1913, made available for the first time a
full study of the Christian architecture of the region, and her
photographs are particularly valuable since many of the churches
have since been destroyed or suffered considerable damage. In the
present volume these two seminal studies are reprinted, with the
addition of over a hundred and twenty previously unpublished
photographs of these monuments from the Bell archive. Gertrude
Bell's text is printed as originally published, but has been
up-dated by Marlia Mundell Mango with extensive notes which draw
attention to subsequent work. The editor has also added an
extensive Catalogue of sites and monuments visited by Bell in and
around the Tur 'Abdin; this provides an alphabetical gazeteer to
all of the sites mentioned in Bell's text, and supplies information
about other sites and monuments visited by Bell, but of which she
did not publish her photographs. The entries in this sixty-page
Catalogue give the relevant information from Bell's published work
for each monument; a bibliography of other work on it; building
dates from inscriptions and texts; changes to the monument since
visited by Bell; and a short summary of publications on the
monument. Marlia Mundell Mango has also added a short glossary; a
list of dated monuments in the region from A.D. 200-1500; an
administrative list of provinces, metropolitan bishoprics and
bishoprics covering the ecclesiastical administration of the region
in late antiquity; a detailed map which incorporates most of this
new information; a bibliography with a survey of archaeological and
historical work on the Christian monuments of northern Mesopotamia
and a total of 256 of Bell's plates, of which 128 are published
here for the first time.
Edward Garrison's work on early Italian panels resulted in the
publication in 1949 of the first comprehensive index of Romanesque
Italian panel painting, which remains the standard work of
reference on the subject. Subsequently, his four-volume Studies in
the History of Medieval Italian Painting, published in Florence
between 1953 and 1962, represents the most considerable body of
research yet published on Italian miniature and panel painting from
the eleventh to the thirteenth centuries. These two volumes collect
together all the author's articles on Italian fresco and panel
painting which have been published in art-historical journals since
1945. This provides both an indispensable supplement to the
author's earlier Studies in the History of Medieval Italian
Painting, and in including three successive Addenda to his Index of
Italian Romanesque Panel Paintings, also serves the function of
updating the earlier publications. Contents: Preface The Role of
Criticism in the Historiography of Painting Note on the Survival of
Thirteenth-Century Panel Paintings in Italy A Berlinghieresque
Fresco in S. Stefano, Bologna Ricupero di un affresco del
dodicesimo secolo in Lucca Towards a New History of Early Lucchese
Painting Elements of Shape as Indices of Date in Florentine Painted
Panels A Ducciesque Tabernacle at Oxford The Oxford Christ Church
Library Panel and the Milan Sessa Collection Shutters Simeone and
Machilone Spoletenses Il Maestro di Forli Dating the Vatican Last
Judgment Panel: Monument versus Document Post-War Discoveries in
Early Italian Painting, I-V Addenda ad Indicem, I-III Index.
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