In Worlds Within, Elina Gertsman investigates the Shrine Madonnas,
or Vierges ouvrantes—sculptures that conceal within their bodies
complex carved and/or painted iconographies. The Shrine Madonna
emerged in Europe at the end of the 1200s and reached a peak of
popularity during the following three centuries. Gertsman argues
that the appearance of these objects—predicated as they are on
the dynamic of concealment, revelation, and fragmentation—points
to the changing roles of vision and sensation in the complex,
performative ways in which audiences were expected to engage with
devotional images, both in public and in private. Worlds Within
considers these fascinating sculptures in terms of the rhetoric of
secrecy, the discourse of containment, and the tropes of unveiling.
Gertsman demonstrates how the statues were associated with the
processes of seeing and memory-making and how they functioned as
instruments of revelatory knowledge and spiritual reformation in
the context of late medieval European culture.
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