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The work of mid-twentieth century art theorist Anton Ehrenzweig is
explored in this original and timely study. An analysis of the
dynamic and invigorating intellectual influences, institutional
framework and legacy of his work, Between Art Practice and
Psychoanalysis reveals the context within which Ehrenzweig worked,
how that influenced him and those artists with whom he worked
closely. Beth Williamson looks to the writing of Melanie Klein,
Marion Milner, Adrian Stokes and others to elaborate Ehrenzweig's
theory of art, a theory that extends beyond the visual arts to
music. In this first full-length study on his work, including an
inventory of his library, previously unexamined archival material
and unseen artworks sit at the heart of a book that examines
Ehrenzweig's working relationships with important British artists
such as Bridget Riley, Eduardo Paolozzi and other members of the
Independent Group in London in the 1950s and 1960s. In Ehrenzweig's
second book The Hidden Order of Art (1967) his thinking on Jackson
Pollock is important too. It was this book that inspired American
artists Robert Smithson and Robert Morris when they deployed his
concept of 'dedifferentiation'. Here Williamson offers new readings
of process art c. 1970 showing how Ehrenzweig's aesthetic retains
relevance beyond the immediate post-war era.
This was first published in 2000: Introduced by Joanna Cannon, this
volume of essays by postgraduate students at the Courtauld
Institute, University of London, explores some of the ways in which
art was used to express, to celebrate, and to promote the political
and religious aims and aspirations of those in power in the city
states of central Italy in the thirteenth and fourteenth centuries.
The contributions focus on four centres: Siena, Arezzo, Pisa and
Orvieto, and range over a number of media: fresco, panel painting,
sculpture, metalwork, and translucent enamel. Employing a variety
of methods and approaches, these stimulating essays offer a fresh
look at some of the key artistic projects of the period. The dates
cited in the title, 1261 and 1352, refer to two well-known works,
Coppo di Marcovaldo's Madonna del Bordone and the Guidoriccio
Fresco in the Palazzo Pubblico of Siena, here newly assigned to
this date. By concentrating on individual cases such as these, the
essays provide rewardingly sustained consideration, at the same
time raising crucial issues concerning the role of art in the
public life of the period. These generously-illustrated studies
introduce new material and advance new arguments, and are all based
on original research. Clear and lively presentation ensures that
they are also accessible to students and scholars from other
disciplines. Art, Politics and Civic Religion in Central Italy,
1261-1352 is the first volume in the new series Courtauld Institute
Research Papers. The series makes available original recently
researched material on western art history from classical antiquity
to the present day.
Ground-breaking study of the enigmatic and unique tabernacles from
fourteenth-century Italy, which for the first time combined relics
and images. Images and relics were central tools in the process of
devotional practice in medieval Europe. The reliquary tabernacles
that emerged in the 1340s, in the area of Central Italy surrounding
the city of Siena, combined images and relics, presented visibly
together, within painted and decorated wooden frames. In these
tabernacles the various media and materials worked together to
create a powerful and captivating ensemble, usable in several
contexts, both in procession and static, as the centre of focussed,
prayerful attention. This book looks at Siena and Central Italy as
environments of artistic invention, and at Sienese painters in
particular as experts in experimentation whose ingenuity encouraged
the development of this new form of devotional technology. It is
the first full-length study to focus in depth on the materiality of
these tabernacles, investigating the connotations and effects of
the materials from which they were made. It examines especially the
effect of bringing relics and images together, and considers how
the impressions of variety and abundance created by the
multiplication of materials give birth to meaning and encourage
certain kinds of action or thought.
Joanna Cannon's scholarship and teaching have helped shape the
historical study of thirteenth- and fourteenth-century Italian art;
this essay collection by her former students is a tribute to her
work. The essays collected here form a tribute to Joanna Cannon,
whose scholarship and teaching have done so much to shape the
historical study of thirteenth- and fourteenth-century Italian art.
Her teaching lies at the heart of this book, as its chapters are
all written by those who gained their doctorates under her
supervision. The reach of her interests and expertise is also
reflected in its range of subjects. The book is unified by its
concentration on Italian art, history, and material culture,
spanning the thirteenth to the fifteenth centuries; but within that
scope the individual essays focus on an impressive variety of
subjects, across many media, including panel painting, wall
painting, architecture, sculpture, metalwork, manuscripts, and
gilded glass. Ranging across Italy, from Bologna, to Siena, to
Assisi, to Florence, they address key themes in the field, such as
artistic patronage, sainthood and sanctity, the visual culture of
the mendicant orders, devotional practice, and civic religion. Some
essays bring fresh approaches to familiar material (Ambrogio
Lorenzetti's Saint Nicholas panels, the frescoes in Siena's Palazzo
Pubblico, Simone Martini's Holy Family), while others illuminate
objects and images that are less well known (the central panel of
the Santa Chiara triptych in Trieste, and the statue of Saint
Francis in San Francesco in Siena). As a collection they combine to
make an important contribution to the study of Early Italian art,
seeking thereby to echo the extraordinary contribution of Joanna
Cannon's own work to that field.
This was first published in 2000: Introduced by Joanna Cannon, this
volume of essays by postgraduate students at the Courtauld
Institute, University of London, explores some of the ways in which
art was used to express, to celebrate, and to promote the political
and religious aims and aspirations of those in power in the city
states of central Italy in the thirteenth and fourteenth centuries.
The contributions focus on four centres: Siena, Arezzo, Pisa and
Orvieto, and range over a number of media: fresco, panel painting,
sculpture, metalwork, and translucent enamel. Employing a variety
of methods and approaches, these stimulating essays offer a fresh
look at some of the key artistic projects of the period. The dates
cited in the title, 1261 and 1352, refer to two well-known works,
Coppo di Marcovaldo's Madonna del Bordone and the Guidoriccio
Fresco in the Palazzo Pubblico of Siena, here newly assigned to
this date. By concentrating on individual cases such as these, the
essays provide rewardingly sustained consideration, at the same
time raising crucial issues concerning the role of art in the
public life of the period. These generously-illustrated studies
introduce new material and advance new arguments, and are all based
on original research. Clear and lively presentation ensures that
they are also accessible to students and scholars from other
disciplines. Art, Politics and Civic Religion in Central Italy,
1261-1352 is the first volume in the new series Courtauld Institute
Research Papers. The series makes available original recently
researched material on western art history from classical antiquity
to the present day.
Detailed analysis of an iconographic motif of huge significance in
European art. The image of the `Madonna of Humility', the Virgin
and Child seated on the ground, is widespread in European art, yet
it remains mysterious. This book provides a detailed and accessible
investigation and explication of the theme'smultiple significances,
and of other associated images (including the Virgin suckling the
Child, the Woman of the Apocalypse and the Virgin Annunciate). It
takes issue with the orthodox view of the origins of the image
lying in the work of Simone Martini at Avignon, suggesting a longer
process of development, with a key role for manuscript illumination
in Metz. Subsequent chapters pursue the assimilation,
appropriation, and adjustment of the image in a number of regions
across Europe, challenging the simplistic idea of unequivocal
iconographic meaning determined solely by the context of the
image's genesis. The book argues for an essential fluidity and
negotiability of meaning inthe visual arts, challenging the very
idea of unitary and unequivocal iconographic readings; and its
examination of the multi-layered functions of the image in
different contexts and different regions provides not just an
iconographical case-study, but a cultural history of a devotional
resource with Europe-wide implications Dr BETH WILLIAMSON teaches
in the Department of Art History, University of Bristol.
An introduction to the key Christian themes, signs, and symbols found in art, from the devotional works of the Medieval and Renaissance periods, to the co-existence, in the twentieth and twenty-first centuries, of the deliberately controversial and the consciously devotional.
The Nobile Index is a series of monographic publications of art
sales prices achieved at auction, for a selection of leading
20th-century British artists. They involve the collaboration of a
commercial art dealership, Piano Nobile Works of Art and the
University of Bristol's History of Art Department; bringing
together academic and commercial expertise on the artists for the
benefit of those with an interest in their work. They are funded by
the generosity of a private benefactor. The studies are confined to
analyses of auction art sales results from 1990 to the time of the
study. Although largely from UK sales, data supplied by
international salerooms are also included. Graphs and
interpretations of these figures are analysed and significant
trends and buying patterns revealed. It is envisaged that this data
will be of growing value to private and corporate clients, museums
and fine art funds. Accurate commercial appraisal has always played
an important role in the consideration of new acquisitions
throughout the history of art. No more so than today is this seen
with the fluctuating, but ever more significant rise in value
commanded by the best of many 20th-century artists' work. This
publication of the Nobile Index Series, written by Rhian Addison,
who gained a Masters degree from Bristol University in History of
Art, focuses on the sales history of L.S. Lowry, one of the most
important British artists of the twentieth century, an
idiosyncratically home-grown artist with a specifically British
vision. Evaluating general market trends, genres, and media amongst
other factors, Rhian Addison's investigation provides an invaluable
source of information on L.S. Lowry as an artist and the legacy and
future of his work within the art market. The publication come in
two sections - an introduction, results and analysis and a booklet
insert of appendices.
The work of mid-twentieth century art theorist Anton Ehrenzweig is
explored in this original and timely study. An analysis of the
dynamic and invigorating intellectual influences, institutional
framework and legacy of his work, Between Art Practice and
Psychoanalysis reveals the context within which Ehrenzweig worked,
how that influenced him and those artists with whom he worked
closely. Beth Williamson looks to the writing of Melanie Klein,
Marion Milner, Adrian Stokes and others to elaborate Ehrenzweig's
theory of art, a theory that extends beyond the visual arts to
music. In this first full-length study on his work, including an
inventory of his library, previously unexamined archival material
and unseen artworks sit at the heart of a book that examines
Ehrenzweig's working relationships with important British artists
such as Bridget Riley, Eduardo Paolozzi and other members of the
Independent Group in London in the 1950s and 1960s. In Ehrenzweig's
second book The Hidden Order of Art (1967) his thinking on Jackson
Pollock is important too. It was this book that inspired American
artists Robert Smithson and Robert Morris when they deployed his
concept of 'dedifferentiation'. Here Williamson offers new readings
of process art c. 1970 showing how Ehrenzweig's aesthetic retains
relevance beyond the immediate post-war era.
This title was first published in 2000: Introduced by Joanna
Cannon, this volume of essays by postgraduate students at the
Courtauld Institute, University of London, explores some of the
ways in which art was used to express, to celebrate, and to promote
the political and religious aims and aspirations of those in power
in the city states of central Italy in the thirteenth and
fourteenth centuries. The contributions focus on four centres:
Siena, Arezzo, Pisa and Orvieto, and range over a number of media:
fresco, panel painting, sculpture, metalwork, and translucent
enamel. Employing a variety of methods and approaches, these
stimulating essays offer a fresh look at some of the key artistic
projects of the period. The dates cited in the title, 1261 and
1352, refer to two well-known works, Coppo di Marcovaldo's Madonna
del Bordone and the Guidoriccio Fresco in the Palazzo Pubblico of
Siena, here newly assigned to this date. By concentrating on
individual cases such as these, the essays provide rewardingly
sustained consideration, at the same time raising crucial issues
concerning the role of art in the public life of the period. These
generously-illustrated studies introduce new material and advance
new arguments, and are all based on original research. Clear and
lively presentation ensures that they are also accessible to
students and scholars from other disciplines. Art, Politics and
Civic Religion in Central Italy, 1261-1352 is the first volume in
the new series Courtauld Institute Research Papers. The series
makes available original recently researched material on western
art history from classical antiquity to the present day.
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