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As a 'biography' of the fourteenth-century illustrated Bible of
Clement VII, an opposition pope in Avignon from 1378-94, this
social history traces the Bible's production in Naples (c. 1330)
through its changing ownership and meaning in Avignon (c.
1340-1405) to its presentation as a gift to Alfonso, King of Aragon
(c. 1424). The author's novel approach, based on solid art
historical and anthropological methodologies, allows her to assess
the object's evolving significance and the use of such a Bible to
enhance the power and prestige of its princely and papal owners.
Through archival sources, the author pinpoints the physical
location and privileged treatment of the Clement Bible over a
century. The author considers how the Bible's contexts in the
collection of a bishop, several popes, and a king demonstrate the
value of the Bible as an exchange commodity. The Bible was
undoubtedly valued for the aesthetic quality of its 200+ luxurious
images. Additionally, the author argues that its iconography,
especially Jerusalem and visionary scenes, augments its worth as a
reflection of contemporary political and religious issues. Its
images offered biblical precedents, its style represented
associations with certain artists and regions in Italy, and its
past provided links to important collections. Fleck's examination
of the art production around the Bible in Naples and Avignon
further illuminates the manuscript's role as a reflection of the
court cultures in those cities. Adding to recent art historical
scholarship focusing on the taste and signature styles in late
medieval and Renaissance courts, this study provides new
information about workshop practices and techniques. In these two
court cities, the author analyzes styles associated with different
artists, different patrons, and even with different rooms of the
rulers' palaces, offering new findings relevant to current
scholarship, not only in art history but also in court and
collection studies.
As a 'biography' of the fourteenth-century illustrated Bible of
Clement VII, an opposition pope in Avignon from 1378-94, this
social history traces the Bible's production in Naples (c. 1330)
through its changing ownership and meaning in Avignon (c.
1340-1405) to its presentation as a gift to Alfonso, King of Aragon
(c. 1424). The author's novel approach, based on solid art
historical and anthropological methodologies, allows her to assess
the object's evolving significance and the use of such a Bible to
enhance the power and prestige of its princely and papal owners.
Through archival sources, the author pinpoints the physical
location and privileged treatment of the Clement Bible over a
century. The author considers how the Bible's contexts in the
collection of a bishop, several popes, and a king demonstrate the
value of the Bible as an exchange commodity. The Bible was
undoubtedly valued for the aesthetic quality of its 200+ luxurious
images. Additionally, the author argues that its iconography,
especially Jerusalem and visionary scenes, augments its worth as a
reflection of contemporary political and religious issues. Its
images offered biblical precedents, its style represented
associations with certain artists and regions in Italy, and its
past provided links to important collections. Fleck's examination
of the art production around the Bible in Naples and Avignon
further illuminates the manuscript's role as a reflection of the
court cultures in those cities. Adding to recent art historical
scholarship focusing on the taste and signature styles in late
medieval and Renaissance courts, this study provides new
information about workshop practices and techniques. In these two
court cities, the author analyzes styles associated with different
artists, different patrons, and even with different rooms of the
rulers' palaces, offering new findings relevant to current
scholarship, not only in art history but also in court and
collection studies.
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