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It is still routinely repeated that representations of the
unclothed body in the Middle Ages connoted a site of corruption and
sin, in contrast to a new, distinctive, humanistic and even
secularizing Renaissance appreciation. But as the contributors to
this collection remind us, medieval imagery that incorporated
nudity was varied, complex and nuanced. It was a time-honored
category of representation that viewers had been accustomed to
seeing in the most sacred contexts, but also an opportunity for
dissent and transgression, and thus a source of conservative
consternation. This volume discloses how nudity in medieval art
staged a discourse about sex and gender that informs the
iconography of the nude body in Western art up to the present day;
in doing so, it offers new insight into the problematic role of the
nude in the larger art historical narrative. Addressing a strangely
neglected key issue in the history of art, this volume engages the
issue of medieval representations of the unclothed human body on
theoretical grounds and in a more global way than has been done
previously. The Meanings of Nudity in Medieval Art breaks ground by
offering a variety of approaches to explore the meanings of both
male and female nudity in European painting, manuscripts and
sculpture ranging from the late antique era to the fifteenth
century.
This book explores our corporeal connections to the past by
considering what three theoretical approaches—somaesthetics,
posthumanism, and the uncanny—may reveal about both premodern and
postmodern terms of embodiment. It takes as its point of departure
a selection of fifteenth-century northern European Books of
Hours—evocative objects designed at once to to inscribe social
status, to strengthen religious commitment, to entertain, to
stimulate emotions, and to encourage discomfiting self-scrutiny.
Studying their kaleidoscopically strange, moving, humorous,
disturbing, imaginative pages not only enables a window into
relationships among bodies, images, and things in the past, but
also in our own internet era, where surprisingly popular memes
drawn from such manuscripts constitute a part of our own visual
culture. In negotiating theoretical, post-theoretical, and
historical concerns, this book aims to contribute to an emerging
and much-needed intersectional social history of art. It will be of
interest to scholars working in art history, medieval studies,
Renaissance/early modern studies, gender studies, the history of
the book, posthumanism, aesthetics, and the body.
It is still routinely repeated that representations of the
unclothed body in the Middle Ages connoted a site of corruption and
sin, in contrast to a new, distinctive, humanistic and even
secularizing Renaissance appreciation. But as the contributors to
this collection remind us, medieval imagery that incorporated
nudity was varied, complex and nuanced. It was a time-honored
category of representation that viewers had been accustomed to
seeing in the most sacred contexts, but also an opportunity for
dissent and transgression, and thus a source of conservative
consternation. This volume discloses how nudity in medieval art
staged a discourse about sex and gender that informs the
iconography of the nude body in Western art up to the present day;
in doing so, it offers new insight into the problematic role of the
nude in the larger art historical narrative. Addressing a strangely
neglected key issue in the history of art, this volume engages the
issue of medieval representations of the unclothed human body on
theoretical grounds and in a more global way than has been done
previously. The Meanings of Nudity in Medieval Art breaks ground by
offering a variety of approaches to explore the meanings of both
male and female nudity in European painting, manuscripts and
sculpture ranging from the late antique era to the fifteenth
century.
Grounded in archival sources, this interdisciplinary study explores
the profound historical significance of the mausoleum of the Valois
Dukes of Burgundy - the Chartreuse de Champmol. Although the
monument is well known as the site of pivotal works of art by Claus
Sluter, Melchior Broederlam, Jean de Beaumetz and others, until now
art historians have not considered how these works functioned at
the center of a complex social matrix. Sherry Lindquist here
considers the sacred subjects of the various sculptures and
paintings not merely as devotional tools or theological statements,
but as profoundly influential social instruments that negotiated
complex interactions of power. Lindquist's sophisticated discussion
coordinates analysis of primary sources with the most up-to-date
scholarship in the field of art history, not only with respect to
late medieval Burgundian art, but also to more theoretical
questions pertaining to reception.
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