NARRATIVE IN THE ROMANESQUE CLOISTER. CLOISTER IMAGERY AND RELIGIOUS LIFE
IN MEDIEVAL SPAIN
Pamela Anne Patton
New York. 2004.
x 15,5 cm.
of Illustrations · Acnowledgments · Introduction ·
Histoia fundamentum est: San Juan de la Peña · Faith and
the Frontier: Santa María la Mayor de Tudela · Diffusion
and Disintgration: Tarragona and the cloisters of Catalonia · The
narrative cloister in Romanesque Spain · Appendices · Bibliography
· Illustrations · Index
Praised as paradisiacal or denounced as impious
fantasy, the sculpture of Romanesque cloisters played a powerful role
in medieval monastic life. This book demonstrates how sculpture in the
cloister, the physical and spiritual heart of the religious foundation,
could be shrewdly configured to articulate the most influential ideals
and experiences of its individual community. Taking as its focus the visually
rich, highly organized narrative programs of three twelfth-century Spanish
cloisters, this book reveals the power of such imagery to reflect and
reinforce the social and spiritual preoccupations of its age.
MEDIEVAL ART. CAROLINGIAN, OTTONIAN, ROMANESQUE
Thames & Hudson Autor:
x 15 cm.
· Map · Introduction · The revival of the Imperial
Tradition · The consolidation of the imperial tradition ·
Diffusion and Development · Notes List of Illustrations ·
Bibliography · Index.
Beginning with the coronation of Charlemagne as
Emperor of the West in A.D. 800, John Beckwith guides us through the architecture,
painting, sculpture, illuminations and ivories of thethree great periods
of early medieval art. The Ottonian period, perhaps best known for the
great center of art and raftsmanship attached to the court, presented
an artistic style which had developed from early Christian and Carolingiansources--a
style which was the gateway to the great artistic revival in the eleventh
and twelfth centuries--the Romanesque period. 206 illus., 53 in color.
authoritative and comprehensive." --The Times LiterarySupplement
written...Those who have hitherto felt that the intricacies of Carolingian
or Ottonian art are beyond them will now have no excuse. They will be
able to refer to Beckwith." --The Financial Times
COMPANION OF MEDIEVAL ART. ROMANESQUE AND GOTHIC IN NORTHERN EUROPE
Blackwell Publishing Autor:
x 18 cm.
· Introduction: A Sense of Loss: An Overview of the Historiography
of Romanesque and Gothic Art: Conrad Rudolph (University of California,
Riverside) · Vision: Cynthia Hahn (Florida State University) ·
Reception of Images by Medieval Viewers: Madeline Harrison Caviness (Tufts
4. Narrative: Suzanne Lewis (Stanford University) · Formalism:
Linda Seidel (University of Chicago) · Gender and Medieval Art:
Brigitte Kurmann-Schwarz (University of Zürich) · Gregory
the Great and Image Theory in Northern Europe during the Twelfth and Thirteenth
Centuries: Herbert L. Kessler (Johns Hopkins University) · Art
and Exegesis: Christopher G. Hughes (Getty Research Institute) ·
Whodunnit? Patronage, the Canon, and the Problematics of Agency in Romanesque
and Gothic Art: Jill Caskey (University of Toronto) · Collecting
(and Display): Pierre Alain Mariaux (Université de Neuchâtel)
· The Concept of Spolia: Dale Kinney (Bryn Mawr College) ·
The Monstrous: Thomas E.A. Dale (University of Wisconsin-Madison) ·
Making Sense of Marginalized Images in Manuscripts and Religious Architecture:
Laura Kendrick (Université de Versailles) · Romanesque Architecture:
Eric Fernie (University of London) · Romanesque Sculpture in Northern
Europe: Colum Hourihane (Princeton University) · Modern Origins
of Romanesque Sculpture: Robert A. Maxwell (University of Pennsylvania)
· The Historiography of Romanesque Manuscript Illumination: Adam
S. Cohen (University of Toronto) · The Study of Gothic Architecture:
Stephen Murray (Columbia University) · Gothic Sculpture from 1150
to 1250: Martin Büchsel (University of Frankfurt) · Gothic
Manuscript Illumination: The Case of France: Anne D. Hedeman (University
of Illinois) · Glazing Medieval Buildings: Elizabeth Pastan (Emory
University) · Toward A Historiography of the Sumptuous Arts: Brigitte
Buettner (Smith College) · East Meets West: The Art and Architecture
of the Crusader States: Jaroslav Folda (University of North Carolina)
· The Art and Architecture of Lusignan Cyprus and the Latin States
Established on Byzantine Territory (13th-14th Centuries): Tassos C. Papacostas
(King's College, London) · Architectural Layout: Design, Structure,
and Construction in Northern Europe: Marie-Thérèse Zenner
(Independent Scholar) · Sculptural Programs: Bruno Boerner (Technische
Universität) · Cistercian Architecture: Peter Fergusson (Wellesley
College) · Art and Pilgrimage: Mapping the Way: Paula Gerson (The
Florida State University) · "The Scattered Limbs of the Giant":
Recollecting Medieval Architectural Revivals. Tina Waldeier Bizzarro (Rosemont
College) · The Modern Medieval Museum Michelle P. Brown (Independent
Scholar) · Index.
A Companion to Medieval Art brings together cutting-edge scholarship devoted
to the Romanesque and Gothic traditions in Northern Europe. Brings together
cutting-edge scholarship devoted to the Romanesque and Gothic traditions
in Northern Europe. Contains over 30 original theoretical, historical,
and historiographic essays by renowned and emergent scholars. Covers the
vibrancy of medieval art from both thematic and sub-disciplinary perspectives.
eatures an international and ambitious range - from reception, Gregory
the Great, collecting, and pilgrimage art, to gender, patronage, the marginal,
spolia, and manuscript illumination.
AND CONSTRUCTION IN ROMANESQUE ARCHITECTURE. FIRST ROMANESQUE ARCHITECTURE
AND THE POINTED ARCH IN BURGUNDY AND NORTHERN ITALY
x 18 cm.
geography, and construction · The pointed arch and groin vault
in northern Italy · The pointed arch and groin vault at the beginning
of the eleventh century in Burgundy · The pointed arch and groin
vault in Burgundy at the end of the eleventh century · The barrel
vault · Systems of arch support · The pointed arch and the
context of high Romanesque architecture in Burgundy at the end of the
eleven century · The barrel vault · Systems of arch support
· The pointed arch and the context of High Romanesque Architectury
in Burgundy · Conclusion · Notes · Biography ·
In this study, Edson Armi offers a fresh interpretation of Romanesque
architecture. Armi focuses on buildings in northern Italy, Switzerland,
southern France, and Catalonia, the regions where Romanesque architecture
first appeared around 1000 AD. He integrates the study of medieval structure
with an understanding of construction, decoration and articulation in
an effort to determine the origins and originality of medieval architecture
and the formation of the High Romanesque style, especially in Burgundy,
at sites such as Cluny III. Relying on a close analysis of the fabric
of key buildings, Armi's in-depth study reveals new knowledge about design
decisions in the early Middle Ages. It also demonstrates that the mature
Romanesque of the twelfth century continues many of the applications created
and perfected over the previous one hundred years.
ARCHITECTURE, MEDIEVAL LEARNING. BUILDERS AND MASTERS IN THE AGE OF ROMANESQUE
M. Radding and William Clark.
Medidas: 25,5 x 18 cm.
of texts · List of illustrations · Abbreviations ·
Acknowledgments · Introduction: Art history as intellectual history
· Part I: The eleven century · Beginings · Masters
· Builders · Part II: four crucial decades · Transformations:
Abelard and Saint-Denis · Part III: the later twelfth century ·
An age of experiment · Learning and Schools in the later Twelfth
century · The First Half-Century of Gothic · Conclusion
· Biography · Index.
Resumen: The eleventh and twelfth
centuries witnessed a thoroughgoing transformation of European culture,
as new ways of thinking revitalized every aspect of man's endeavor, from
architecture and the visual arts to history, philosophy, theology, and
even law. In this book Charles M. Radding and William W. Clark offer fresh
perspectives on changes in architecture and learning at three moments
in time. Unlike previous studies, including Erwin Panofsky's classic essay
Gothic Architecture and Scholasticism, Radding and Clark's book not only
compares buildings and treatises, but argues that the ways of thinking
and the ways of solving problems were analogous.
The authors trace the professional contexts and creative activities of
builders and masters from the creation of the Romanesque to the achievements
of the Gothic and, in the process, establish new criteria for defining
each. During the eleventh and early twelfth centuries, they argue, both
intellectual treatises and Romanesque architecture reveal a growing mastery
of a body of relevant expertise and the expanding techniques by which
that knowledge could be applied to problems of reasoning and building.
In the twelfth century, new intellectual directions, set by such specialists
as Peter Abelard and the second master builder working at Saint-Denis,
began to shape new systems of thinking based on a coherent view of the
world. By the thirteenth century these became the standards by which all
practitioners of a discipline were measured.
x 16 cm.
of Illustrations · Editor's Preface · Introduction ·
Overview: The History of Cathedrals as Societal History · Patrons,
Builders and Artists · Planning and Construction, Early Medieval
to Romanesque · Planning and Construction in the Gothic Era ·
Notre-Dame at Reims, the Cathedral of France · Epilogue ·
Illustrations · Primary Sources · Timeline · Glossary
· Selected bibliography.
Resumen: When we think of cathedrals,
we usually envision the great Gothic Buildings of 12th- and 13th-century
Europe. But other than being a large church, a cathedral is neither a
specific building type nor specifically medieval. What a makes a large
church a cathedral is the presence of a single item of furniture: the
chair (in Latin: cathedra) or throne that is the symbol of the ecclesiastical
and spiritual authority of a bishop. This book is an introduction to the
medieval cathedral, those churches that are usually regarded as among
the greatest achievements of medieval architecture.
While cathedrals were often the most prominent urban structure in many
European cities, their construction was never a civic responsibility,
but remained the responsibility of the clergy in charge of the day to
day activities and services. Beginning with an overview of the social
history of cathedrals, Clark examines such topics as patrons, builders
and artists, and planning and construction; and provides an in-depth examination
of the French Cathedral at Reims--a seminal building with significant
technological advances, important sculptural programs, a surviving bishop's
palace, and other structures. The volume concludes with a series of illustrations,
a selection of original texts, and a selected bibliography for further
study. A full index is also provided.
SHOCK. FRAMING VISUAL EXPERIENCE IN BYZANTIUM
State University Press Autor:
x 18 cm.
of Illustrations · Preface · Introduction: The Great Age
of the Frame · I The Crucifixion Contained and Containing ·
II The Bloody Page in the Chludov Psalter · III Gregory of Nazianzus
as Twelfth-Century Paradigm · IV Saint George and His Iconic Bodies
· V Silver Cladding and the Assimilation of Bodies and Faces ·
Epilogue: The Body Framing · Abbreviations · Notes ·
Resumen: Art did not exist in Byzantium.
As Glenn Peers explains in Sacred Shock, there were, instead, a variety
of devotional objectspectoral crosses, church mosaics, icons, and
illuminated manuscriptsregarded as infused with divine presence
and used in religious practices. What concerns Peers in this provocative
book is the means by which the relationship between the divine and the
human was made manifest through crafted, material objects.
to Peers, the devotional objects of Byzantium should be understood as
having a detail or place that plays a large part in framing
their meaning for viewers. After an insightful discussion of pectoral
crosses, Peers examines a series of case studies, which includes the depiction
of the blood of Christ in the Chludov Psalter, a fourteenth-century icon
of St. George, and the Mandylion, a famous relic thought to preserve the
traces of Christs face.
Shock combines fine scholarship with close analysis of Byzantine devotional
objects and discussion of issues of broad importance to the study of visual
experience. It is significant as both an exploration of art historical
methodology and a contribution to our understanding of the medieval world.
AND LATER TREASURES FROM A PRIVATE COLLECTION
of Washington Pr Autor:
954901 44 4
x 24 cm.
Resumen: These works of museum quality,
from an anonymous collection (one of the most important currently in private
hands), were exhibited at the Victoria and Albert Museum in 2005. Many
of the objects in the catalogue will be well known to those familiar with
the specialist literature, though most will have been unware of their
whereabouts, and this catalogue will be of use to all those interested
in medieval works of art and the history of collecting.An
introduction places the highlights of the collection in context. Paul
Williamson is curator with responsibility for medieval sculpture at the
Victoria and Albert Museum and is well known for his authoritative contributions
to the study of medieval sculpture.
MEDIEVAL ALABASTERS WITH A CATALOGUE OF THE COLLECTION IN THE VICTORIA
AND ALBERT MUSEUM
Boydell Press Autor:
x 21 cm.
· Preface to the 2005 edition · Preface · English
medieval alabasters · Alabaster: the material · Place of
carving · Subject matter · Sources · Altarpieces
· Devotional images · Contemporary commercial value ·
Dating · Export trade · Influence of the Alabaster Style
· Reformation: the death of the industry · Appendix I:
saints · Appendix II: life f the Virgin · Appendix III:
Passion of Christ · Appendix IV: Paint Analysis · Appendix
V: English alabaster altarpieces in Europe · Plates · Notes
· Catalogue · supplementary bibliography (2005) Bibliography
· Concordance · Museum Collections containing English medieval
alabasters · Index · Acknowledgements · Corrigenda.
Resumen: English alabasters represent
a unique contribution to medieval art. Less sophisticated, perhaps, than
other contemporary forms of religious art, they were a neglected area
of study until this volume was first published in 1984. Stories from the
New Testament and "The Golden Legend" were the most favoured
subjects, and the numerous examples that survive in churches and museums
throughout Europe attest to their wide and enduring appeal. Francis Cheetham
examines here all aspects of their production and demonstrates how the
panels and altarpieces can aid our understanding of life and devotional
practice in medieval times. At the heart of this fascinating study is
a richly illustrated catalogue of the 260 examples in the collection of
London's Victoria and Albert Museum: a collection "so comprehensive
that it would be possible to write a survey of the subject almost without
recourse to pieces elsewhere," as Sir Roy Strong notes in his Foreword.
Their division into subject categories is an invaluable aid to identification
and classification. The late Francis Cheetham was an acknowledged expert
on medieval English alabasters, and this reissue of his classic work will
be welcomed by historians, art historians, collectors and dealers alike,
taking its place alongside his "Alabaster Images of Medieval England",
which was published by the Boydell Press in 2003.
ART IN MEDIEVAL ISLAM AND THE RIDDLE OF BIHZÂD OF HERÂT (1465-1535)
x 32 cm.
preludes · Arabic preludes · Persian preludes · Tajallî:
the first vision of the Theophany or "Divine Manifestation"
the second vision of the Theophany or "Divine Manifestation"
the third vision of the Theophany or "Divine Manifestation"
the Ruling Prince and the Theophany or "Divine Manifestation"
· Foreword: Eyes and ears to Bihzâd · "Persian
Miniatures" and the Twentieth Century's Song of Glory · The
formation of islamic figurative art: from the eighth to the fifteenth
Centuries · Bihzâd as Guildmaster · Zulaykhâ's
Castle · Alexander's Cave · Conclusion · A chronology
of the Islamic Empire (622-1722 AD) · Maps of the Islamic East
· Bibliography · Index · Acknowledgments and photographic
Resumen: This groundbreaking work
elucidates the symbolism and an entire allegorical system in Islamic painting
of the Golden Age between the fourteenth and seventeenth centuries.
Michael Barry, a leading expert on art of the Middle East, focuses his
study around the work of Bizhâd, the undisputed master of the Persian
miniature and an almost mythical personality. Barry's study follows deliberately
the tradition of studies by Erwin Panofsky or Emile Mâle on the
symbolism of medieval Christian art.
It is of considerable importance for the history of Islamic iconography,
the study of which lags a century behind that of Byzantine or the Western
Over 300 gorgeous colour plates illustrate this oversize volume and are
accompanied by text that attempts to decipher the allegorical code of
15th and 16th century "Persian miniatures," in part by examining
extracts of medieval mystical Persian poetry.
Michael Barry, who was recently appointed Chairman of the Department of
Islamic Art at the Metropolitan Museum of Art in New York, focuses on
the work of late 15th-century-painter Bihzâd, and addresses the
religious enigma posed by the existence of Islamic figurative art.