Painted Piety PDF Download
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Author: Victor Michael Schmidt
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 364
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Book Description
Author: Victor Michael Schmidt
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 364
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Book Description
Author: Kathryn M. Rudy
Publisher: Open Book Publishers
ISBN: 1783742364
Category : Literary Criticism
Languages : en
Pages : 412
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Book Description
Medieval manuscripts resisted obsolescence. Made by highly specialised craftspeople (scribes, illuminators, book binders) with labour-intensive processes using exclusive and sometimes exotic materials (parchment made from dozens or hundreds of skins, inks and paints made from prized minerals, animals and plants), books were expensive and built to last. They usually outlived their owners. Rather than discard them when they were superseded, book owners found ways to update, amend and upcycle books or book parts. These activities accelerated in the fifteenth century. Most manuscripts made before 1390 were bespoke and made for a particular client, but those made after 1390 (especially books of hours) were increasingly made for an open market, in which the producer was not in direct contact with the buyer. Increased efficiency led to more generic products, which owners were motivated to personalise. It also led to more blank parchment in the book, for example, the backs of inserted miniatures and the blanks ends of textual components. Book buyers of the late fourteenth and throughout the fifteenth century still held onto the old connotations of manuscripts—that they were custom-made luxury items—even when the production had become impersonal. Owners consequently purchased books made for an open market and then personalised them, filling in the blank spaces, and even adding more components later. This would give them an affordable product, but one that still smacked of luxury and met their individual needs. They kept older books in circulation by amending them, attached items to generic books to make them more relevant and valuable, and added new prayers with escalating indulgences as the culture of salvation shifted. Rudy considers ways in which book owners adjusted the contents of their books from the simplest (add a marginal note, sew in a curtain) to the most complex (take the book apart, embellish the components with painted decoration, add more quires of parchment). By making sometimes extreme adjustments, book owners kept their books fashionable and emotionally relevant. This study explores the intersection of codicology and human desire. Rudy shows how increased modularisation of book making led to more standardisation but also to more opportunities for personalisation. She asks: What properties did parchment manuscripts have that printed books lacked? What are the interrelationships among technology, efficiency, skill loss and standardisation?
Author: James Clifton
Publisher: Princeton University Press
ISBN: 0691166064
Category : Art
Languages : en
Pages : 48
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Book Description
"The exhibition is organized by the Centraal Museum Utrecht; the National Gallery of Art, Washington; the Museum of Fine Arts, Houston; and the Sarah Campbell Blaffer Foundation."--Title page verso.
Author: Noëlle L. W. Streeton
Publisher:
ISBN: 9781909492103
Category : Art, Medieval
Languages : en
Pages : 0
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Book Description
Papers presented at a small, two-day forum in 2010, at the University of Olso. Participants from across Europe and the United States participated.
Author: Kathleen Giles Arthur
Publisher:
ISBN: 9789048534999
Category : ART
Languages : en
Pages : 244
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Book Description
The Poor Clares convent of Corpus Domini was the first home of Saint Catherine of Bologna, but after her departure, the convent reinvented itself as a noblewomen's retreat. In doing so, it transformed ideals of poverty, humility and women's education. This book, grounded in archival research and close examination of artworks from the convent, explores the visual culture and social history of an early modern Franciscan women's community. Its careful analysis yields new insights into the changing role of the community in the d'Este political and civic spheres.
Author: Pratapaditya Pal
Publisher: Univ of California Press
ISBN: 0520288475
Category : Art
Languages : en
Pages : 240
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Book Description
Accompanies the exhibition presented at the Santa Barbara Museum of Art, Santa Barbara, California, April 17-July 31, 2016.
Author: Erik Inglis
Publisher: Getty Publications
ISBN: 9780892369300
Category : Art
Languages : en
Pages : 104
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Book Description
Faces of Power and Piety is the second in the Medieval Imagination series of small, affordable books that draw on manuscript illuminations in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme to provide an accessible and delightful introduction to the imagination of the medieval world. The vivid and charming faces featured in this volume include portraits of both illustrious historical figures and celebrated contemporaries. They reveal that medieval artists often disregarded physical appearance in favor of emphasizing qualities such as power and piety, capturing how their subjects wished to be remembered for the ages. Faces of Power and Piety also looks at the development of portraiture in the modern sense during the Renaissance, when likeness became an important component of portrait painting. An exhibition of the same name will be on view at the J. Paul Getty Museum from August 12 through October 26, 2008.
Author: Fredrika H. Jacobs
Publisher: Cambridge University Press
ISBN: 1107023041
Category : Art
Languages : en
Pages : 265
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Book Description
This book traces the origins and development of the use of votive panel paintings in Italy in the fifteenth and sixteenth centuries.
Author: Franco Mormando
Publisher: Penn State Press
ISBN: 161248008X
Category : History
Languages : en
Pages : 533
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Book Description
Plague was one of the enduring facts of everyday life on the European continent, from earliest antiquity through the first decades of the eighteenth century. It represents one of the most important influences on the development of Europe’s society and culture. In order to understand the changing circumstances of the political, economic, ecclesiastical, artistic, and social history of that continent, it is important to understand epidemic disease and society’s response to it. To date, the largest portion of scholarship about plague has focused on its political, economic, demographic, and medical aspects. This interdisciplinary volume offers greater coverage of the religious and the psychological dimensions of plague and of European society’s response to it through many centuries and over a wide geographical terrain, including Byzantium. This research draws extensively upon a wealth of primary sources, both printed and painted, and includes ample bibliographical reference to the most important secondary sources, providing much new insight into how generations of Europeans responded to this dread disease.
Author: John F. Moffitt
Publisher: McFarland
ISBN: 0786452269
Category : Art
Languages : en
Pages : 322
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Book Description
While the Renaissance is generally perceived to be a secular movement, the majority of large artworks executed in 15th century Italy were from ecclesiastical commissions. Because of the nature of primarily basilica-plan churches, a parishioner's view was directed by the diminishing parallel lines formed by the walls of the structure. Appearing to converge upon a mutual point, this resulted in an artistic phenomenon known as the vanishing point. As applied to ecclesiastical artwork, the Catholic Vanishing Point (CVP) was deliberately situated upon or aligned with a given object--such as the Eucharist wafer or Host, the head of Christ or the womb of the Virgin Mary--possessing great symbolic significance in Roman liturgy. Masaccio's fresco painting of the Trinity (circa 1427) in the Florentine church of Santa Maria Novella, analyzed in physical and symbolic detail, provides the first illustration of a consistently employed linear perspective within an ecclesiastical setting. Leonardo's Last Supper, Venaziano's St. Lucy Altarpiece, and Tome's Transparente illustrate the continuation of this use of liturgical perspective.
