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Author: Dorothy Mayher Shepard
Publisher:
ISBN:
Category :
Languages : en
Pages : 713
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Book Description
Author: Dorothy Mayher Shepard
Publisher:
ISBN:
Category :
Languages : en
Pages : 713
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Book Description
Author: Dorothy Meyler Shepard
Publisher:
ISBN:
Category :
Languages : en
Pages : 289
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Author:
Publisher:
ISBN:
Category : Dissertations, Academic
Languages : en
Pages : 646
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Author: George Henderson
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 312
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Book Description
George Henderson's work on English biblical illumination has thrown new light on the sources of some of the most celebrated Anglo-Saxon and Norman illustrated manuscripts and helped to place the astonishing creativity and skill of the artists who worked on these manuscripts within the developing tradition of Bible illumination in the Middle Ages. These two volumes make available Professor Henderson's studies published over twenty years. In the first volume, he traces the links with late-antique pictorial sources, and compares the innovations in interpreting the Bible text with contemporary developments in other artistic media. He also deals with those works of art from the Anglo-Saxon period known from historical sources but now lost, and with the influence that the art of this early period exerted on a later period, the seventeenth century, and its religious disputes. The second volume of Professor Henderson's studies deals mainly with the celebrated Anglo-French illuminated Apocalypses of the thirteenth century. The principal manuscripts are all covered, and the iconographic programmes are examined in detail. Two articles draw attention to newly-discovered fragments of other Apocalypse manuscripts. The volume also includes a number of the author's studies on medieval English seals, where the iconography is often of considerable art-historical importance.
Author: CathleenA. Fleck
Publisher: Routledge
ISBN: 1351545531
Category : Art
Languages : en
Pages : 375
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Book Description
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.
Author: Natasha F. H. O'Hear
Publisher: OUP Oxford
ISBN: 0199590109
Category : Religion
Languages : en
Pages : 306
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Book Description
A contribution to the history of interpretation of the Book of Revelation in the Late Medieval and Early Modern period in the form of seven visual case studies ranging from 1250-1522. O'Hear uses visual exegesis as a way of exploring both the content as well as the character of a biblical text.
Author: Helmut Gneuss
Publisher: University of Toronto Press
ISBN: 1442648236
Category : Literary Criticism
Languages : en
Pages : 961
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Book Description
Anglo-Saxon Manuscripts is the first publication to list every surviving manuscript or manuscript fragment written in Anglo-Saxon England between the seventh and the eleventh centuries or imported into the country during that time. Each of the 1,291 entries in Helmut Gneuss and Michael Lapidge's Bibliographical Handlist not only details the origins, contents, current location, script, and decoration of the manuscript, but also provides bibliographic entries that list facsimiles, editions, linguistic analyses, and general studies relevant to that manuscript. A general bibliography, designed to provide full details of author-date references cited in the individual entries, includes more than 4,000 items. Compiled by two of the field's greatest living scholars, the Gneuss-Lapidge Bibliographical Handlist stands to become the most important single-volume research tool to appear in the field since Greenfield and Robinson's Bibliography of Publications on Old English Literature. Their achievement in the present book will endure for many decades and serve as a catalyst for new research across several disciplines.
Author: Frédéric Lyna
Publisher:
ISBN:
Category : Codicology
Languages : fr
Pages : 372
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Book Description
Author: Elizabeth C. Parker
Publisher: Metropolitan Museum of Art
ISBN: 0810964341
Category : Bury Saint Edmunds Cross
Languages : en
Pages : 334
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Book Description
The subject is an extraordinary 12th-century carved walrus-ivory cross that came into the collection of The Metropolitan Museum of Art's Cloisters collection in 1963 and is today the centerpiece of the collection. The authors explore its construction, imagery and inscriptions, the context for its exceptional style and iconography, its theological setting and use in the liturgy, and its place in English Romanesque art. Includes numerous color and black and white photos taken especially for the book. Annotation copyright by Book News, Inc., Portland, OR
Author: Jérémie Koering
Publisher: Princeton University Press
ISBN: 1890951366
Category : Art
Languages : en
Pages : 328
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Book Description
An unprecedented art-historical account of practices of image ingestion from ancient Egypt to the twentieth century Eating and drinking images may seem like an anomalous notion but, since antiquity, in the European and Mediterranean worlds, people have swallowed down frescoes, icons, engravings, eucharistic hosts stamped with images, heraldic wafers, marzipan figures, and other sculpted dishes. Either specifically made for human consumption or diverted from their original purpose so as to be ingested, these figured artifacts have been not only gazed upon but also incorporated—taken into the body—as solids or liquids. How can we explain such behavior? Why take an image into one’s own body, devouring it at the risk of destroying it, consuming rather than contemplating it wisely from a distance? What structures of the imagination underlie and justify these desires for incorporation? What are the visual configurations offered up to the mouth, and what are their effects? What therapeutic, religious, symbolic, and social functions can we attribute to these forms of relations with icons? These are a few of the questions raised in this investigation into iconophagy. Iconophages aims to retrace, for the first time, the history of iconophagy. Jérémie Koering examines this unexplored facet of the history of images through an interdisciplinary approach that ranges across art history, cultural and material history, anthropology, philosophy, and the history of the body and the senses. He analyzes the human investment, in terms of culture and imagination, at stake in this seemingly paradoxical way of experiencing images. Beyond the hidden knowledge unearthed here, these pages bring to light a new way of understanding images, just as they illuminate the occasionally outlandish relations we maintain with them.
