Kategoria BISAC: Art >> History - Medieval

Many historians of medieval art now look beyond soaring cathedrals to study the relationship of architecture and image-making to life in medieval society. In The Art of Healing, Marcia Kupfer explores the interplay between church decoration and ritual practice in caring for the sick. Her inquiry bridges cultural anthropology and the social history of medicine even as it also expands our understanding of how clergy employed mural painting to cure body and soul.

Looking closely at paintings from ca. 1200 in the church of Saint-Aignan-sur-Cher, a castle town in Central France,...

Emerging in Spain after 1250, Jewish narrative figurative painting became a central feature in a group of illuminated Passover Haggadot in the early decades of the fourteenth century. Illuminated Haggadot from Medieval Spain describes how the Sephardic Haggadot reflect different visualizations of scripture under various conditions and aimed at a variety of audiences. Though the specifics of the creation of these works remain a mystery, this book delves into the cultural struggles that existed during this period in history and shows how those conflicts influenced the...

Picturing Kingship presents the first comprehensive art-historical study of the personal prayerbook of King Louis IX. The book approaches the St. Louis Psalter through a rich range of perspectives and methodologies and positions it within the contexts of its production and use. Not only is the manuscript's production and structure given detailed study, but the king's ways of handling his prayerbook--his habits of reading, looking, and praying--are also set forth in a compelling narrative of his view of his sacred responsibilities as king.

In the first half of the book, Stahl...

Designed as a quick-reference source to the topics, symbols, themes, and stories most frequently found in early Christian, western medieval, and Byzantine art, this work describes topics that include names and narratives drawn from the Bible and apocrypha, the lives of saints, and numerous other textual sources. Authors whose works were frequently illustrated or who were influential on the visual arts are treated, as are selected art historical terms and events of significance for the arts. Cross-references alert readers to alternate titles and related topics, and the majority of entries...

In the first volume of the "Artists of an Era" series, Leslie Ross examines the identities of artists attributed to the most famous and influential works of medieval art. These works are much discussed within the realm of art history, yet the identities of medieval artists fall victim to incomplete historical records and often remain enigmatic. In ten narrative chapters, Ross examines this significant area of the art world (including architecture, iconography, metalwork, scribework, sculpture--even medieval art instruction) and summarizes the lives and work of that genre's leading artist...

The Index of Christian Art, founded in 1917, is today recognized as the premier resource for Christian and medieval iconography up to 1400. To mark its eightieth anniversary, seventeen scholars contributed papers to this volume, which focuses on the Index's twin strengths: iconography and methodology. From the heterogeneous imagery of the Crusaders to the repellent iconography of social rejection, from the significance of gruesome torture scenes to the moral precepts that shaped the enigmatic Ashburnham Pentateuch, the studies in the first part of Image and Belief provide...

The Mind's Eye focuses on the relationships among art, theology, exegesis, and literature--issues long central to the study of medieval art, yet ripe for reconsideration. Essays by leading scholars from many fields examine the illustration of theological commentaries, the use of images to expound or disseminate doctrine, the role of images within theological discourse, the development of doctrine in response to images, and the place of vision and the visual in theological thought.

At issue are the ways in which theologians responded to the images that we call art and...

How much can we know about sensory experience in the Middle Ages? While few would question that the human senses encountered a profoundly different environment in the medieval world, two distinct and opposite interpretations of that encounter have emerged--one of high sensual intensity and one of extreme sensual starvation.

Presenting original, cutting-edge scholarship, Stephen G. Nichols, Andreas Kablitz, Alison Calhoun, and their team of distinguished colleagues transport us to the center of this lively debate. Organized within historical, thematic, and contextual frameworks, these...

This anthology of translated histories, chronicles, saint's lives, theological treatises, and accounts presents an in-depth analysis of Byzantine art. Focusing on Constantinople, Mango chronicles the arts, and places them in historical, political, and theological perspective. First published in 1972.

An anthology of medieval texts on art. It includes descriptions of lost monuments, theoretical and technical texts which reveal intentions of artists and patrons, liturgical texts which describe the use of medieval artifacts, and other texts which reflect the tastes of the literate public. First published in 1971.

An anthology offering a chronological assessment of a whole range of technical documents on art written by and for clerks, laymen, churchmen, lawyers, city magistrates, and guilds, this text reveals differences in milieu, customs, resources and psychology during different periods. First Published in 1971 by Prentice Hall.

The margins of medieval manuscripts teem with sirens, satyrs, griffins, unicorns, dragons and other bizarre creatures. Commonplace animals are twisted together in impossible combinations, and human bodies are merged with animal forms in ways that are often both comic and ghastly. Images of these monstrosities pervade art and culture in the Middle Ages, and for medieval people they must have been a tantalizing suggestion of unknown worlds and unthinkable dangers. But what were they doing there? Were they meaningless distractions, or did these strange beasts have other symbolic meanings?...