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.
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.
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
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
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.