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Raum und Sehen am päpstlichen Hof von Avignon
The book shines a light on the fresco cycles of Italian painter Matteo Giovannetti at the papal court of Avignon. After completing his first project in the Chapel of St. Martial, the painter became one of the highest-ranking artists at court. However, due to the unconventional placement of the cycles’ monumental scenes inside the court’s confined spaces, art history never fully recognized the potential of his paintings. Giovannetti’s strength lies in creating visual connections between individual scenes that underline specific messaging regarding papal authority. The book recognizes these visual clues for the first time by considering medieval reading practices, resulting in a new interpretation of these wall paintings while sharpening our understanding of medieval art in general. New interpretation of Matteo Giovannetti's painting at the papal court in Avignon A new look at the visual habits of the Middle Ages Spatial perception and reception-aesthetic considerations for the art of the Middle Ages
Time and Presence in Art
This volume explores the relationship between temporality and presence in medieval artworks from the third to the sixteenth centuries. It is the first extensive treatment of the interconnections between medieval artworks' varied presences and their ever-shifting places in time. The volume begins with reflections on the study of temporality and presence in medieval and early modern art history. A second section presents case studies delving into the different ways medieval artworks once created and transformed their original viewers' experience of the present. These range from late antique Constantinople, early Islamic Jerusalem and medieval Italy, to early modern Venice and the Low Countries. A final section explores how medieval artworks remain powerful and relevant today. This section includes case studies on reconstructing presence in medieval art through embodied experience of pilgrimage, art historical research and museum education. In doing so, the volume provides a first dialog between museum educators and art historians on the presence of medieval artifacts. It includes contributions by Hans Belting, Keith Moxey, Rika Burnham and others.
Collectors, Commissioners, Curators
This volume celebrates the storied career of Stephen N. Fliegel, the former Robert Bergman Curator of Medieval Art at the Cleveland Museum of Art (CMA). Authors of these essays, all leading curators in their fields, offer insights into curatorial practices by highlighting key objects in some of the most important medieval collections in North America and Europe: Metropolitan Museum of Art, The Louvre, the British Museum, Victoria & Albert Museum, the Getty, the Groeningemuseum, The Morgan Library, Vienna’s Kunsthistorisches Museum, and, of course, the CMA, offering perspectives on the histories of collecting and display, artistic identity, and patronage, with special foci on Burgundian art, acquisition histories, and objects in the CMA.
Giotto the Painter. Volume 3: Survival
Giotto is considered by many to be the founder of modern painting. This thesis is discussed and modified in the present volume on an empirical basis. What emerges is that Giotto's impact cannot be reduced simply to the introduction of the study of nature. Rather, his art was involved in the development of pictorial idioms that were attuned to the skills and interests of their audiences. The new approaches in his painting contributed in particular to the possibility of examining and communicating psychological, narrative and allegorical content of great complexity outside the media of language and text, which not only changed the face of European art but certainly contributed to the intellectual opening of Western societies.
Häuslich - persönlich - innerlich
Der reich bebilderte Sammelband führt in das noch kaum erschlossene Forschungsfeld privater Bild- und Frömmigkeitspraktiken im Umfeld der Reformation ein und entfaltet die Sphären des Privaten dabei im Spannungsfeld zwischen „persönlich“ und „gemeinschaftlich“, „innerlich“ und „äußerlich-sichtbar“ sowie „häuslich“ und „öffentlich“. Das bereits vor der Reformation erstarkende Interesse der Laien an Formen und Methoden der persönlichen Aneignung und Verinnerlichung des Glaubens ließ im 16. und 17. Jahrhundert nicht nach. Dem spüren die Autoren aus der Perspektive verschiedener Disziplinen nach, wobei ein besonderer Fokus auf den Bildwerken liegt, die in diese...
Die politische Repräsentation der Landbevölkerung
Im 15. bis 18. Jahrhundert gewährte eine ganze Reihe von Staaten den Bauern das Recht auf institutionalisierte politische Repräsentation in den Ständeversammlungen. Die Formen dieser politischen Repräsentation lassen sich in ihrer ganzen Bedeutung nur in einem groß angelegten, internationalen Vergleich erfassen. So untersucht der Autor sechs in vieler Hinsicht stark verschiedene politische Ordnungen: das koloniale Massachusetts, Schweden, Ostfriesland, das Kurfürstentum Trier, Baden-Baden und Schwäbisch-Österreich. Der Vergleich zeigt die politische Repräsentation von Bauern in ihrer Vielfalt als ein Element frühmoderner Staatsbildung und wirft ein neues Licht auf die Frage, inwieweit diese institutionalisierte Mitsprache als Vorform von Demokratie angesehen werden kann. Die Repräsentation wird dabei im Sinn einer politischen Kulturgeschichte diskutiert: Neben der Entstehung und dem Ausbau der Repräsentativinstitutionen wird stets vergleichend nach den Auffassungen von Politik gefragt, die sich im Umgang der Bauern mit ihren Partizipationschancen ausdrückten.
Collecting Prints and Drawings
Cabinets of prints and drawings are found in the earliest art collections of Early Modern Europe. From the sixteenth century onwards, some of them acquired such fame that the necessity for an ordered and scientific display meant that a dedicated keeper was occasionally employed to ensure that fellow enthusiasts, as well as visiting diplomats, courtiers and artists, might have access to the print room. Often collected and displayed together with drawings, the prints formed a substantial part of princely collections which sometimes achieved astounding longevity as a specialised group of collectibles, such as the Florentine Gabinetto Disegni e Stampe at the Uffizi (GDSU). Prints and drawings, b...
Urban Elite Culture
Medieval towns were vibrant and complex social environments where diverse groups and lifestyles encountered and influenced each other. Surprisingly, in the study of urban archaeology, the aristocracy, one of the leading and most influential groups in medieval society, has so far been neglected. This book puts "aristocracy in towns" on the archaeological research agenda. The interdisciplinary and comparative study explores the significance and representation of aristocrats and their interaction with civic elites in sea-trading towns of the southwestern Baltic from the 12th to the 14th centuries. Essentially, however, the analysis of urban elite culture leads to discussion of a much more fundamental issue: the informative value of material culture for the investigation of social conditions. The book provides new archaeological approaches to the study of social differentiation in towns, and contributes to a deeper understanding of the complexity of urban social structures.
Giotto the Painter. Volume 1-3
Vol. 1: Life Giotto (1334) is the first European artist about whom it is possible to write following the schema of "life and work". The situation of the sources, however, is complicated: On Giotto's life, there are – on the one hand – biographical accounts from the mid-fourteenth century onwards that responded to various ideological requirements (patriotism, humanism, Renaissance ideology, cult of the artist); on the other, there is extensive documentary material from Giotto's lifetime, which seems to reflect less the biography of an artist than that of a bourgeois businessman resolutely climbing the social ladder. The present volume focuses on this second aspect of the Giotto figure's d...
How Do Images Work?
How did historical images work and interact with their beholders and users? Drawing on the results of an international conference held in Vienna in 2018, this volume offers new perspectives on a central question for contemporary art history. The fourteen authors approach working imagery from the medieval and early modern periods in terms of its production, usage, and reception. They address wide-ranging media--architecture, sculpture, painting, metalwork, stained glass--in similarly wide-ranging contexts: from monumental installations in the most public zones of urban churches to exquisite devotional objects and illuminated books reserved for more exclusive settings. While including research from West European and American institutions, the project also engages with the distinctive scholarly traditions of Eastern Europe and Israel. In all these ways, it reflects the interests of the dedicatee Michael Viktor Schwarz, whose introductory interview lays out the parameters of the subject.
