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Sculpture --- anno 1200-1499 --- Burgundy --- Sculpture, French --- -Sculpture, Gothic --- -Sculpture, French --- -Sculpture, Medieval --- -Gothic sculpture --- Sculpture, Medieval --- French sculpture --- Sculpture, Gothic --- -Sculpture --- Gothic sculpture --- Sculpture, French - - Burgundy - France --- -Sculpture, Gothic - - Burgundy - France --- Sculpture gothique --- Bourgogne (france) --- 15e siècle --- France
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Sculpture, German --- Sculpture, Late Gothic --- Late Gothic sculpture --- Sculpture, Gothic --- Sculpture, Medieval --- German sculpture --- Dating --- Late Gothic
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Beeldhouwkunst [Gotische ] --- Sculpture [Gothic ] --- Sculpture gothique --- Sculptors --- Sculpture, Gothic --- Sculpteurs --- Biography --- Biographie --- Gothic sculpture --- Sculpture, Medieval --- Bronze sculptors --- Artists --- Biography&delete& --- History and criticism --- Europe
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Sculpture, Gothic --- Christian art and symbolism --- Sculpture gothique --- Art et symbolisme chrétiens --- Exhibitions --- Art et symbolisme chrétiens --- Christian saints in art --- Gothic sculpture --- Sculpture, Medieval
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Sculpture, Gothic --- Doorways, Gothic --- Portails gothiques --- Doorways --- Architecture, Gothic --- Gothic sculpture --- Sculpture, Medieval --- Portals --- Architecture --- Doors --- Porches --- Details --- Gothic architecture --- Christian antiquities --- Church architecture
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Why does a society seek out images of violence? What can the consumption of violent imagery teach us about the history of violence and the ways in which it has been represented and understood? Assaf Pinkus considers these questions within the context of what he calls galleries of violence, the torment imagery that flourished in German-speaking regions during the fourteenth and fifteenth centuries. Exploring these images and the visceral bodily responses that they produced in their viewers, Pinkus argues that the new visual discourse on violence was a watershed in premodern conceptualizations of selfhood.Images of martyrdom in late medieval Germany reveal a strikingly brutal parade of passion: severed heads, split skulls, mutilated organs, extracted fingernails and teeth, and myriad other torments. Stripped from their devotional context and presented simply as brutal acts, these portrayals assailed viewers’ bodies and minds so violently that they amounted to what Pinkus describes as “visual aggressions.” Addressing contemporary discourses on violence and cruelty, the aesthetics of violence, and the eroticism of the tortured body, Pinkus ties these galleries of violence to larger cultural concerns about the ethics of violence and bodily integrity in the conceptualization of early modern personhood.Innovative and convincing, this study heralds a fundamental shift in the scholarly conversation about premodern violence, moving from a focus on the imitatio Christi and the liturgy of punishment to the notion of violence as a moral problem in an ethical system. Scholars of medieval and early modern art, history, and literature will welcome and engage with Pinkus’s research for years to come.
Violence in art. --- Gothic painting. --- Gothic sculpture. --- courtly literature. --- gender. --- legal and juridical history. --- martyrdom. --- materiality. --- philosophy. --- response theory. --- rites of punishment. --- somaesthetics. --- theology. --- tortures. --- violence. --- visual culture.
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Sculpture, Gothic --- -Gothic sculpture --- Sculpture, Medieval --- Pisano, Andrea --- -Pisano, Nino --- -Criticism and interpretation --- Criticism and interpretation --- -Pisano, Andrea --- Gothic sculpture --- Pisano, Andrea, --- Pisano, Nino, --- Nino, --- Andrea, --- Criticism and interpretation. --- Pisano (Nino). Beeldhouwkunst. --- Pisano (Andrea). Sculptures. --- Pisano (Nino). Sculptures. --- Pisano (Andrea). Beeldhouwkunst.
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Church decoration and ornament --- -Sculpture, Gothic --- -Gothic sculpture --- Sculpture, Medieval --- Church ornament --- Ecclesiastical decoration and ornament --- Decoration and ornament --- Interior decoration --- Religious articles --- Christian art and symbolism --- History --- -Church decoration and ornament --- Sculpture, Gothic --- -History --- Gothic sculpture --- Sculpture --- Wroclaw (Poland) --- 14th century --- Sculpture gothique --- Wroclaw (pologne)
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Doorways --- Sculpture, French --- Sculpture, Gothic --- Gothic sculpture --- Sculpture, Medieval --- French sculpture --- Portals --- Architecture --- Doors --- Porches --- Themes, motives --- Details --- Cathédrale de Chartres. --- Notre-Dame (Cathedral : Chartres, France) --- Chartres, France. --- Notre-Dame de Chartres (Cathedral) --- Chartres Cathedral
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In this beautifully illustrated study, Paul Binski offers a new account of sculpture in England and northwestern Europe between c. 1000 and 1500, examining Romanesque and Gothic art as a form of persuasion. Binski applies rhetorical analysis to a wide variety of stone and wood sculpture from such places as Wells, Westminster, Compostela, Reims, Chartres, and Naumberg. He argues that medieval sculpture not only conveyed information but also created experiences for the subjects who formed its audience. Without rejecting the intellectual ambitions of Gothic art, Binski suggests that surface effects, ornament, color, variety, and discord served a variety of purposes. In a critique of recent affective and materialist accounts of sculpture and allied arts, he proposes that all materials are shaped by human intentionality and artifice, and have a "poetic." Exploring the imagery of growth, change, and decay, as well as the powers of fear and pleasure, Binski allows us to use the language and ideas of the Middle Ages in the close reading of artifacts
Sculpture, Gothic --- Sculpture, Medieval --- Church architecture --- Sculpture gothique. --- Architecture gothique --- Christian art and symbolism --- Church doorways --- Themes, motives. --- Gothic sculpture --- Sculpture, Gothic - England --- Church architecture - England --- Church architecture - Europe
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