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Figure sculpture, German --- Sculpture, Gothic --- Human beings in art. --- Mimesis in art. --- Image (Philosophy) --- Sculpture de figures humaines allemande --- Sculpture gothique --- Personnages dans l'art --- Mimêsis --- Image (Philosophie) --- Psychological aspects --- Aspect psychologique --- Human beings in art --- Mimesis in art --- Psychological aspects. --- Mimêsis --- Figure sculpture, German - 13th century - Psychological aspects --- Figure sculpture, German - 14th century - Psychological aspects --- Sculpture, Gothic - Germany - Psychological aspects
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Narrative art, German --- Tympana (Architecture) --- Art, Late Gothic --- Art patrons --- Art narratif allemand --- Tympans (Architecture) --- Art gothique --- Mécènes --- History --- Gothique flamboyant --- Histoire --- Parler, Peter, --- Mécènes --- History. --- Tympanums (Architecture) --- Arches --- Pediments --- Art, Gothic --- Late Gothic art --- Art, Medieval --- Late Gothic --- Perler, Peter, --- Arler, Peter, --- Gmünd, Peter, --- Peter von Gmünd, --- Parlerz, Peter, --- Parlerius,
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"Explores images of torment and martyrdom that appeared in the German-speaking world in the late medieval period, tying them to premodern conceptualizations of individuality and selfhood"--
Violence in art --- Martyrdom in art --- Art, Medieval --- Medieval art --- Martyre --- Iconographie --- Violence --- Art médiéval --- Dans l'art. --- Thèmes, motifs.
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Sculpture, Romanesque --- Workshops --- Art patronage --- Sculpture romane --- Ateliers --- Mécénat --- History --- History --- Histoire --- Histoire --- St. Theobald (Church : Thann, Germany)
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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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"Explores images of torment and martyrdom that appeared in the German-speaking world in the late medieval period, tying them to premodern conceptualizations of individuality and selfhood"--
Violence --- Martyre --- Art médiéval --- Art, Medieval --- Dans l'art. --- Thèmes, motifs.
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The visual landscape north of the Alps between the 14th and 16th centuries was shaped by colossal representations of epic and mythological giants, reincarnated and cast as Christian heroes. In contexts religious or lay, private or public, giants dominated urban spaces but also rural ones. They were painted on church facades and stood tall as sculptures in town squares. Rather than portraying specific characters from particular texts, the figures embodied the notion of "the gigantic" as it appeared in contemporary writings: superhuman creatures from foreign lands and liminal geographies, often associated with supernatural powers, magic, hypermasculinity, and, concomitantly, matriarchy. Since the naming and identity of these giants do not always correlate - thus destabilizing the images' semiotics - the gap could be filled by fabricated memories of the ancient world. Hence, imagery of giants bridged mythological, biblical, and contemporary times, while producing novel political metaphors. This book explores the role and function of the vision and the experience of the gigantic. Executed "out of scale" and communicating ideas about excess, giants were experienced as physically and ethically abject and, at the same time, as magnificent, apotropaic, and redemptive; as such they came to embody the very notion of the medieval sublime.
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This anthology examines the workings of historical imagery in fourteen essays, offering fresh perspectives from leading researchers on a wide range of medieval and early modern artworks in a similarly wide range of functional contexts. 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
Visual communication in art --- Church decoration and ornament --- Christian art and symbolism --- Illumination of books and manuscripts, Medieval --- Communication visuelle et art --- Art médiéval --- Moyen âge. --- Art, Medieval --- Art --- Christian special devotions --- Iconography --- History of civilization --- History of Europe --- anno 500-1499 --- Communication visuelle --- Medieval art history
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The Sides of the North is dedicated to Yona Pinson's extensive scholarly work on Northern Renaissance art, from Hieronymus Bosch's and Peter Breughel's oeuvre, through lessons of morality, the Fool's imagery, gender problems in the representation of the "femme fatale" bourgeois seductress, to emblem studies, and up to her most recent project on "Mirror, Moralization and Irony" in Bosch's painting. In tribute to her research, this volume offers new insights into her fields of interest from a number of leading scholars in these disciplines. Larry Silver reconstructs a recently found Adoration of
Art, Renaissance --- Renaissance art --- Art --- Festschriften
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