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How does materiality affect artistic processes of object creation and reception? This volume examining carved boxes from the High and Late medieval periods deals with interrelations between material and technique. It compiles details of the origin, provenance and function of numerous boxes and also embeds production techniques, material preferences and reception aesthetics in the state of contemporary knowledge. One focus is on interactions and transfers of materials. Wood in particular was used to imitate and evoke ivory, silk and gold, which might bring about social rapprochement between the lower nobility and the higher nobility, or between the carving craftsmen and the bourgeoisie. The analysis of intermateriality establishes that materials, forms and techniques cannot be grasped in isolation. Wie wirkt sich die Materialität auf künstlerische Entstehungs- und Rezeptionsprozesse von Objekten aus? Der vorliegende Band zu geschnitzten Kästen des Hoch- und Spätmittelalters setzt sich mit Wechselbeziehungen zwischen Material und Technik auseinander. Er stellt Details zu Entstehung, Herkunft und Funktion zahlreicher Kästen zusammen und bettet Produktionstechniken, Materialpräferenzen und Rezeptionsästhetiken in den Wissensstand der Zeit ein. Ein Augenmerk liegt auf Interaktionen und Transfers der Materialien. Speziell mit Holz wurden Elfenbeine, Seide und Gold imitiert und evoziert, wodurch eine soziale Annäherung des niederen Adels an den Hochadel oder der schnitzenden Handwerker an das Bürgertum einhergehen konnte. Die Analyse zur Intermaterialität stellt fest, dass Materialien, Formen und Techniken nicht getrennt voneinander verstanden werden können. Umfassende Untersuchung zu geschnitzten Kästen des 12. bis 14. Jahrhunderts Innovativer Forschungsbeitrag zu Relation und Interaktion von Material, Produktion und Rezeption im Mittelalter

ART / History / Medieval. --- art technique. --- carving. --- material. --- medieval.

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Petrarca hat sich intensiv mit den bildenden Künsten seiner Zeit auseinandergesetzt. Er besaß ein Madonnenbild Giottos und beauftragte Simone Martini mit dem einzigartigen Frontispiz seines Vergilcodex. Seine Werke sind Schlüsseltexte für die Entdeckung der Landschaft und die humanistische Villenkultur ebenso wie für das weibliche Porträt und die Triumphikonographie der Renaissance und des Barock. Der mit Petrarca verbundene Mythos des Dichterfürsten bietet bis in die Moderne hinein eine produktive Projektionsfläche für Literaten und Künstler gleichermaßen. Die Beiträge des Bandes eröffnen im Dialog zwischen Literaturwissenschaft und Kunstgeschichte neue Perspektiven auf zentrale Aspekte von Leben und Werk Petrarcas und seine Bedeutung als Ausstrahlungsphänomen der europäischen Kulturgeschichte. Petrarch intensively examined the visual arts of his time. He possessed a Madonna painting by Giotto and commissioned Simone Martini to create the unique frontispiece of his codex on Vergil. His works are key texts with respect to the discovery of the landscape and humanistic villa culture as well as the female portrait and the triumphant iconography of the Renaissance and the Baroque. The myth of the poet-prince associated with Petrarch has continued to offer a productive projection screen for both literati and artists up to modern times. The texts in the book open up new perspectives on central aspects of Petrarch’s life and work and his importance as a charismatic phenomenon in the history of European art in a dialogue between literary studies and art history.

Art --- fine arts [discipline] --- iconology --- influence --- Petrarca, Francesco --- ART / History / Medieval --- kunst en literatuur --- Literature --- ekphrasis --- literary criticism --- Medieval [European] --- Italy

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"How can we understand the past in the absence of written records? Pre-modern histories of cross-cultural exchange pose a particular problem for medieval historians. They are marked by the long-distance mobility of concepts, individuals, and materials, and many of them cannot be reconstructed from the standard source texts on which historians usually depend. They exist without named makers, both outside and beyond official documents and court chronicles. The same is true of artisans responsible for crafting objects whose circulation and reception defined aesthetic, economic, and technological networks that may not have conformed to political or sectarian boundaries. Authored by two leading medieval historians of the Middle East, Africa, and Europe, Object Lessons addresses the gaps in medieval sources and modern scholarship, arguing for the archival value of objects, images, and monuments. Flood and Fricke examine six case studies that focus on the twelfth and thirteenth centuries. From the stone carvings at the churches of Lalibela, Ethiopia, which have no textual documentation, to medicinal bowls from Iraq for which some data can be gathered from unassociated but contemporary sources, these studies show how imagery and objects traveled across continents. The authors connect the histories of medieval Europe, Africa, and west Asia, and raise significant questions about "out of place" objects and how, in the absence of substantial archival material, we might write their histories. While there have been many publications on the histories of global circulation, most of them focus on the early modern period in Europe. By moving away from histories with abundant written archival material, Object Lessons ventures far beyond the narratives of Europe and into complex, cross-cultural and intercontinental histories of objects and images"-- "New perspectives on early globalisms from objects and images, Tales Things Tell offers new perspectives on histories of connectivity between Africa, Asia, and Europe in the period before the Mongol conquests of the thirteenth century. Reflected in objects and materials whose circulation and reception defined aesthetic, economic, and technological networks that existed outside established political and sectarian boundaries, many of these histories are not documented in the written sources on which historians usually rely. Tales Things Tell charts bold new directions in art history, making a compelling case for the archival value of mobile artifacts and images in reconstructing the past. In this beautifully illustrated book, Finbarr Barry Flood and Beate Fricke present six illuminating case studies from the sixth to the thirteenth centuries to show how portable objects mediated the mobility of concepts, iconographies, and techniques. The case studies range from metalwork to stone reliefs, manuscript paintings, and objects using natural materials such as coconut and rock crystal. Whether as booty, commodities, gifts, or souvenirs, many of the objects discussed in Tales Things Tell functioned as sources of aesthetic, iconographic, or technical knowledge in the lands in which they came to rest. Remapping the histories of exchange between medieval Islam and Christendom, from Europe to the Indian Ocean, Tales Things Tell ventures beyond standard narratives drawn from written archival records to demonstrate the value of objects and images as documents of early globalisms"--

Civilization, Medieval --- Material culture --- Culture and globalization --- History --- ART / History / Medieval --- HISTORY / Africa / East --- Sources. --- Methodology --- World history --- History of civilization

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The "Things of Greater Importance" provides a close look into the social and cultural context of medieval art, primarily as expressed in Bernard of Clairvaux's Apologia, the central document in the greatest artistic controversy to occur in the West prior to the Reformation and the most important source we have for understanding medieval attitudes toward art. Bernard wrote the Apologia during the medieval efflorescence of monumental sculpture and stained glass, of advanced architecture, of pilgrimage art, of high Romanesque, and of the origins of Gothic art. Rudolph places the Apologia, traditionally seen as a condemnation either of all religious art or of all monastic art, in a broader context, using it to explore the role of art in medieval society. He shows that Bernard was interested in the impact of art on contemporary monasticism in a more complex way than previously believed. The book offers the most thorough study available of the theoretical basis of medieval art as it functioned in society; and its implications for the art of both the Romanesque and Gothic periods, which were spanned by Bernard's life, are significant.

Art --- Bernard of Clairvaux --- Christian art and symbolism --- -Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Religious art, Christian --- Sacred art --- Symbolism and Christian art --- Symbolism --- Christian antiquities --- Church decoration and ornament --- Bernard of Clairvaux, Saint --- -Bernard of Clairvaux, Saint --- Bernard, --- ART / History / Medieval. --- Christian art and symbolism - Medieval, 500-1500.

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"The late medieval world was marked by a culture of refinement and sophistication. The period's media of choice--paintings, manuscripts, prints, tapestries, embroideries, ivory sculpture, metalwork, and enamels--speak volumes about the pleasures of sensory engagement. This sumptuous new book brings together sacred and secular art to reveal the shared intellectual culture that governed perception in Europe in the 13th through the 16th centuries. The essays explore these themes through representations of religious practices, royal rituals, feasts and celebrations, music, and literature"--

illuminated manuscripts --- drawings [visual works] --- sculpture [visual work] --- reliquaries --- Late Medieval --- Art --- easel paintings [paintings by form] --- anno 1400-1499 --- anno 1300-1399 --- anno 1500-1599 --- Europe --- Art, Medieval --- Senses and sensation in art --- Themes, motives --- Medieval art --- sculpture [visual works] --- History of Europe --- History of civilization --- ART / History / Medieval. --- ART / Criticism & Theory. --- ART / European. --- Art, Medieval - Themes, motives - Exhibitions --- Senses and sensation in art - Exhibitions --- Christelijke kunst