Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Un panorama de l'histoire de l'art en Europe et sur le pourtour méditerranéen, entre le Ve et le XVe siècle.

Art islamique --- Art chrétien médiéval. --- Art médiéval. --- Art médiéval --- Moyen Âge

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

L?écriture est omniprésente dans les images médiévales. Ce constat ? celui d?une évidence ? a alimenté un pan entier de la médiévistique au cours des trente dernières années, celui de l?étude des relations entre le texte et l?image. Le présent ouvrage envisage à nouveaux frais ces questions en les abordant au prisme de la coprésence des signes alphabétiques et iconiques au sein d?une même image, qu?elle soit peinte sur l?enduit ou sur le verre, sculptée dans la pierre ou le métal, composée en mosaïque ou en textile. En analysant les dispositifs de l?inscription, sa forme, sa localisation et son contenu, cette étude propose de dépasser le constat de l?omniprésence de l?écriture dans l?image pour interroger les conditions et les effets de cette rencontre. Les considérations théologiques et les réflexions patristiques éclairent les intentions et les conditions de la présence conjointe du texte et de l?image au sein d?une même construction visuelle. Sur cette toile de fond intellectuelle se met en place une mécanique du sens entre imago et littera, qui dépasse les fonctions strictes d?identification, de commentaire ou de glose. L?émergence d?une signification augmentée de l?image, voire d?une image nouvelle, se produit dans la friction du texte et de l?image, et l?écriture devient partie intégrante du processus de création du visuel. À partir d?exemples produits entre 800 et 1200, cette étude met en perspective les pratiques artistiques et épigraphiques avec la théologie de l?image. Elle étudie ces objets qui traduisent dans le matériau la réflexion médiévale sur les capacités respectives de l?écriture et de l?image à mettre en signe l?étendue de la Création et l?histoire du monde.

Christian art and symbolism --- Semiotics. --- Art et symbolisme chrétiens --- Sémiotique --- History --- Histoire --- Art et symbolisme chrétiens --- Sémiotique --- Art chrétien médiéval. --- Inscriptions médiévales. --- Image (théologie).

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Sarah K. Kozlowski's new study of panel painting in fourteenth-century Naples explores the materialities and mobilities of the medium at and beyond the Angevin court, and reframes trecento art in the broader context of artistic circulation, exchange, and transformation across the late medieval and early Renaissance world. This book explores the mobilities and materialities of panel painting at and beyond the Angevin court of Naples in the context of objects, materials, patrons, and painters on the move through the fourteenth-century world. It asks how panel paintings participated in and thematized patterns of circulation and exchange; how they extended the artistic and political geography of the court far beyond Naples itself; how their materialities intersected with other mediums from woven silk to precious metalwork to stone; and how painters' formal and technical experimentation combined with painted panels' real and imagined itineraries to create meaning. The volume traces a series of painted panels through networks of patronage, production, gift giving, transport, and replication. It locates the making, movement, and meaning of these works in the overlapping contexts of Angevin dynastic and territorial ambitions, including the family's stakes in the Holy Land; patterns of collecting and adapting authoritative icons; practices of royal female patronage; and painters' engagement with the limits of the medium of panel painting itself. Each chapter weaves together sustained analysis of paintings' pictorial and material structures, close reading of primary sources, and questions of art's materialities and mobilities. Moving between single objects and larger patterns, between the local and the global, this study presents new research on individual works even as it reframes trecento art in the broader context of artistic circulation, exchange, and transformation across the late medieval and early Renaissance world."--

Panel painting, Gothic. --- Panel painting, Italian. --- Christian art and symbolism --- Art, Medieval --- Social aspects --- Anjou, House of --- Social aspects. --- Peinture sur panneau. --- Art chrétien médiéval. --- Panel painting --- Medieval art --- Painting --- 246"13" Christelijke kunst en symbolisme--13e eeuw. Periode 1200-1299 --- Art chrétien médiéval --- Peinture sur panneau --- Patronage and sponsorship --- Artistic techniques and materials --- Medieval painting --- Italian Peninsula (c. 500-1500)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Reliquaries, one of the central art forms of the Middle Ages, have recently been the object of much interest among historians and artists. Until now, however, they have had no treatment in English that considers their history, origins, and place within religious practice, or, above all, their beauty and aesthetic value. In Strange Beauty, Cynthia Hahn treats issues that cut across the class of medieval reliquaries as a whole. She is particularly concerned with portable reliquaries that often contained tiny relic fragments, which purportedly allowed saints to actively exercise power in the world. Above all, Hahn argues, reliquaries are a form of representation. They rarely simply depict what they contain; rather, they prepare the viewer for the appropriate reception of their precious contents and establish the "story" of the relics. They are based on forms originating in the Bible, especially the cross and the Ark of the Covenant, but find ways to renew the vision of such forms. They engage the viewer in many ways that are perhaps best described as persuasive or "rhetorical," and Hahn uses literary terminology--sign, metaphor, and simile--to discuss their operation. At the same time, they make use of unexpected shapes--the purse, the arm or foot, or disembodied heads--to create striking effects and emphatically suggest the presence of the saint.

Reliquaries. --- Christian art and symbolism -- Medieval, 500-1500 --- Christian art and symbolism --- Reliquaries --- Representation (Philosophy) --- Representationalism (Philosophy) --- Representationism (Philosophy) --- Culture --- Philosophy --- Relics and reliquaries --- Containers --- Religious articles --- Shrines --- Representation (Philosophy). --- Art chrétien médiéval --- Symbolisme chrétien --- Reliquaires --- Art et symbolisme chrétiens --- Représentation (Philosophie) --- Art chrétien médiéval. --- Symbolisme chrétien. --- Art chrétien médiéval. --- Symbolisme chrétien.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Christian church history --- anno 1200-1299 --- anno 1100-1199 --- anno 1300-1399 --- France --- Cathedrals --- Chapters, Cathedrals, collegiate, etc. --- Cathédrales --- Chapitres cathédraux, collégiaux, etc. --- History --- Histoire --- 726.6 --- Kathedralen. Domkerken --- 726.6 Kathedralen. Domkerken --- Cathédrales --- Chapitres cathédraux, collégiaux, etc. --- Chapters, Cathedrals, collegiate, etc --- Architecture gothique --- Église et société --- Art chrétien médiéval. --- Histoire religieuse --- Chapters, Cathedral, collegiate, etc. --- Église et société