Art & Visual Culture 1100-1600: Medieval to Renaissance (Art & Visual Culture 1 1)
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An innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods."1000-1600: Medieval to Renaissance" includes essays on key themes of Medieval and Renaissance art, including the theory and function of religious art and a generic analysis of art at court. Explorations cover key canonical artists such as Simone Martini and Botticelli and key monuments including St Denis and Westminster Abbey, as well as less familiar examples.The first of three text books, published by Tate in association with the Open University, which insight for students of Art History, Art Theory and Humanities. Introduction Part 1: Visual cultures of medieval Christendom 1: Sacred art as the Bible of the Poor' 2: Sacred architecture, Gothic architecture 3: Sacred in secular, secular in sacred: the art of Simone Martini 4: To the Holy Land and back again: the art of the Crusades Part 2: The shifting contexts of Renaissance art 5: Art at court 6: Botticelli 7: Did women patrons have a Renaissance? Italy 1420-1520 8: From Candia to Toledo: El Greco and his art
Maurice is depicted kneeling, hands clasped in prayer and head raised towards heaven, awaiting his beheading. The discussion among the officers is also depicted here, but as a secondary event, to the left. The raised sword and spears lead the eyes of the faithful to heaven, where Christ and angels wait to crown the martyrs. While Cincinnato’s composition draws from that of El Greco, the emphasis of the two paintings is different. In the El Greco, the faithful are invited to contemplate on the
Green, R. (1961) Meditations on the Life of Christ: An Illustrated Manuscript of the Fourteenth Century, Princeton, NJ, Princeton University Press. Richardson C.M., Woods, K.W. and Franklin, M.W. (eds) (2007) Renaissance Art Reconsidered: An Anthology of Primary Sources, Oxford, Blackwell. Ridderbos, B. (1998) ‘The Man of Sorrows: pictorial images and metaphorical statements’ in MacDonald, A.A., Ridderbos, H.N.B. and Schlusemann, R.M. (eds) The Broken Body: Passion Devotion in Late-Medieval
officiorum (‘Symbolism of the Christian ritual’) in about 1286 (translated and reproduced in Frisch, 1971, pp. 33–7). 15 Sweetinburgh, 2006. 16 Discussed in Goudriann, 2006, p. 219. 17 Usefully reviewed and discussed in Crossley, 1988. 18 Murray, 1987, p. 55. 19 Jung, 2000. 20 Edward’s shrine was partially destroyed and the gold melted down during the Reformation by order of Henry VIII’s minister Thomas Cromwell, who seized for the king priceless relics and works of art left to the shrine
however, was increasing. One example will suffice to illustrate the point. The legendary Medici family were self-styled rulers of Florence but not of noble, let alone royal, extraction, and hence the imperative of material ostentation was perhaps less powerful than it might have been, say, for a northern European king, and even inadvisable where the degree of magnificence was widely expected to correspond to social class (see chapter 5). For this reason, despite their wealth, painting was
were far more expensive than painted panels and hence a high-cost option appropriate for this prestigious military order. Embroideries were also portable, which was essential since the chapter meetings were held in different locations from year to year. Plate 5.16 Attributed to Thierry du Chastel, detail of the Trinity, from an embroidered altar hanging belonging to the Order of the Golden Fleece, 1432–33, linen, red velvet, pearl, gold and silk embroidery, whole hanging 119 × 330 cm.