Art and Architecture of the Middle Ages: Exploring a Connected World, by Jill Caskey, Adam S. Cohen, Linda Safran (original) (raw)
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A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Blackwell Companions in Art History, 2nd ed. (Wiley-Blackwell, Oxford, 2019) (a collection of thirty-nine original essays from leading and upcoming scholars in the field, each historiographically analyzing one of a systematic and editorially determined range of subjects in the development of Romanesque and Gothic art history; eleven new essays were added to the revised original thirty essays of the first edition; this includes my introductory essay, "A Sense of Loss: An Overview of the Historiography of Romanesque and Gothic Art"). 1. Introduction A Sense of Loss: An Overview of the Historiography of Romanesque and Gothic Art Conrad Rudolph 2. Artifex and Opifex – The Medieval Artist Beate Fricke 3. Vision Cynthia Hahn 4. Materials, Materia, "Materiality" Aden Kumler 5. Reception of Images by Medieval Viewers Madeline H. Caviness 6. Narrative, Narratology, and Meaning Suzanne Lewis 7. Formalism Linda Seidel 8. Gender and Medieval Art Brigitte Kurmann-Schwarz 9. Gregory the Great and Image Theory in Northern Europe During the Twelfth and Thirteenth Centuries Herbert L. Kessler 10. Iconography Shirin Fozi 11. Art and Exegesis Christopher G. Hughes 12. Whodunit? Patronage, the Canon, and the Problematics of Agency in Romanesque and Gothic Art Jill Caskey 13. Collecting (and Display) Pierre Alain Mariaux 14. The Concept of Spolia Dale Kinney 15. The Monstrous Thomas E. A. Dale 16. Making Sense of Marginalized Images in Manuscripts and Religious Architecture Laura Kendrick 17. Definitions and Explanations of the Romanesque Style in Architecture from the 1960s to the Present Day Eric Fernie 18. Romanesque Sculpture in Northern Europe Colum Hourihane 19. Modern Origins of Romanesque Sculpture Robert A. Maxwell 20. The Historiography of Romanesque Manuscript Illumination Adam Cohen 21. The Study of Gothic Architecture Stephen Murray 22. France, Germany, and the Historiography of Gothic Sculpture Jacqueline Jung 23. Gothic Manuscript Illustration: The Case of France Anne D. Hedeman 24. “Specially English”: Gothic Illumination c.1190 to the Early Fourteenth Century Kathryn A. Smith 25. From Institutional to Private and from Latin to the Vernacular: German Manuscript Illumination in the Thirteenth Century Michael Curschmann 26. Glazing Medieval Buildings Elizabeth Pastan 27. Toward a Historiography of the Sumptuous Arts Brigitte Buettner 28. Reliquaries Cynthia Hahn 29. East Meets West: The Art and Architecture of the Crusader States Jaroslav Folda 30. Gothic in the Latin East Michalis Olympios 31. Art and Liturgy in the Middle Ages Eric Palazzo 32. Architectural Layout: Design, Structure, and Construction in Northern Europe Marie-Thérèse Zenner 33. Sculptural Programs Bruno Boerner 34. The Art and Architecture of Female Monasticism Jeffrey F. Hamburger 35. Cistercian Architecture Peter Fergusson 36. Art and Pilgrimage: Mapping the Way Paula Gerson 37. "The Scattered Limbs of the Giant": Recollecting Medieval Architectural Revivals Tina Waldeier Bizzarro 38. Medieval Art Collections Janet Marquardt 39. The Modern Medieval Museum Michelle P. Brown
Any work of art or architecture, whether whole or in part, that has survived for numerous centuries can be considered to have “lived a long life.” The existence of such works extends beyond the lifespan of any single designer, patron, or political entity—a point that Marvin Trachtenberg has recently emphasized. Rather than being the product of a single historical moment or style, such works have endured, or perhaps their essence perdures, through the centuries into the present. Even when their original materials have changed, certain works of art and architecture live on. Ironically, the very conditions that have allowed the survival of “original” medieval works have required their transformation through alterations, augmentations, and restorations. In some cases, the original work has been entirely replaced with new material. Yet, the concept of a work’s essence can allow for the perception of its continuity and ongoing life. Inspired by longue durée thinking, The Long Lives of Medieval Art and Architecture provides an extended meditation on the longevity of medieval works and the aspect of time as a factor in shaping our interpretations of them. The metaphor of “lives” is employed as a way to conceptualize and write about works, telling stories about objects that are necessarily entangled with numerous individuals and institutions
Architecture and Visual Culture in the Late Antique and Medieval Mediterranean Studies in Honor of Robert G. Ousterhout , 2020
Using the carved interior, inscriptions, and painted decorations of Bezirana Kilisesi in Cappadocia as a case study, in light of recent theoretical discussions this paper aims to illustrate to what extent the making of sacred space in a remote region outside imperial territory – and under Islamic rule – can mimic the well-established patterns and symbol systems of Byzantium’s urban and cultural centers. A comprehensive investigation across the late medieval painted programs in Cappadocia from the perspective of Bezirana Kilise shows how the fashioning of sacred space involved forging close links between the deceased and the living (both clerics and laypeople), as well as between decoration, commemoration, and the idea of protection, thus replicating the construction process of Late Byzantine cultural identity. This systematic inquiry into the sacred character of these church spaces thereby challenges commonly accepted notions of center and periphery in the cultural production and communal identity of Cappadocia in opposition to the rest of the Byzantine Empire at this period. Although the carved, painted, and inscribed environment of Bezirana Kilisesi is a product of the ‘post-Byzantine’ social and cultural context, the result represents one the of the finest and most opulent Late Byzantine sacred spaces.