By Conrad Rudolph
Эта книга представляет собой сборник из 30-ти очерков, в которых авторы дают аналитический обзор художественного творчества, наверное, в важнейшей области распространения Западного искусства. Внимание уделено историографии периода; теории образа и видения; художественным приемам и архитектурному дизайну со ссылками на широкий ряд примеров специфических образцов Северной Европы.
Вместе с тем, не забыто романское и готическое искусство на Востоке: в Византии и в государствах крестоносцев.Образцы сканов:
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Extra resources for A Companion to Medieval Art: Romanesque and Gothic in Northern Europe
Yet ancient and Renaissance scholarship was in full swing by now, with important implications for the development of medieval art history. This was the time of the beginning of modern biblical criticism. The Early Church became a subject of great study as a result of both the Reformation and the CounterReformation. The catacombs of Rome were accidentally rediscovered in 1578, and Antonio Bosio’s great work on the catacombs, Roma sotteranea, was published in 1632–4. Historical terms such as “bc” (Bousset, 1681) and “century” began to be used.
But there were also a number of other scholars who, if less well known than Camden and Cotton, contributed perhaps more directly to the foundation of an art historical base of methodologies, terminology, and periodization. For example, William Somner wrote on a number of medieval churches, including the Cathedral of Canterbury, distinguishing between Romanesque and Gothic elements (though not using these terms) and trying to use architectural form as a means of dating (1640), a method that was to have a long history.
Among lay scholars, Charles Ducange published his Glossarium ad Scriptores Mediae et Infimae Latinitatis in 1678, still an authority in the field. In the area of art history generally speaking, the first scholarly art historical bibliography was compiled (by Raphaël Trichet du Fresne on Leonardo ACTC01 9 26/01/2006, 03:47PM 10 CONRAD RUDOLPH in 1651). The grave of Childeric, rich in Merovingian jewelry, was accidentally discovered in Tournai in 1653, causing a sensation. In the debate known as the Quarrel of Ancients and Moderns, Charles Perrault (an influential voice in French artistic circles and the “author” of Mother Goose) declared that contemporary architecture was superior to Classical, and that, alongside absolute beauty, there was a relative beauty that could change with time (1688) – an idea that led to an increasing subjectivity of standards, contributing to the undermining of the Classical ideal as the sole authority.
A Companion to Medieval Art: Romanesque and Gothic in Northern Europe by Conrad Rudolph