A spouse to Medieval Art brings jointly state-of-the-art scholarship dedicated to the Romanesque and Gothic traditions in Northern Europe.
• Brings jointly state-of-the-art scholarship dedicated to the Romanesque and Gothic traditions in Northern Europe.
• comprises over 30 unique theoretical, historic, and historiographic essays by means of well known and emergent scholars.
• Covers the vibrancy of medieval artwork from either thematic and sub-disciplinary perspectives.
• gains a global and bold diversity - from reception, Gregory the nice, accumulating, and pilgrimage artwork, to gender, patronage, the marginal, spolia, and manuscript illumination.
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Extra info for A Companion to Medieval Art: Romanesque and Gothic in Northern Europe (Blackwell Companions to Art History, Volume 2)
Each period oriented itself toward the heavens according to the knowledge and technology of its day. Nevertheless, in its constant correlation of anthropological needs with heavenly reference, calendar art formed a conceptually unified and transhistorical tradition. ”12 White argues that narrative itself is a metacode, compelling not because of any unique ability to frame, link, or confer meaning upon events (many forms of representation can organize fictional or historical data), but because of its capacity to represent, or more properly to reenact, the intrinsic temporal nature of reality.
Between 1882 and 1884, with support from the state education ministry, he was able to conduct research in northern Italy and Bavaria, the results of which were set down in an essay entitled “Die Bauzeit der Schottenkirche St. ” Upon receiving his doctorate in 1884, Riegl accepted a half-year fellowship in Rome before starting work as an apprentice at the new Austrian Museum of Art and Industry. Riegl’s lifelong ties to Austrian museums and his involvement in cataloging and curating collections reinforced the inclination to close empirical observation and careful description of art objects that characterized his training and work.
Riegl’s art histories, however, were built around material objects, not dates or events. A calendar illustration is not an event in the same way that, say, the Battle of Crécy or the fall of Rome was because it remains present in a visual and material sense; an illustration or artifact persists materially through time and thus establishes a different relationship with the historical interpreter from that of bygone events. While the production of a calendar can be properly called a historical event, recoverable only in representation, the historical meaning of a calendar illustration is tied to both creation and reception, original moment and durable presence; history “attaches,” in a sense, to the calendar not simply as date of origin but also in the temporal duration of presence, persistence, aging.
A Companion to Medieval Art: Romanesque and Gothic in Northern Europe (Blackwell Companions to Art History, Volume 2)