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Cimabue and the Franciscans sheds new light on the legendary artist Cimabue, revealing his sophisticated engagement with complicated intellectual and theological ideas about materials, memory, beauty, and experience. This book offers a fresh look at the broader question of artistic change in the late thirteenth century by examining the intersection of two histories: that of the artist Cimabue (ca. 1240-1302), and that of the Franciscan Order. While focused on the work of a single artist, this study sheds new light on the religious motives and artistic means that fueled the period's visual and spiritual transformations. Flora's study reveals that Cimabue was not just a crucial figure in processes of stylistic change. He and his Franciscan patrons engaged with complicated intellectual and theological ideas about materials, memory, beauty, and experience, creating innovative works of art that celebrated the Order and enabled new modes of Christian devotion. Cimabue's contributions to the history of art thus can finally be recognized for their wide-ranging scope and impact within the rapidly-evolving religious culture of the late thirteenth century.
This volume includes a collection of essays of scholars from several disciplines and focuses on the art produced for the Franciscans in Italy from the 13th to the 15th century. They contain a wide range of subject matter (fresco, panel, stained glass window) and a variety of approaches.
This volume offers a sample of the many ways that medieval Franciscans wrote, represented in art, and preached about the ‘model of models’ of the medieval religious experience, the Virgin Mary. This is an extremely valuable collection of essays that highlight the significant role the Franciscans played in developing Mariology in the Middle Ages. Beginning with Francis, Clare, and Anthony, a number of significant theologians, spiritual writers, preachers, and artists are presented in their attempt to capture the significance and meaning of the Virgin Mary in the context of the late Middle Ages within the Franciscan movement. Contributors are Luciano Bertazzo, Michael W. Blastic, Rachel Fulton Brown, Leah Marie Buturain, Marzia Ceschia, Holly Flora, Alessia Francone, J. Isaac Goff, Darrelyn Gunzburg, Mary Beth Ingham, Christiaan Kappes, Steven J. McMichael, Pacelli Millane, Kimberly Rivers, Filippo Sedda, and Christopher J. Shorrock.
Surveying the broad panorama of medieval Franciscans at prayer, this book offers a nuanced perspective on Franciscan beliefs and spiritual practices that underscores the depth and breath of their mutual passion for the divine and the world they shared.
Catalog accompanying an exhibition at the Frick Collection, New York, of two paintings by Cimabue (Cenni di Pepo; ca. 1240-1302), called by some the founder of Italian Renaissance painting. The painter's Flagellation of Christ (Frick Collection, New York) and Virgin and Child Enthroned with Two Angels (National Gallery, London) were once part of a larger work, possibly a commission of Franciscan origin. Exhibited with the two panels are other examples of Italian devotional art of the late 13th and early 14th centuries from New York collections.
New studies of the Basilica in Assisi as well as innovative looks at early panel paintings and Franciscan stained glass are included.
"A new study of the early Renaissance portrait"--
'Art in Renaissance Italy' sets the art of that time in its context, exploring why it was created and in particular looking at who commissioned the palaces and cathedrals, the paintings and the sculptures.
Francis of Assisi is pre-eminently the saint of the Middle Ages. Owing nothing to church or school he was truly theodidact, and if he perhaps did not perceive the revolutionary bearing of his preaching, he at least always refused to be ordained priest. He divined the superiority of the spiritual priesthood. Saint Francis of Assisi (Italian: San Francesco d'Assisi), born Giovanni di Pietro di Bernardone, informally named as Francesco (1181/1182 - 3 October 1226), was an Italian Catholic friar, deacon and preacher. He founded the men's Order of Friars Minor, the women's Order of Saint Clare, the Third Order of Saint Francis and the Custody of the Holy Land. Francis is one of the most venerated religious figures in history. Pope Gregory IX canonized Francis on 16 July 1228. Along with Saint Catherine of Siena, he was designated Patron saint of Italy. He later became associated with patronage of animals and the natural environment, and it became customary for Catholic and Anglican churches to hold ceremonies blessing animals on his feast day of 4 October. He is often remembered as the patron saint of animals. In 1219, he went to Egypt in an attempt to convert the Sultan to put an end to the conflict of the Crusades.[6] By this point, the Franciscan Order had grown to such an extent that its primitive organizational structure was no longer sufficient. He returned to Italy to organize the Order. Once his community was authorized by the Pope, he withdrew increasingly from external affairs. Francis is also known for his love of the Eucharist.[7] In 1223, Francis arranged for the first Christmas live nativity scene.[8][9][2] According to Christian tradition, in 1224 he received the stigmata during the apparition of Seraphic angels in a religious ecstasy [10] making him the first recorded person in Christian history to bear the wounds of Christ's Passion.[11] He died during the evening hours of 3 October 1226, while listening to a reading he had requested of Psalm 142.