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"Examines the stained-glass windows in the Gothic cathedral of Reims within the context of the evolution of the French monarchy and medieval art"--Provided by publisher.
This comprehensive two-volume catalogue covers the outstanding collection of English and French medieval stained glass in the Metropolitan Museum of Art in New York. Written by curator Jane Hayward, the catalogue is posthumously published as Part I in the Corpus Vitrearum series and represents the culmination of Hayward's pioneering work in the field. 123 panels are examined in depth, ranging from 12th-century border ornaments from the Abbey Church of Saint-Denis to early 16th-century English Passion glass. The catalogue is illustrated with over 500 black and white reproductions and 40 colour plates. It includes discussions on provenance, collection history, dating, style, and iconography, as well as detailed descriptions, restoration charts, and considerations of the current condition of each panel.
Between the ninth and thirteenth centuries the Western world witnessed a glorious flowering of the pictorial arts. In this lavishly illustrated book, C.R. Dodwell provides a comprehensive guide to all forms of this art--from wall and panel paintings to stained glass windows, mosaics, and embroidery--and sets them against the historical and theological influences of the age. Dodwell describes the rise and development of some of the great styles of the Middle Ages: Carolingian art, which ranged from the splendid illuminations appropriate to an emperor's court to drawings of great delicacy; Anglo-Saxon art, which had a rare vitality and finesse; Ottonian art with its political and spiritual messages; the colorful Mozarabic art of Spain, which had added vigor through its interaction with the barbaric Visigoths; and the art of Italy, influenced by the styles of Byzantium and the West. Dodwell concludes with an examination of the universal Romanesque style of the twelfth century that extended from the Scandinavian countries in the north to Jerusalem in the south. His book--which includes the first exhaustive discussion of the painters and craftsmen of the time, incorporates the latest research, and is filled with new ideas about the relations among the arts, history, and theology of the period--will be an invaluable resource for both art historians and students of the Middle Ages.
With many excellent books on medieval stained glass available, the reader of this anthology may well ask: “what is the contribution of this collection?” In this book, we have chosen to step away from national, chronological, and regional models. Instead, we started with scholars doing interesting work in stained glass, and called upon colleagues to contribute studies that represent the diversity of approaches to the medium, as well as up-to-date bibliographies for work in the field. Contributors are: Wojciech Balus, Karine Boulanger, Sarah Brown, Elizabeth Carson Pastan, Madeline H. Caviness, Michael W. Cothren, Francesca Dell’Acqua, Uwe Gast, Françoise Gatouillat, Anne Granboulan, Anne F. Harris, Christine Hediger, Michel Hérold, Timothy B. Husband, Alyce A. Jordan, Herbert L. Kessler, David King, Brigitte Kurmann-Schwarz, Claudine Lautier, Ashley J. Laverock, Meredith P. Lillich, Isabelle Pallot-Frossard, Hartmut Scholz, Mary B. Shepard, Ellen M. Shortell, Nancy M. Thompson.
The touchstones of Gothic monumental art in France - the abbey church of Saint-Denis and the cathedrals of Chartres, Reims, and Bourges - form the core of this collection dedicated to the memory of Anne Prache. The essays reflect the impact of Prache’s career, both as a scholar of wide-ranging interests and as a builder of bridges between the French and American academic communities. Thus the authors include scholars in France and the United States, both academics and museum professionals, while the thematic matrix of the book, divided into architecture, stained glass, and sculpture, reflects the multiple media explored by Prache during her long career. The essays employ a varied range of methodologies to explore Gothic monuments. The chapters in the architectural section include an intensive archeological analysis of the foundations of Reims Cathedral, the close reading of a late medieval literary text for a symbolic understanding of Paris, and essays that explore the medieval use of practical geometry in designing entire buildings and their components. Saint-Denis, Reims, and Chartres, all monuments studied by Prache, are discussed in the next part, on stained glass. These chapters demonstrate how old problems can be clarified by new evidence, whether from the accessibility of previously unknown archival information, for Reims, or through revelations that arise from restoration, at Chartres. These essays also include a study showing the complexity of making attributions for the storied glass of Saint-Denis. The final set of essays likewise takes different approaches to sculpture, whether constructing links to the liturgy at Reims, or discussing the meaning of a sculptural ensemble studied by Prache early in her career, the cloister of Notre-Dame-en-Vaux in Châlons-en-Champagne, or scrupulously examining the façade sculpture at Bourges Cathedral for insights into the design process. As a whole, the volume provides a window onto key directions in the study of
"Re-examines the sculpture on the transept porches of Chartres Cathedral and revises their chronology, based on information from the previously unstudied tomb of the count of Joigny. Documents the production of the monument within the context of French High Gothic sculpture"--Provided by publisher.
Borrowing its title from Madeline Harrison Caviness's influential work on the modes of seeing articulated by the twelfth-century cleric Richard of Saint Victor, this interdisciplinary collection brings together the work of thirty scholars from England, France, Germany, Italy, Switzerland, and the United States. Each author has contributed an original article that engages with ideas formulated in Caviness's wide-ranging scholarship. The historiographic introduction discusses themes in Caviness's publications and their importance for art historical and medieval studies today. The book's thematic matrix groups together essays concerned with: The Material Object, Documentary Reconstruction, Post-Disciplinary Approaches, Multiple Readings, Gender and Reception, Performativity, Text and Image, Collecting and Consumption, and Politics and Ideology. The contributors include curators, art historians, historians, and literary scholars. Their subjects range from medieval stained glass to the nineteenth-century Gothic Revival, the Sachsenspiegel, and Mel Gibson's The Passion of the Christ. Many foreground issues of gender, reception, and textuality, which have permeated Caviness's scholarship. Some also present approaches to sites that have been the subject of important studies by Caviness, including Canterbury, Chartres, Reims, Saint-Denis, Sens, and Troyes. The volume offers a broad range of methodological approaches to key topics in the study of medieval imagery and thus highlights the vitality of the field today.