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With authorative contributions on the historical, stylistic, and iconographic context of this masterpiece of Carolingian Renaissance by R. McKitterick, K. van der Horst, K. Corrigan, F. Mütherich, and W. Noel, and including the catalogue of the 1996 exhibition on the Utrecht Psalter at the Museum Catharijneconvent, Utrecht.
The Utrecht Psalter, one of the great survivals of the Carolingian Renaissance, was made about 820-835 at the Benedictine monastery of Hautvilliers and decorated with 166 dynamic, almost impressionistic pen drawings which are masterly interpretation of the Psalter text. In 1996 it was exhibited in Utrecht, alongside related manuscripts such as the Aachen and Ebbo Gospels, the Byzantine Khludov Psalter and the later English Harly and Eadwine Psalters, copied in Canterbury when the Utrecht Psalter was for some centuries in England. Five scholarly essays, designed for a wide-ranging readership, include a discussion of Carolingian cultural achievements; an analysis of the Psalter itself and its place in the history of book production; an overview of medieval Psalter illustration in both Byzantium and the West; and an exa- mination of the English copies of the Utrect Psalter in the later Middle Ages.
Psalters were editions of the Book of Psalms from the Old Testament which were important both as a prayer book and as a means of learning letters. Due to the latter, and the vivid imagery that the texts created, the initial letter became elaborate and additional miniature illustrations were added to mark important places in the text. These six papers, plus an introduction, are taken from a symposium held at St Andrews in 1997 and present discussions of the historical evolution of psalter illustrations and problems of interpretation. They deal with examples of various date and provenance, although largely focusing on Britain, including the Utrecht Psalter, the Book of Kells and the Corbie Psalter.
Across the nine thematic chapters of Experiencing Medieval Art, renowned art historian Herbert L. Kessler considers functional objects as well as paintings and sculptures; the circumstances, processes, and materials of production; the conflictual relationship between art objects and notions of an ineffable deity; the context surrounding medieval art; and questions of apprehension, aesthetics, and modern presentation. He also introduces the exciting discoveries and revelations that have revolutionized contemporary understanding of medieval art and identifies the vexing challenges that still remain. With 16 color plates and 81 images in all—including the stained glass of Chartres Cathedral, the mosaics of San Marco, and the Utrecht Psalter, as well as newly discovered works such as the frescoes in Rome’s aula gotica and a twelfth-century aquamanile in Hildesheim—Experiencing Medieval Art makes the complex history of medieval art accessible for students of art history and scholars of medieval history, theology, and literature.
Discusses the techniques, uses, and aesthetics of medieval drawings; and reproduces work from more than fifty manuscripts produced between the ninth and early fourteenth century.
Although objects associated with the Passion and suffering of Christ are among the most important and sacred relics venerated by the Catholic Church, this is the first study that considers how they were presented to the faithful. Cynthia Hahn adopts an accessible, informative, and holistic approach to the important history of Passion relics—first the True Cross, and then the collective group of Passion relics—examining their display in reliquaries, their presentation in church environments, their purposeful collection as centerpieces in royal and imperial collections, and finally their veneration in pictorial form as Arma Christi. Tracing the ways that Passion relics appear and disappear in response to Christian devotion and to historical phenomena, ranging from pilgrimage and the Crusades to the promotion of imperial power, this groundbreaking investigation presents a compelling picture of a very important aspect of late medieval and early modern devotion.
The Eadwine Psalter (Cambridge, Trinity College MS R.17.1) is arguably the most ambitious manuscript produced in England in the twelfth century. Over a dozen scribes and artists combined to produce a book which contains five different version of the text of the Psalms, three in Latin, one in Old English, and one in Anglo-Norman, with a prologue, a commentary, and a concluding prayer to each Psalm. In addition, the most complex set of Psalter illustrations available, those from the ninth-century Utrecht Psalter, was adapted for the project; the largest known cycle of prefatory biblical pictorial narratives of the period was devised and happened as a pictorial preface; and every Psalm, prayer, and Canticle was given a set of fully illuminated major initials as well as gold and silver minor initials throughout. Several other noteworthy images feature in the book: a portrait of the 'Prince of Scribes', Eadwine himself, the depiction of a comet, and the two plans of the precinct waterworks of Canterbury Cathedral Priory installed c. 1160. In the past the various aspects of this complex compilation have been treated individually (or in some cases not at all). It is the aim of the present volume of studies to counteract the tendency of modern scholarship to fragment its subjects by bringing under scrutiny between two covers all the major components of the Eadwine Psalter. To this end, thirteen distinguished specialists representing all the fields of inquiry have collaborated over a number of years and have consulted each other, comparing notes and opinions. The result is a volume of communal endeavor which locates the manuscript within a particular milieu, at once monastic and proud, aware of contemporary scholarship but inherently conservative.
This important and overdue book examines illuminated manuscripts and other book arts of the Global Middle Ages. Illuminated manuscripts and illustrated or decorated books—like today’s museums—preserve a rich array of information about how premodern peoples conceived of and perceived the world, its many cultures, and everyone’s place in it. Often a Eurocentric field of study, manuscripts are prisms through which we can glimpse the interconnected global history of humanity. Toward a Global Middle Ages is the first publication to examine decorated books produced across the globe during the period traditionally known as medieval. Through essays and case studies, the volume’s multidisciplinary contributors expand the historiography, chronology, and geography of manuscript studies to embrace a diversity of objects, individuals, narratives, and materials from Africa, Asia, Australasia, and the Americas—an approach that both engages with and contributes to the emerging field of scholarly inquiry known as the Global Middle Ages. Featuring more than 160 color illustrations, this wide-ranging and provocative collection is intended for all who are interested in engaging in a dialogue about how books and other textual objects contributed to world-making strategies from about 400 to 1600.