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Presented at a symposium held in 1990 to celebrate the Getty Museum's acquisition of the only known illuminated copy of The Visions of Tondal, twenty essays address the celebrated bibliophilic activity of Margaret of York; the career of Simon Marmion, a favorite artist of the Burgundian court; and The Visions of Tondal in relation to illustrated visions of the Middle Ages. Contributors include Maryan Ainsworth, Wim Blockmans, Walter Cahn, Albert Derolez, Peter Dinzelbacher, Rainald Grosshans, Sandra Hindman, Martin Lowry, Nigel Morgan, and Nigel Palmer.
A discussion of the popular medieval story of a wealthy knight's dreamlike journey through hell, purgatory, and heaven.
First Published in 1993. The present volume covers the currently identified Christian visions of heaven and hell (excluding D ante’s Divine Comedy) from western Europe during the Middle Ages from the late sixth through the fourteenth century.
Although liminality has been studied by scholars of medieval and seventeenth-century art, the role of the threshold motif in Netherlandish art of the late fourteenth, fifteenth and early sixteenth centuries -- this late medieval/early ‘early modern’ period -- has been much less fully investigated. Thresholds and Boundaries: Liminality in Netherlandish Art (1385-1550) addresses this issue through a focus on key case studies (Sluter's portal of the Chartreuse de Champmol and the calendar pages of the Limbourg Brothers' Très Riches Heures), and on important formats (altarpieces and illuminated manuscripts). Lynn F. Jacobs examines how the visual thresholds established within Netherlandish paintings, sculptures, and manuscript illuminations become sites where artists could address relations between life and death, aristocrat and peasant, holy and profane, and man and God—and where artists could exploit the "betwixt and between" nature of the threshold to communicate, paradoxically, both connections and divisions between these different states and different worlds. Building on literary and anthropological interpretations of liminality, this book demonstrates how the exploration of boundaries in Netherlandish art infused the works with greater meaning. The book's probing of the -- often ignored --meanings of the threshold motif casts new light on key works of Netherlandish art.
Illuminated here are the relationships between visual culture, faith, and gender in the courtly, monastic, and urban spheres of the early modern Burgundian Netherlands. By examining works by artists such as the Master of Mary of Burgundy, Jan van Eyck, Hans Memling, and Bernard van Orley, author Andrea Pearson identifies and explores pictorial constructions of masculinity and femininity in regard to the expectations, experiences, and practices of devotion. Specifically, she demonstrates that two of the most prominent visual genres of the period, books of hours and devotional portrait diptychs, were manipulated by patrons and spectators of both sexes to challenge and negotiate the boundaries and hierarchies of gender, and that marginalized individuals and groups appropriated the types to resist the authority of others and advance their own. Ultimately, the books and diptychs emerge as critical and often contentious sites for deliberating and transacting gender. By integrating books of hours and devotional portrait diptychs into current interdisciplinary theoretical discourse on gender, power and devotion, the author engages scholars in a range of disciplines: art history, history, religion and literature, as well as women's and men's studies.
This comprehensive and richly illustrated catalogue focuses on the finest illustrated manuscripts produced in Europe during the great epoch in Flemish illumination. During this aesthetically fertile period – beginning in 1467 with the reign of the Burgundian duke Charles the Bold and ending in 1561 with the death of the artist Simon Bening – the art of book painting was raised to a new level of sophistication. Sharing inspiration with the celebrated panel painters of the time, illuminators achieved astonishing innovations in the handling of color, light, texture, and space, creating a naturalistic style that would dominate tastes throughout Europe for nearly a century. Centering on the notable artists of the period – Simon Marmion, the Vienna Master of Mary of Burgundy, Gerard David, Gerard Horenbout, Bening, and others – the catalogue examines both devotional and secular manuscript illumination within a broad context: the place of illuminators within the visual arts, including artistic exchange between book painters and panel painters; the role of court patronage and the emergence of personal libraries; and the international appeal of the new Flemish illumination style. Contributors to the catalogue include Maryan W. Ainsworth, curator of European paintings at the Metropolitan Museum of Art; independent scholar Catherine Reynolds; and Elizabeth Morrison, assistant curator of manuscripts at the Getty Museum. Illuminating the Renaissance is published in conjunction with an exhibition organized by the Getty Museum, the Royal Academy of Arts, London, and the British Library to be held at the Getty Museum from June 17 to September 7, 2003, and at the Royal Academy of Arts from November 25, 2003 to February 22, 2004.
Monarchy is an enduring institution that still makes headlines today. It has always been preoccupied with image and perception, never more so than in the period covered by this volume. The collection of papers gathered here from international scholars demonstrates that monarchical image and perception went far beyond cultural, symbolic and courtly display – although these remain important – and were, in fact, always deeply concerned with the practical expression of authority, politics and power. This collection is unique in that it covers the subject from two innovative angles: it not only addresses both kings and queens together, but also both the medieval and early modern periods. Consequently, this allows significant comparisons to be made between male and female monarchy as well as between eras. Such an approach reveals that continuity was arguably more important than change over a span of some five centuries. In removing the traditional gender and chronological barriers that tend to lead to four separate areas of studies for kings and queens in medieval and early modern history, the papers here are free to encompass male and female royal rulers ranging across Europe from the early-thirteenth to the late-seventeenth centuries to examine the image and perception of monarchy in England, Scotland, France, Burgundy, Spain and the Holy Roman Empire. Collectively this volume will be of interest to all those studying medieval and early modern monarchy and for those wishing to learn about the connections and differences between the two.
An examination of women as mothers in medieval French sculpture.
Author Joni M. Hand sheds light on the reasons women of the Valois courts from the mid-fourteenth to the mid-sixteenth century commissioned devotional manuscripts. Visually interpreting the non-text elements-portraits, coats of arms, and marginalia-as well as the texts, Hand explores how the manuscripts were used to express the women?s religious, political, and/or genealogical concerns. This study is arranged thematically according to the method in which the owner is represented. Recognizing the considerable influence these women had on the appearance of their books, Hand interrogates how the manuscripts became a means of self-expression beyond the realm of devotional practice. She reveals how noblewomen used their private devotional manuscripts as vehicles for self-definition, to reflect familial, political, and social concerns, and to preserve the devotional and cultural traditions of their families. Drawing on documentation of women?s book collections that has been buried within the inventories of their fathers, husbands, or sons, Hand explores how these women contributed to the cultural and spiritual character of the courts, and played an integral role in the formation and evolution of the royal libraries in Northern Europe.