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Gothic Tombs of Kinship is a study of one monumental tomb type in Northern Europe, traced from the thirteenth through the fifteenth centuries. This is the first extensive treatment that recognizes the kinship tomb for what it is, rather than compounding it with its celebrated counterpart, the ceremonial tomb, where the final rites or funeral procession of the deceased are represented. The unique characteristic of a tomb of kinship is that it includes a figurative representation of a family tree. This book establishes the kinship tomb as an important Northern European iconographical type, equal in interest to the ceremonial tomb as a manifestation of the mentality of the late Middle Ages. It traces the development of the type from its inception in France and diffusion in the Low Countries and England until its vulgarization in prefabricated tombstones and alabaster tombs in the fifteenth century. The study demonstrates that after being imported into England in the late thirteenth century, the kinship tomb became a vehicle for Edward III's assertion of his claim to the French throne and, inspired by the king and court, the preferred type of the fourteenth-century English baron. Limited to the princes and knights and their ladies in the thirteenth century, the tomb was adopted by the minor gentry and the middle class by the late fourteenth century, with a corresponding change from an extended family program to one confined to the nuclear family. Gothic Tombs of Kinship identifies a representative number of kinship tombs from the period and the territories that marked their apogee, deciphers their programs, and places them in their cultural context.
Gustave Caillebotte (1848–1894), the son of a wealthy businessman, is perhaps best known as the painter who organized and funded several of the groundbreaking exhibitions of the Impressionist painters, collected their works, and ensured the Impressionists’ presence in the French national museums by bequeathing his own personal collection. Trained at the École des Beaux-Arts and sharing artistic sympathies with his renegade friends, Caillebotte painted a series of extraordinary pictures inspired by the look and feel of modern Paris that also grappled with his own place in the Parisian art scene. Gustave Caillebotte: Painting the Paris of Naturalism, 1872–1887 is the first book to study the life and artistic development of this painter in depth and in the context of the urban life and upper-class Paris that shaped the man and his work. Michael Marrinan’s ambitious study draws upon new documents and establishes compelling connections between Caillebotte’s painting and literature, commerce, and technology. It offers new ways of thinking about Paris and its changing development in the nineteenth century, exploring the cultural context of Parisian bachelor life and revealing layers of meaning in upscale privilege ranging from haute cuisine to sport and relaxation. Marrinan has written what is sure to be a central text for the study of nineteenth-century art and culture.
"Three eyewitnesses of Gothic. Villard de Honnecourt: ymagier and interlocutor ; Possessing Villard ; The role of the interlocutor in the Villard enterprise ; Animating the artifact ; Animating the beholder ; Controlling the artifact ; Conclusion: deceit and desire in the Villard enterprise ; Gervase of Canterbury: cronicus and logistics man ; Storytelling ; Mnemonics: remembering the old ; The means of production: controlling the new ; Old and new reconciled ; Apocryphal storytelling: a building that "speaks" ; Conclusion: signs, miracles, and illusionism ; Suger, abbot of S-Denis, and the rhetoric of persuasion: manipulating reality and producing meaning ; Rhetorical structure of de consecratione: manipulated dialectic ; Production of the text: from oral to written ; Making connections ; Production of the new church, production of salvation ; Apocryphal stories ; Conclusion: the abbot who spoke the building -- Staking out the plot. Interlocutor and monument ; Material contexts: the means of production ; How on earth did they do that? ; Economic means ; Reading the signs: construction history ; The production of meaning ; Similitude to nature; local roots ; Similitude to other buildings ; Modernism and reason ; An image of heaven ; Conclusion -- Animating the plot. Picturing the three agents of construction ; The cathedral as object of desire ; Triangulating desire ; The gap between vision and realization ; Compression and expansion: plotting ; My desire ; Conclusion: Gothic plots' synchronic, diachronic, and spatial."
Profiles the life and work of a nineteenth century pioneer of photography and offers a selection of her portraits of women
"On April 15, 1874, the exhibition organized by the "Societe Anonyme des Artistes Peintres, Sculpteurs, Graveurs et Lithographes" opened its doors in Paris. Monet, Renoir, Degas, Morisot, Cezanne, Pissarro, and Sisley were among the participants. They painted real life as they perceived it--Parisian women dressed in the latest fashions, the capital city bustling with life, and colorful rural landscapes. This new style of painting was dubbed "impressionist." This publication takes a fresh look at a now-legendary exhibition, long seen as the starting point for avant-garde movements that followed. The volume positions it in the context of its time, considering France's defeat by the Prussians and the upheaval of the Commune in 1871, the reconstruction of Paris, and the domination of the official Salon over the art world. Written by French and American experts in the field, this richly illustrated book delves into the ways in which, 150 years ago, artists asserted their independence and changed the course of history." --
Paris: The Powers that Shaped the Medieval City considers the various forces – royal, monastic and secular – that shaped the art, architecture and topography of Paris between c. 1100 and c. 1500, a period in which Paris became one of the foremost metropolises in the West. The individual contributions, written by an international group of scholars, cover the subject from many different angles. They encompass wide-ranging case studies that address architecture, manuscript illumination and stained glass, as well as questions of liturgy, religion and social life. Topics include the early medieval churches that preceded the current cathedral church of Notre-Dame and cultural production in the Paris area in the late 12th and early 13th centuries, as well as Paris’s chapels and bridges. There is new evidence for the source of the c. 1240 design for a celebrated window in the Sainte-Chapelle, an evaluation of the liturgical arrangements in the new shrine-choir of Saint-Denis, built 1140–44, and a valuable assessment of the properties held by the Cistercian Order in Paris in the Middle Ages. Also, the book investigates the relationships between manuscript illuminators in the 14th century and representations of Paris in manuscripts and other media up to the late 15th century. Paris: The Powers that Shaped the Medieval City updates and enlarges our knowledge of this key city in the Middle Ages.