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This volume helps us understand and even experience the manifold aspects of Romanesque artistic composition.
"This book offers a general introduction to the Romanesque period and discusses the primary characteristics of this style with its clearly defined forms and its overall appearance of simplicity, along with commonly used techniques and materials. Examples of Romanesque architecture can be found across Europe, some of the most recognizable being Saint Mark's Basilica in Venice, Durham Cathedral in England and Mont Saint-Michel in France." -- Book Jacket.
The nineteen papers collected in this volume explore a notable phenomenon, that of retrospection in the art and architecture of Romanesque Europe. They arise from a conference organized by the British Archaeological Association in 2010, and reflect its interest in how and why the past manifested itself in the visual culture of the 11th and 12th centuries. This took many forms, from the casual re-use of ancient material to a specific desire to re-present or emulate earlier objects and buildings. Central to it is a concern for the revival of Roman and early medieval forms, spolia, selective quotation, archaism and the construction of histories. The individual essays presented here cover a wide range of topics and media: the significance of consecration ceremonies in the creation of architectural memory, the rise of pictorial concepts in 12th-century chronicles, the creation of history in the Paris of Hugh of St-Victor, and the appeal of the works of Bernward of Hildesheim and of Hrabanus Maurus in the centuries after their deaths. There are studies of buildings and the ideological purpose behind them at Tarragona, Ripoll, Cluny, Pannonhalma (Hungary), La Roccelletta (Calabria), and Old St Peter's, comparative studies of Trier, Villenauxe and Glastonbury, and of Bury St Edmunds, Rievaulx and Canterbury, and wide-ranging papers on the tantalizing evidence for an engagement with an overseas past in Ireland, an Anglo-Saxon past in England, and a Milanese past among the aisleless cruciform churches of Augustinian Europe. The volume concludes with an assessment of the very concept of Romanesque.
Meyer Schapiro (1904-96), renowned for his critical essays on 19th and 20th century painting, also played a decisive role as a young scholar in defining the style of art and architecture known as Romanesque. This is a transcribed and edited version of his Charles Eliot Norton Lectures.
The author documents photographically more than eighty Romanesque and Gothic vaults from medieval churches, cathedrals, and basilicas.
In the renaissance also architecture from c. 800–1200 was regarded as a useful source of inspiration for contemporary building, sometimes by misinterpreting these medieval architecture as roman structures, sometimes because that era was also regarded as a glorious ‘ancient’ past.
This history of Romanesque architectural criticism examines seventeenth through early nineteenth-century commentary on medieval architecture and the naming of the Romanesque style. From the time of Giorgio Vasari's Vite (1550) through circa 1818, the portmanteau Gothic often served as a blanket and dismissive term encompassing any non-classical architecture from the disappearance to the revival of the classical style in Renaissance Italy. A study of Romanesque criticism reveals the various stages in the understanding and naming of Romanesque architecture. This consolidation of literature on Romanesque architecture seeks to break ground and to prompt others to refine its conclusions.
Edson Armi offers an original interpretation of Romanesque architecture by focusing on buildings in northern Italy, Switzerland, southern France, and Catalonia, the regions where Romanesque architecture first appeared around 1000 AD. He integrates the study of medieval structure with a knowledge of construction, decoration and articulation to determine the origins of medieval architecture and the High Romanesque style. Armi's in depth study reveals new knowledge about design decisions in the early Middle Ages.
A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art.