Visible Exports / Imports: New Research on Medieval and Renaissance European Art and Culture

by Emily Jane Anderson (Editor), Jill Farquhar (Editor), John Richards (Editor)

Overview

This interdisciplinary publication brings together new research on medieval and renaissance art, culture and the critical history by established scholars, early career academics and postgraduate students from the University of Glasgow, Queen's University Belfast, University College Cork, the University of Aberdeen and the University of Warwick. The majority of the articles featured are based on papers given at Gloss, a postgraduate conference on medieval and renaissance art and culture, held at the University of Glasgow, 29 June 2007, organised by Emily Jane Anderson with Sandra Cardarelli and Joanne Anderson; and/or at the International Medieval Congress, University of Leeds, 9-12 July 2007 (sessions 218, 318 and 518 organised by Emily Jane Anderson and Dr Jill Farquhar). Additional papers by John Richards (University of Glasgow) and Flavio Boggi (University College Cork), which were not given in Glasgow or Leeds, have been added. An introduction to the papers is provided by Robert Gibbs, Emeritus Professor of Pre-Humanist Art History and Codicology at the University of Glasgow, who moderated one of the Leeds sessions, as did John Richards. The papers are historical and art historical in focus and concern art production (wall and panel painting, sculpture, architecture, manuscript illumination and textiles), material and visual culture and literature in various European cities and locales in the 14th and 15th centuries and later criticism associated with these subject areas. There is an emphasis on the transmission and translation of workshop style, the traditional concept of artistic centres and peripheries, the consideration of art works in context, art production and the workshop system, the medieval city, notions of progression and transition pertaining to medieval and renaissance art production, Petrarch and Humanism, Panofsky and the critical history, art theory and practice, patronage, commerce, religion and politics.

Product Details

ISBN-13:	9781443839976
Publisher:	Cambridge Scholars Publishing
Publication date:	08/01/2012
Pages:	325
Product dimensions:	5.70(w) x 8.20(h) x 1.10(d)

About the Author

Emily Jane Anderson is currently completing her doctoral research at the University of Glasgow on Vitale da Bologna and His Followers: The Eastern European Vitaleschi. She is the recipient of scholarships and grants from the AHRC and the University of Glasgow. She has presented papers and published on Bolognese trecento art and New Kingdom Egyptian Sculpture. Dr Jill Farquhar is a specialist in the art of Trecento Marche and Romagna and, more recently, undertakes research into the place of women in medieval and renaissance visual culture. She completed her Ph D on Riminese painting at Warwick University in 2005 under the supervision of Professor Julian Gardner. She held the post of Lecturer in Art History at Queen's University Belfast between 2002 and 2009 and was Head of the History of Art Department at Queen's from 2006 until 2009. She has also worked for the Open University in Ireland. Jill is currently an independent art historian. Dr John Richards is Senior Lecturer in History of Art and Head of Subject at the University of Glasgow, where he teaches both undergraduate and postgraduate courses on aspects of medieval and renaissance art. He is also Deputy Director of the Institute of Art History, and fulfils a number of academic and administrative duties. He has published widely on Trecento Italian art, particularly on Padua and Verona, as well as on the influence of Humanist thought on Italian art. He was convenor of the AAH Annual Conference that was held in Glasgow in April 2010, and he has presented papers at national and international conferences and seminars, including most recently, the Edinburgh Seminar in Medieval and Renaissance Studies.

Table of Contents

List of Illustrations ix

Foreword xv

Acknowledgements xvi

Introduction Robert Gibbs xvii

Section I The Ideal of Florence and the Image of Giotto

Chapter 1 Petrarch and Giotto in Padua: Identity and Friendship John Richards, University of Glasgow 3

Chapter 2 A Florentine in Romagna: Giotto and the Programme of Decoration in the Church of San Francesco in Rimini Jill Farquhar, Independent, Belfast 38

Section II Commission, Context and Commerce

Chapter 3 Lippo di Dalmasio, the Madonna of Humility and Painting in Pistoia in the Late Trecento Flavio Boggi, University College Cork 61

Chapter 4 Matteo di Giovanni and the Civic Patrons of Southern Tuscany Sandra Cardarelli, University of Aberdeen 99

Chapter 5 The Cathedral Facade: Papal Politics and Religious Propaganda in Medieval Orvieto Pippa Salonius, Independent, New Zealand 125

Chapter 6 Political Tapestries of Philip the Bold and John the Fearless, Dukes of Burgundy Katherfne Anne Wilson, University of York 145

Section III Seeing and Believing: Embodying Devotion

Chapter 7 Devotional and Artistic Responses to the Cult of Mary Magdalen in Trentino-Alto Adige, c.1300-1500: The Case of Cusiano Joanne Anderson, University of Warwick 161

Chapter 8 Venice, the Sea and the Cult of St Nicholas Anastasia Kanellopoulou, University of Glasgow 181

Chapter 9 The Man of Sorrows and the Symbols of the Passion - Aspects of the Image in the Passional of Abbess Cunegund Jennifer S. Vlcek Schurr, University of Glasgow

Section IV Spectacle, Ritual and Repute

Chapter 10 Late Fifteenth Century Architectural Manifestations of Ducal Authority in the Vicinity of Munich Andreas Dahlem, University of Glasgow 239

Chapter 11 Royal Entries in Fifteenth-Century France: Louis XI's Northern Progress of 1463-64 Neil Murphy, University of Winchester 260

Chapter 12 Renaissance Enlightenment: Erwin Panofsky's Humanism Dan Keenan, University of Glasgow 277

Contributors 296

Index 302