The Centre As Margin Eccentric Perspectives on Art
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The Centre as Margin Eccentric Perspectives on Art Edited by Joana Antunes University of Coimbra, Portugal Maria de Lurdes Craveiro University of Coimbra, Portugal Carla Alexandra Gonçalves Universidade Aberta, Portugal Series on the History of Art Copyright © 2019 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series on the History of Art Library of Congress Control Number: 2018952655 ISBN: 978-1-62273-447-4 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of Contents List of Figures vii List of Tables xi Introduction: (Re)framing Art History: art beyond boundaries xiii Joana Antunes, Maria de Lurdes Craveiro and Carla Alexandra Gonçalves PART I The Margin at the Centre, or the Centre as Margin 1 Chapter 1 A Liminal Vision Between Dream and the Afterworld in a "Boschian" Painting on the Margin of Hieronymus Bosch 3 Maria José Goulão Chapter 2 In the margins of Davidsbündlertänze op. 6 by Robert Schumann 21 Ana Isabel Nistal Freijo Chapter 3 Amédée Ozenfant and the peripheries of modernism 37 Jessica Schouela Chapter 4 Habeas Corpus . Marginal anatomies at the centre 51 Carla Alexandra Gonçalves Chapter 5 Creative marginality as a counter- apparatus, from nonsense to avant-garde 69 Ricardo Seiça Salgado PART II Case Studies on Liminality 91 Chapter 6 The centre and the margin as enhancers of meaning in Celtic literature and art 93 Beatriz Loureiro Chapter 7 Schemes and marginal elements in Romanesque sculpture 115 Lúcia Rosas Chapter 8 An iconographic reading of the tomb of D. Afonso at Braga Cathedral (Portugal) 133 Ana Cristina Sousa Chapter 9 Phoenix, Siren and Sphinx [Sor Juana Inés de la Cruz and the poetic portrait] 159 Octavio Páez Granados Chapter 10 Rethinking the diabolical monster in 18 th century salmantine choirstalls 177 Mariano Casas Hernández Chapter 11 Meanings and Strategies for Displaying Human Marvels: Inquiring the iconography of the Double 201 Paola Pacifici Chapter 12 Clio at the Cloister: Re-stitching Mnemosyne 213 Barbara Margarethe Eggert Chapter 13 Resistance, identity, and modernism unhinged in Lygia Pape’s textile experiments 231 Jacqueline Witkowski Chapter 14 The margins of patterns, garments and the body 245 Nuno Nogueira and Inês Simões PART III A Place for the Margin 263 Chapter 15 Domestic territories in 15 th and 16 th century painting 265 Marta Simões Chapter 16 Reading Filarete from the Margin 281 Berrin Terim Chapter 17 The narthex in the architecture of the Portuguese Catholic Reformation, between centrality and liminality 301 Maria de Lurdes Craveiro Contributors 319 Index 327 List of Figures Figure 1.1 Follower of Hieronymus Bosch, The Vision of Tondal , ca. 1545 © Fundação M. I. Guerra Junqueiro, Porto, Portugal 9 Figure 2.1 Clara Schumann, “Le Ballet des revenants” op. 5 no. 4 28 Figure 2.2 Clara’s Motifs 30 Figure 2.3 Davidsbündlertänze op 6 no. 1 31 Figure 3.1 Opening image by Marc Allégret in Amédée Ozenfant’s Foundations of Modern Art, 1928 © Ministère de la Culture - Médiathèque du Patrimoine, Dist. RMN- Grand Palais / Marc Allégret 38 Figure 3.2 Photograph of Marc Allégret and André Gide in Amédée Ozenfant’s Foundations of Modern Art , 1928 © Ministère de la Culture - Médiathèque du Patrimoine, Dist. RMN-Grand Palais / Marc Allégret 40 Figure 3.3 Ornamented woman in Ozenfant’s Tour de Grèce , 1938 © ADAGP, Paris and DACS, London 2017 41 Figure 3.4 White woman (Mme Ozenfant?) in Ozenfant’s Tour de Grèce , 1938 © ADAGP, Paris and DACS, London 2017 42 Figure 4.1 Félix Nadar, Hermaphrodite , 1860-61, New York, The Metropolitan Museum, no. 2010.457.1 [CCO – Public domain] 57 Figure 4.2 Félix Nadar, Victor Hugo on His Deathbed , 1885, Woodburytype, Los Angeles, The J. Paul Getty Museum. [CCO – Public domain] 61 viii List of Figures Figure 6.1 Hunterston brooch. c.700 AD. Gold, silver and amber, diameter 122mm, height 36mm © The National Museum of Scotland, Edinburgh 102 Figure 6.2 Irish Celtic hand-pin. 6th-7th century. Bronze, 22 x 2.2 x 1.9 cm © The Walters Museum, Baltimore 105 Figure 7.1 St. Christopher as Christ Bearer , church of St. Christopher of Rio Mau © Mário Cunha 118 Figure 7.2 St. Christopher grabs his wrist, church of St. Christopher of Rio Mau © Mário Cunha 122 Figure 7.3 Viola player, church of St. Christopher of Rio Mau ©Mário Cunha 123 Figure 7.4 Feline in the southern capital of the transverse arch, church of St. Christopher of Rio Mau © Mário Cunha 124 Figure 7.5 Vegetal capital on north façade, church of St. Christopher of Rio Mau © Mário Cunha 125 Figure 7.6 Cartography of sculptural elements at the Church of St. Christopher of Rio Mau © João Vieira 128 Figure 7.7 Three characters in a boat, church of St. Christopher of Rio Mau © Mário Cunha 130 Figure 8.1 Tomb of Prince D. Afonso (detail of the effigy), Braga Cathedral, Portugal © Ana Cristina Sousa 134 Figure 8.2 Tomb of Prince D. Afonso (general view), Braga Cathedral, Portugal © Ana Cristina Sousa 138 Figure 8.3 Tomb of Prince D. Afonso (detail of the canopy), Braga Cathedral, Portugal © Ana Cristina Sousa 139 Figure 8.4 Tomb of Prince D. Afonso (detail of the decorated panels), Braga Cathedral, Portugal © Ana Cristina Sousa 146 Figure 8.5 Tomb of Prince D. Afonso (detail of the decorated panels), Braga Cathedral, Portugal © Ana Cristina Sousa 148 Figures 8.6 and 8.7 Tomb of Prince D. Afonso (details of the motifs used in the panels), Braga Cathedral, Portugal © Ana Cristina Sousa 152 List of Figures ix Figure 10.1 Partial view of the choir stalls, Cathedral of Salamanca © Mariano Casas Hernández 180 Figure 10.2 Diabolical monster, misericord, choir stalls of the Cathedral of Salamanca © Mariano Casas Hernández 184 Figure 10.3 Vomiting monster, misericord, choir stalls of the Cathedral of Salamanca © Mariano Casas Hernández 186 Figure 10.4 Diabolical monster with gaping maw, misericord, choir stalls of the Cathedral of Salamanca © Mariano Casas Hernández 189 Figure 10.5 Ox, misericord, choir stalls of the Cathedral of Salamanca © Mariano Casas Hernández 192 Figures 10.6 and 10.7 Diabolical “Vultus trifrons” and compound monster, misericords, choir stalls of the Cathedral of Salamanca © Mariano Casas Hernández 194 Figures 11.1 and 11.2 First page and woodcut of the pamphlet dedicated to Ali Agamet, a New Monster found in August 1819 (“Narrazione di un Nuovo Mostro Ritrovato nel Mese di Agosto 1819”) © Biagi Collection, Rome 206 Figure 12.1 Goess vestments, antependium, ca. 1239- 1269, silk on linen, 106 x 298 cm, MAK – Österreichisches Museum für angewandte Kunst / Gegenwartskunst, T-6902 © MAK/Katrin Wisskirchen 221 Figure 12.2 Goess vestments, chasuble (dorsal view), ca. 1239-1269, silk on linen, 123 x 73 cm, MAK – Österreichisches Museum für angewandte Kunst / Gegenwartskunst, T-6904 © MAK/Ingrid Schindler 225 Figure 12.3 Goess vestments, cope, ca. 1239-1269, silk on linen, 132 x 310 cm, MAK – Österreichisches Museum für angewandte Kunst / Gegenwartskunst Vienna, T-6903 © MAK/Ingrid Schindler 226 Figure 14.1 The tailored jacket block pattern and the two-piece block pattern. Patterns are planned around vertical axes and since usually they are symmetrical, only the right side of the pattern is designed. Diagram adapted by the authors 248 x List of Figures Figure 14.2 Asymmetrical shirt pattern. Because the purpose was to design asymmetrical shirts relative to its vertical axes, the pattern comprises both the right and left side of the torso. Diagram designed by the authors 257 Figure 15.1 The great fire of Bern. Diebold Schilling, Amtliche Berner Chronik , vol. 1. Bern, Burgerbibliothek, Mss.h.h.I.1, 289 © Burgerbibliothek Bern 267 Figure 15.2 Birth scene. Publius Terencius Afer: Comediae , Paris, ca. 1411, Paris, Bibliothèque de l’Arsenal, Ms-664 réserve, fol. 137v © Bibliothèque nationale de France 273 Figure 16.1 Codex Magliabechianus (Ms. II, I,140), 1461- 1464, Florence, Biblioteca Nazionale Centrale, fol. 11v © Biblioteca Nazionale Centrale di Firenze 288 Figure 16.2 Codex Magliabechianus (Ms. II, I,140), Florence, Biblioteca Nazionale Centrale, fol. 13v © Biblioteca Nazionale Centrale di Firenze 292 Figure 16.3 Codex Magliabechianus (Ms. II, I,140), Florence, Biblioteca Nazionale Centrale, fol. 28r © Biblioteca Nazionale Centrale di Firenze 294 Figure 16.4 Codex Magliabechianus (Ms. II, I,140), Florence, Biblioteca Nazionale Centrale, fol. 43r © Biblioteca Nazionale Centrale di Firenze 296 Figure 17.1 Chapel of Saint Andrew, c. 1500, Beja, Portugal © Maria de Lurdes Craveiro 308 Figure 17.2 Church of Our Lady of Grace, Miguel de Arruda and Nicolau de Chanterene, ca. 1535-1540, Évora, Portugal © Maria de Lurdes Craveiro 310 Figure 17.3 Chapel of Saint Peter, first half of the 17 th century, Beja, Portugal © Maria de Lurdes Craveiro 315 List of Tables Table 2.1 Motivic relation between “Le ballet des revenants” and the Davidsbündlertänze 28 Table 2.2 Poetic motto 32 Table 2.3 The stage directions 33 Table 2.4 Character indications 33 Table 7.1 Sculpture distribution at the church of St.