Early Medieval Art After the Collap
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Questions of Fashion
http://www.jstor.org/stable/10.1086/677870 . Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Bard Graduate Center are collaborating with JSTOR to digitize, preserve and extend access to West 86th. http://www.jstor.org This content downloaded from 185.16.163.10 on Tue, 23 Jun 2015 06:24:53 AM All use subject to JSTOR Terms and Conditions Questions of Fashion Lilly Reich Introduction by Robin Schuldenfrei Translated by Annika Fisher This article, titled “Modefragen,” was originally published in Die Form: Monatsschrift für gestaltende Arbeit, 1922. 102 West 86th V 21 N 1 This content downloaded from 185.16.163.10 on Tue, 23 Jun 2015 06:24:53 AM All use subject to JSTOR Terms and Conditions Introduction In “Questions of Fashion,” Lilly Reich (1885–1947) introduces readers of the journal Die Form to recent developments in the design of clothing with respect to problems of the age.1 Reich, who had her own long-established atelier in Berlin, succinctly contextualizes issues that were already mainstays for the Werkbund, the prominent alliance of designers, businessmen, and government figures committed to raising design standards in Germany, of which she was a member. -
Cultural-History-Fin.Ai
CHRONOLOGICAL CHART OF WORLD CULTURAL HISTORY 600000 100000 10000 3000 2500 2000 1500 1000 500 B.C. 1 1 A.D. 100 200 300 400 500 600 700 800 900 1000 1100 1200 1300 1400 1500 1600 1700 1800 1900 2000 38 45 10 94 92 36 92 68 03 68 46 70 c. 2000 1125 +- 130 c. 1000 870 +- 130 ASUKA PERIOD HAKUHO PERIOD NARA PERIOD HEIAN PERIOD KAMAKURA PERIOD MUROMACHI PERIOD AZUCHI EDO PERIOD MODERN AGE 7290 + 500 c. 10000 - 5600 +- 325 3150 +- 400 2115 +- 135 Tumulus culture 49 57 65 Konin Jogan cul. Fujiwara cul. Nagashima MOMOYAMA P. Jomon Culture Yayoi culture Hakuho cul. Nara cul. Nakayama cul. JAPAN 1 Pre-pottery Culture 93 62 72 87 97 08 17 29 82 10 34 59 77 85 01 38 47 68 90 12 24 37 53 65 08 35 56 77 84 01 19 49 64 78 83 cul. Kamigata cul. Edo cul. JAPAN 1 24 34 45 75 94 44 67 04 32 73 92 15 24 55 61 88 04 16 51 64 81 89 04 18 30 54 12 26 89 Middle stage Late stage Asuka cul. ASIAN CULTURAL SPHERE CULTURAL ASIAN 1st stage 2nd st. Early st. Early Stage Middle stage Late stage 4th stage 5th stage 6th stage I II SPHERE CULTURAL ASIAN PYONHAN c. 69 IMNA 62 76 35 59 56 92 36 97 10 45 48 c. 194 c. 108 CHINHAN c. 56 SILLA R L I REPUBLIC of KOREA Eastern Asia Eastern UNIFIED SILLA ( ) KIJA 75 c. 46 PAEKCHE 63 TAE KOREA 2 MAHAN R( L) ISSI CHOSON DYNASTY JAPANESE 2 CHOSON LOLANG 13 Tumulus culture in three Kingdoms 68 18 KORYO MONGOL’S HAN (POSSESSION) c. -
Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-1992 Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance Leon Stratikis University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Modern Languages Commons Recommended Citation Stratikis, Leon, "Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance. " PhD diss., University of Tennessee, 1992. https://trace.tennessee.edu/utk_graddiss/2521 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Leon Stratikis entitled "Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Paul Barrette, Major Professor We have read this dissertation and recommend its acceptance: James E. Shelton, Patrick Brady, Bryant Creel, Thomas Heffernan Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation by Leon Stratikis entitled Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance. -
Core Knowledge Art History Syllabus
Core Knowledge Art History Syllabus This syllabus runs 13 weeks, with 2 sessions per week. The midterm is scheduled for the end of the seventh week. The final exam is slated for last class meeting but might be shifted to an exam period to give the instructor one more class period. Goals: • understanding of the basic terms, facts, and concepts in art history • comprehension of the progress of art as fluid development of a series of styles and trends that overlap and react to each other as well as to historical events • recognition of the basic concepts inherent in each style, and the outstanding exemplars of each Lecture Notes: For each lecture a number of exemplary works of art are listed. In some cases instructors may wish to discuss all of these works; in other cases they may wish to focus on only some of them. Textbooks: It should be possible to teach this course using any one of the five texts listed below as a primary textbook. Cole et al., Art of the Western World Gardner, Art Through the Ages Janson, History of Art, 2 vols. Schneider Adams, Laurie, A History of Western Art Stokstad, Art History, 2 vols. Writing Assignments: A short, descriptive paper on a single work of art or topic would be in order. Syllabus created by the Core Knowledge Foundation 1 https://www.coreknowledge.org/ Use of this Syllabus: This syllabus was created by Bruce Cole, Distinguished Professor of Fine Arts, Indiana University, as part of What Elementary Teachers Need to Know, a teacher education initiative developed by the Core Knowledge Foundation. -
“Forms Assembled in the Light” Week One: Early Medieval Art
ART HISTORY Journey Through a Thousand Years “Forms Assembled in the Light” Week One: Early Medieval Art The Craftsmen Who Saved Civilisation - The Civilisation that Survived – Controversy Over Images – Decoding Anglo-Saxon Art - Basilicas - Illuminated Manuscripts – In Search of Three Dimensions – From the Vaults: The Lindau Gospels – Ottonian Art – The Bernward Doors - An Introduction to the Bestiary, Book of Beasts in the Medieval World - The painted crypt of San Isidoro at León, Spain By Megginede - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=45924271 “Great nations write their autobiographies in three manuscripts[;] the book of their deeds, the book of their words, and the book of their art. Not one of these works can be understood unless we read the two others, but of the three the only trustworthy one is the last.” – Ruskin Kenneth Clark: “The Craftsmen Who Saved Civilization” From Civilisation: A Personal View (1969) People sometimes tell me they prefer barbarism to civilization. I doubt if they have given it a long enough trial. Like the people of Alexandria they are bored by civilisation; but all the evidence suggests that the boredom of barbarism is infinitely greater. Quite apart from discomforts and privations, there was no escape from it. Very restricted company, no books, no light after dark, no hope. On one side of the sea battering away, on the other the infinite stretches of the bog and the forest. A most melancholy existence, and the Anglo- Saxon poets had no illusions about it: A wise man may grasp how ghastly it shall be When all this world’s wealth standeth waste Even as now, in many places over the earth, Walls stand windbeaten, Heavy with hoar frost; ruined habitations… The maker of men has so marred this dwelling That human laughter is not heard about it, And idle stand these old giant works. -
Establishing a Connection to Illuminated Manuscripts Made at Echternach in the Eighth and Eleventh Centuries and Issues of Patronage, Monastic Reform and Splendor
Peregrinations: Journal of Medieval Art and Architecture Volume 3 Issue 1 Special Ottonian Issue 49-82 2011 Establishing a Connection to Illuminated Manuscripts made at Echternach in the Eighth and Eleventh Centuries and Issues of Patronage, Monastic Reform and Splendor Stephen Wagner Savannah College of Art and Design Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Wagner, Stephen. "Establishing a Connection to Illuminated Manuscripts made at Echternach in the Eighth and Eleventh Centuries and Issues of Patronage, Monastic Reform and Splendor." Peregrinations: Journal of Medieval Art and Architecture 3, 1 (2010): 49-82. https://digital.kenyon.edu/perejournal/vol3/iss1/3 This Feature Article is brought to you for free and open access by Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Wagner Establishing a Connection to Illuminated Manuscripts made at Echternach in the Eighth and Eleventh Centuries and Issues of Patronage, Monastic Reform and Splendor By Stephen Wagner, Savannah College of Art and Design Introduction The monastery of Echternach made great contributions to the art of luxury manuscript production at two distinctive points in its long history.1 The first works appeared shortly after St. Willibrord established the foundation at the end of the seventh century, while the second wave of illustrated books, some of which were written in gold, occurred in the eleventh century.2 Scholarship on these manuscripts from both periods has contributed greatly to our understanding of this important art form in the Early Middle Ages, but it has treated the early examples separately from the later ones. -
Manuscript Cultures Manuscript Cultures Manuscript
mc NO 10 2017 mc NO 10 2017 manuscript cultures manuscript Hamburg | Centre for the Study of Manuscript Cultures ISSN 1867–9617 cultures ISSN 1867–9617 © SFB 950 “Manuskriptkulturen in Asien, Afrika und Europa” Universität Hamburg Warburgstraße 26 www.manuscript-cultures.uni-hamburg.de D-20354 Hamburg N O 10 PUBLISHING INFORMATION | MANUSCRIPT CULTURES Publishing Information Forthcoming 10 - Dividing Texts: Visual Text-Organization in North Indian and Nepalese Manuscripts by Bidur Bhattarai The number of manuscripts produced in the Indian sub- Editors Editorial Office continent is astounding and is the result of a massive Prof Dr Michael Friedrich Dr Irina Wandrey enterprise that was carried out over a vast geographical area Universität Hamburg Universität Hamburg and over a vast stretch of time. Focusing on areas of Northern Asien-Afrika-Institut Sonderforschungsbereich 950 India and Nepal between 800 to 1300 ce and on manuscripts Edmund-Siemers-Allee 1/ Flügel Ost ‘Manuskriptkulturen in Asien, Afrika und Europa’ containing Sanskrit texts, the present study investigates a D-20146 Hamburg Warburgstraße 26 fundamental and so far rarely studied aspect of manuscript Tel. No.: +49 (0)40 42838 7127 D-20354 Hamburg production: visual organization. Scribes adopted a variety Fax No.: +49 (0)40 42838 4899 Tel. No.: +49 (0)40 42838 9420 of visual strategies to distinguish one text from another [email protected] Fax No.: +49 (0)40 42838 4899 and to differentiate the various sections within a single [email protected] text (chapters, sub-chapters, etc.). Their repertoire includes Prof Dr Jörg Quenzer the use of space(s) on the folio, the adoption of different Universität Hamburg Layout writing styles, the inclusion of symbols of various kind, Asien-Afrika-Institut Astrid Kajsa Nylander the application of colors (rubrication), or a combination of Edmund-Siemers-Allee 1/ Flügel Ost all these. -
Education 608 Spring 2001
Art History I ART 305-01 CRN Mon/Wed 3-4:15 P.M. Armstrong Slater 205A Anne Pierce, Ph.D., Associate Professor Office Hours: MWF 12-2pm in Armstrong 320, Tuesday 1-4pm in Armstrong Slater 203H or by Appointment: [email protected] Textbook - Adams, Laurie. Art Across Time. Boston: McGraw-Hill, 2007. 3rd ed. Compiled Bibliography – Before each class meeting, each student will upload to our Blackboard site a recent article (last 5 years) from A PROFESSIONAL RESOURCE (journal, website, etc.) which can be used to stimulate discussion on the topic under consideration with appropriate attribution (Chicago - also called Turabian style). Course Description – The purpose of the course is to introduce students to the links between art and history; and art as history. Through collaborative projects, short papers, visits to museums and reading assignments, students will begin to explore primarily Western art (prehistory – 16th century). Students will sharpen their observation skills and develop as critics. Analysis of art objects will emphasize a visual vocabulary including technique, style or period, content, as well as artist’s influences. Course Objectives – Successful completion of this course requires students to: 1) Demonstrate instructional technology in classroom presentations. 2) Identify works of art and artifacts from specific artists and periods from Prehistory to the Renaissance. 3) Increase their awareness of the achievements and contributions of culture and historical events to the production of the artists’ work. 4) Analyze the use of art elements, composition and techniques to make qualitative assessments. 5) Compare characteristic techniques, styles or periods, purposes and iconography. Course Competencies 1) Compare text and subtext of art, artists, and society. -
LAWRENCE NEES CURRICULUM VITAE (Updated August 2017)
1 LAWRENCE NEES CURRICULUM VITAE (updated August 2017) Personal Department of Art History, University of Delaware, Newark DE 19716 U.S.A. 220 S. Ridley Creek Rd., Moylan, Pennsylvania 19065 U.S.A. telephone: office (302) 831-8415 fax: office (302) 831-8105 email: [email protected] born Chicago, Illinois, August 9, 1949 (U.S.A. citizen) Education University of Chicago, 1966-1970, B.A. with Honors, 1970. Harvard University, Department of Fine Arts, 1970-1971 and 1973-1977, M.A. 1974, Ph.D. 1977. Dissertation, 1976: "The Illustrations of the Gundohinus Gospels at Autun" (adviser: Ernst Kitzinger). Professional Positions University of Victoria (Canada), Department of History in Art, Visiting Sessional Lecturer, 1976-1977. University of Massachusetts at Boston, Department of Art, Lecturer, 1977-1978. Harvard University, Department of Fine Arts, Visiting Assistant Professor, Summer 1980. Bryn Mawr College, Visiting Professor, 1989, 2000. Temple University, Visiting Professor, 1998, 2004, 2005. University of Delaware, Department of Art Conservation, Adjunct Professor, 1996-1999. University of Delaware, Department of Art History Assistant Professor, 1978-1982 Associate Professor, 1982-1988 Professor, 1988 - present. (Associate Chair, 1986-1987, 2001-2002; Director of Graduate Studies 2002-2004; Interim Chair, 2013-2014; Chair 2015-2019). H. Fletcher Brown Chair of Humanities, 2016 - present. Professional Associations Medieval Academy of America (Fellow, elected 2014) International Center of Medieval Art Society of Antiquaries of London (Fellow, elected 2005) College Art Association of America Medieval Academy of Ireland Byzantine Studies Association of North America Historians of Islamic Art Association Italian Art Society American Society for Irish Medieval Studies Vergilian Society Delaware Valley Medieval Association 2 LAWRENCE NEES CURRICULUM VITAE Publications (Books) From Justinian to Charlemagne. -
LOCALIZING BYZANTIUM: GROUP II ENAMELS on the RELIQUARY of SAINT BLAISE in DUBROVNIK Ana Munk
LOCALIZING BYZANTIUM: GROUP II ENAMELS ON THE RELIQUARY OF SAINT BLAISE IN DUBROVNIK Ana Munk A. Munk University of Zagreb Faculty of Humanities and Social Sciences Department of History of Art Ivana Lučića 3, HR-10000 Zagreb [email protected] The article analyzes four enamel roundels on the reliquary of Saint Blaise in Dubrovnik Cathedral trea- sury. It has not been noticed previously that these enamels contain features which makes it unlikely that they were made in Constantinople. The lack of inscriptions which is more characteristic for Byzantinizing enamel work made in Italy, and the depiction of the two martyrs which does not reflect the codes set for Byzantine saints’ attire indicate the artist’s Italo-Byzantine training and, possibly, a local identity of the two martyrs. Stylistically, plain design of these enamels indicate a run of the mill manufacture that has not utilized all iconographical, coloristic and decorative options that an 11th or 12th century enamel workshop in Constantinople may have had at its disposal. Key words: Saint Blaise reliquary, cloisonné enamel, Dubrovnik, Byzantine saints, Italo-Byzantine style, saints’ attire This contribution to studies in honor of professor Igor Fisković takes as its subject four enamel plaques on the reliquary of Saint Blaise, an artwork that testifies to Dubrovnik's earliest art and history, to which professor Fisković dedicated many years of his academic career (Fig. 1). The head relic of Saint Blaise was found in 1026, but the early history of the reliquary is unknown. The first mention dates to 1335 when the entry in the earliest inventory of Dubrovnik cathedral reads: “caput Beati Blasij epi. -
THE SIGNIFICANCE of DOT-PATTERNS in CAROLINGIAN MANUSCRIPTS by INGA MORRIS B.A., University of British Columbia, 1964 a THESIS S
THE SIGNIFICANCE OF DOT-PATTERNS IN CAROLINGIAN MANUSCRIPTS by INGA MORRIS B.A., University of British Columbia, 1964 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Fine Arts We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1965 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia,, I agree that the Library shall make it freely available for reference and study. I further agree that per• mission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publi• cation of this thesis for financial gain shall not be allowed without my written permission* Pine Arts Department of ; The University of British Columbia, Vancouver 8, Canada April 17, 1965. Date ABSTRACT The significance of dot patterns in Carolingian manuscripts is the subject of my research. In my investigation into the sources of these pat• terns I hope to show some relationship between them and metal working techniques to which could be attributed an overall development of pattern and design during the early Middle Ages. Since the art of the period reflects so strongly the social and political conditions existent during the reign of Charlemagne I have also included a brief summary of those relevant historical conditions. The adverse situation prevailing in the Frankish kingdom during the seventh century together with the weak• ness of its rulers enabled the Carolingian family to ob• tain power, and when Charlemagne became the sole ruler in 771 he continued to carry out the family policy of uniting the peoples of the West and initiated a revival of Roman culture and learning in his kingdom. -
Early Medieval Europe Overview
Early Medieval Europe Overview ● 410-768 Merovingian and Anglo Saxon ● 919-1024 Ottonian ○ After the fall of Rome, Merovingian and Anglo Saxon ○ Ottonian painters and sculptors produce illuminated artists produce costly portable items of personal manuscripts and ivory reliefs inspired by late antique and adornment featuring cloisonne ornamentation and byzantine sources intertwined animal and interlace patterns. ○ Bishop Bernward adorns his church at Hildesheim with ○ Anglo Saxon kings are laid to rest in treasure laden ship bronze doors and a freestanding bronze column covered burials, a tradition reflected in the Beowulf saga with figural reliefs ● 768-919 Hiberno Saxon and Carolingian ○ Ottonian architecture introduce the alternate support ○ Christian missionaries commissioned sumptuous system and galleries into the naves of churches. illuminated manuscripts featuring full pages devoted to embellishing the word of God ○ Charlemagne and his Carolingian successors initiate a conscious revival of the art and culture of early christian rome ○ Carolingian architects introduce the twin tower westwork and modular plans for basilican churches Merovingian Dynasty Merovingians ruled the Franks for 300 years ● As rome’s power collapsed, armed conflict by factions for political authority became heated. Huns, Vandals, Merovingians, Franks, Goths vied for rule in smaller regions once ruled by the roman empire. ● This period of time was characterized as based around a system of localized rulers that could provide better protection than than large scale governmental structures like the Roman Empire. ● Art historian do not know the full range of cultural artifacts produced during this time period. What survived is not fully representative and consist of small scale status symbols of wealth.