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The Hunt of the Unicorn Tapestry Set: a Recontextualization

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The Hunt of the Unicorn Tapestry Set: a Recontextualization The Hunt of the Unicorn Tapestry Set: A Recontextualization Item Type text; Electronic Thesis Authors Hogan, Ariel Citation Hogan, Ariel. (2021). The Hunt of the Unicorn Tapestry Set: A Recontextualization (Master's thesis, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 23:12:47 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660143 THE HUNT OF THE UNICORN TAPESTRY SET: A RECONTEXTUALIZATION by Ariel Rhenee Hogan ____________________________ Copyright © Ariel Rhenee Hogan 2021 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 ACKNOWLEDGMENTS First and foremost, I would like to express the deepest appreciation to my committee chair, Dr. Irene Romano. Her dedication and insight were instrumental in the completion of this research and I am forever grateful she accepted such a position. I would also like to extend thanks to my other committee members, Dr. Pia Cuneo and Dr. Sarah J. Moore. Their comments helped shape my research into a form I could not have attained myself. To have been mentored by my committee members throughout my time in grad school was an honor and privilege. I would also like to thank my partner, John, who has ridden the inevitable highs and lows of academia with me. His support and encouragement have always been worthwhile and means more to me than I can ever express. I would also like the extend my undying gratitude to those whose lifelong support played a role in my academic achievement. To my parents, grandparents, friends, and everyone in between, thank you. Without you, I could have never reached this current level of success. Thank you all for your unwavering support. 3 DEDICATION To every person who wholeheartedly supported my academic endeavors 4 TABLE OF CONTENTS LIST OF FIGURES…………………………………………………………………………………..6 ABSTRACT………………………………………………………………………………………...8 CHAPTER I: INTRODUCTION…………………………………………………………………….…9 CHAPTER II: CYCLE DESCRIPTION AND FORMAL ANALYSIS……………………………….……. 13 CHAPTER III: PROVENANCE AND OBJECT HISTORIES……………………………………………..21 CHAPTER IV: PREVIOUS SCHOLARSHIP CONCERNING THE INTERPRETATIONS OF THE HUNT OF THE UNICORN TAPESTRIES………………………….27 CHAPTER V: THE HUMAN-CANINE RELATIONSHIP WITHIN THE HUNT OF THE UNICORN…………33 CHAPTER VI: HYPOTHETICAL TEXT PANELS FOR THE HUNT OF THE UNICORN FOCUSED ON 15TH-CENTURY ARISTOCRATIC HUNTING AND THE HUMAN-CANINE RELATIONSHIP……..39 CHAPTER VII: CONCLUSION……………………………………………………………………...48 REFERENCES……..……………………………………………………………………………….78 5 LIST OF FIGURES FIG. 1…………………………………………………………………………………….….……50 FIG. 1.1………………………………………………………………………….…….….51 FIG. 1.2…………………………………………………………………………….….….52 FIG. 1.3…………………………………………………………………………….….….53 FIG. 2……………………………………………………………………………………….….…54 FIG. 2.1………………………………………………………………………………..….55 FIG. 2.2………………………………………………………………………………..….56 FIG. 3…………………………………………………………………………………………..…57 FIG. 3.1…………………………………………………………………………….….….58 FIG. 3.2……………………………………………………………………………….…..59 FIG. 4……………………………………………………………………………………………..60 FIG. 5……………………………………………………………………………………………..61 FIG. 6……………………………………………………………………………………………..62 FIG. 6.1…………………………………………………………………………………...63 FIG. 6.2…………………………………………………………………………………...64 FIG. 6.3…………………………………………………………………………………...65 FIG. 7……………………………………………………………………………………………..66 FIG. 7.1…………………………………………………………………………………...67 FIG. 8……………………………………………………………………………………………..67 FIG. 9……………………………………………………………………………………………..68 FIG. 10…………………………………………………………………………………..………..69 FIG. 11…………………………………………………………………………………..………..70 FIG. 12…………………………………………………………………………………..………..71 FIG. 13…………………………………………………………………………………..………..72 FIG. 14…………………………………………………………………………………..………..73 FIG. 15…………………………………………………………………………………..………..74 FIG. 16…………………………………………………………………………………..………..75 6 FIG. 17…………………………………………………………………………………..………..75 FIG. 18…………………………………………………………………………………..………..76 FIG. 19…………………………………………………………………………………..………..77 7 ABSTRACT The original narrative and purpose of The Hunt of the Unicorn tapestries on display at The Cloisters of The Metropolitan Museum of Art in New York have been lost to time. Theories abound in an attempt to expound this lost narrative, including traditions of courtly love and the belief that the cycle represents the story of Christ’s Passion. While I offer my own insights as to why I do not fully agree with these interpretations, I argue that the narrative of the hunt is plain in this cycle and that there is much to learn in analyzing the human-canine relationship present in nearly every scene, rather than focus on what we can only hypothesize is there. In this research project my purpose is not to refute the main interpretations proposed in the past for The Hunt of the Unicorn tapestries; rather, I intend to redirect the dialogue about the tapestry set, focusing on the human-canine relationship depicted. Referencing various manuscripts of Gaston Phébus’ Livre de la Chasse, I connect the imagery within the illuminations to the scenes of the tapestry set, hoping to bring further attention to the importance of the relationship in the hopes that it serves as a starting point for museum visitors who may be interested in the tapestry set, but may be too intimidated by the vast scholarship surrounding the artworks. At the culmination of this research, I offer two hypothetical text panels I have written regarding 15th-century aristocratic hunting and the human-canine relationship required for the practice of venery, hunting with hounds, to further contextualize the intimidating tapestry set for the average museum visitor of The Cloisters. 8 CHAPTER I: INTRODUCTION The aristocrats of 15th-century Northern Europe held a deep love for tapestries; those woven with fine silks, wool, and gilt threads were among the most prized art of this period. 1 Elaborately woven tapestries were a common art form among aristocracy during the late Medieval and early Renaissance periods, serving the dual purpose of décor and functionality to keep drafty rooms warm and comfortable in cold climates; their portability and the cost required for such artworks made them more valuable in the eyes of nobility than wall or panel paintings or sculptures, especially as the tapestries themselves could be removed, rearranged, and relocated into new contexts.2 While they were designed to be used as decorative hangings, their warmth and durability also made them excellent candidates for bed coverings and table rugs.3 Woven by teams of craftsmen in Northern Europe, their dazzling visual richness and meticulously selected iconography aided in defining the spaces of political power and in serving as other markers of rule and superiority.4 Perhaps the most famous of these tapestry sets is The Hunt of the Unicorn series, a seven- tapestry cycle dated 1495-1505, likely woven in Flanders (modern-day Belgium).5 The Hunt of 1 Marina Belozerskaya, Rethinking the Renaissance: Burgundian Arts across Europe (Cambridge University Press, 2012), 106. 2 Belozerskaya, Rethinking the Renaissance: Burgundian Arts across Europe, 104. 3 Adolph S. Cavallo, Medieval Tapestries in the Metropolitan Museum of Art (New York, N.Y.: Metropolitan Museum of Art, 1993), 27. 4 Belozerskaya, Rethinking the Renaissance: Burgundian Arts across Europe, 105. 5 Acc. Nos. 37.80.1; 37.80.2; 37.80.3; 37.80.4; 37.80.5; 37.80.6; 38.51.2; “The Hunters Enter the Woods (from the Unicorn Tapestries) | French (Cartoon)/South Netherlandish (Woven),” The Metropolitan Museum of Art, n.d., https://www.metmuseum.org/art/collection/search/467637; “The Unicorn Purifies Water (from the Unicorn Tapestries) | French (Cartoon)/South Netherlandish (Woven),” The Metropolitan Museum of Art, n.d., https://www.metmuseum.org/art/collection/search/467638; “The Unicorn Crosses a Stream (from the Unicorn Tapestries) | French (Cartoon)/South Netherlandish (Woven),” The Metropolitan Museum of Art, n.d., https://www.metmuseum.org/art/collection/search/467639; “The Unicorn Defends Himself (from the Unicorn Tapestries) | French (Cartoon)/South Netherlandish (Woven),” The Metropolitan Museum of Art, accessed December 11, 2020, https://www.metmuseum.org/art/collection/search/467640; “The Hunters Return to the Castle 9 the Unicorn tapestries are understood by many to be read as a narrative series, although their long life with many gaps in their provenance throw this hypothesis into question (this will be explored further in Chapter III). They currently are on view in the Metropolitan Museum of Art’s Cloisters, the only American museum facility dedicated to medieval art and architecture. The cycle is believed to have been designed in France—or with French influence—and woven in Brussels by a team of weavers.6 After close examination of the costumes within the set, as well as the weaponry, Margaret B. Freeman, Curator Emerita of the Cloisters, believes that they were woven around 1500 and that the cartoons—full-sized paper drawings that are gridded with each square representing one knot of a particular color—were either executed by French artists or by non-French artists working in France who may have been influenced by
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