LAWRENCE NEES CURRICULUM VITAE (Updated August 2017)
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Ornament As Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100)
Ornament as Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100) by Anna Bücheler A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Anna Bücheler 2014 Ornament as Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800—1100) Anna Bücheler Doctor of Philosophy Department of Art University of Toronto 2014 Abstract This dissertation explores notions of ornamentation and issues of materiality in early and high medieval manuscript illumination. Focusing on ornament that evokes the weave patterns of Byzantine and Islamic silk in tenth and eleventh century manuscripts from Echternach, Einsiedeln, Reichenau, and elsewhere, this study argues that—in specific contexts—ornament has meaning and serves functions that go beyond mere decoration. The dissertation contextualizes so-called textile pages in the codicological and iconographic structure of the manuscripts in which they appear and examines them in light of exegetical texts that discuss the function and metaphoric meaning of matter in religious art. After the first chapter clarifies the formal relationship between medieval textiles and textile ornament, the subsequent chapters bring the ornamental images together with various textile metaphors. From such a reading of textile iconography emerge three major strands of meaning: the notion of scripture as a veil of revelation, the Incarnation as a symbolic garment, and textile-ornamented manuscripts as the corporeal book-bodies of scripture. In addition to an investigation of the allegorical meaning of textile ornament, a discussion of the function of physical matter in private meditation and the ii liturgy opens new perspectives on the utility and necessity of physical props for contemplative and liturgical purposes in medieval worship. -
Thomas Newbolt: Drama Painting – a Modern Baroque
NAE MAGAZINE i NAE MAGAZINE ii CONTENTS CONTENTS 3 EDITORIAL Off Grid - Daniel Nanavati talks about artists who are working outside the established art market and doing well. 6 DEREK GUTHRIE'S FACEBOOK DISCUSSIONS A selection of the challenging discussions on www.facebook.com/derekguthrie 7 THE WIDENING CHASM BETWEEN ARTISTS AND CONTEMPORARY ART David Houston, curator and academic, looks at why so may contemporary artists dislike contemporary art. 9 THE OSCARS MFA John Steppling, who wrote the script for 52nd Highway and worked in Hollywood for eight years, takes a look at the manipulation of the moving image makers. 16 PARTNERSHIP AGREEMENT WITH PLYMOUTH COLLEGE OF ART Our special announcement this month is a partnering agreement between the NAE and Plymouth College of Art 18 SPEAKEASY Tricia Van Eck tells us that artists participating with audiences is what makes her gallery in Chicago important. 19 INTERNET CAFÉ Tom Nakashima, artist and writer, talks about how unlike café society, Internet cafés have become. Quote: Jane Addams Allen writing on the show: British Treasures, From the Manors Born 1984 One might almost say that this show is the apotheosis of the British country house " filtered through a prism of French rationality." 1 CONTENTS CONTENTS 21 MONSTER ROSTER INTERVIEW Tom Mullaney talks to Jessica Moss and John Corbett about the Monster Roster. 25 THOUGHTS ON 'CAST' GRANT OF £500,000 Two Associates talk about one of the largest grants given to a Cornwall based arts charity. 26 MILWAUKEE MUSEUM'S NEW DESIGN With the new refurbishment completed Tom Mullaney, the US Editor, wanders around the inaugural exhibition. -
Byzantine Art and Architecture
Byzantine Art and Architecture Thesis The development of early Christian religion had a significant impact on western art after the fall of the Roman Empire in the 4th century (AD). Through examining various works of art and architecture, it becomes evident that the period of Byzantium marked a significant transition in aesthetic conventions which had a previous focus on Roman elements. As this research entails, the period of Byzantium acted as a link between the periods of Antiquity and the Middle Ages and thus provides insight on the impact of Christianity and its prevalence in art and architecture during this vast historical period. Sources/Limitations of Study Primary Sources: Adams, Laurie Schneider. Art Across Time. McGrawHill: New York, 2007. Figures: 8.4 Early Christian sarcophagus, Santa Maria Antiqua, Rome, 4th century. Marble. 8.5 Plan of Old Saint Peter’s basilica, Rome, 333390. 8.6 Reconstruction diagram of the nave of Old Saint Peter’s Basilica. 8.12 Exterior of the mausoleum of Galla Placidia, Ravenna, c. 425426. 8.13 Interior of the mausoleum of Galla Placidia showing niche with two apostles (above) and the Saint Lawrence mosaic (below), Ravenna, c. 425426. 8.14 Christ as the Good Shepherd, the mausoleum of Galla Placidia, Ravenna, c. 425 426. Mosaic. 8.28 Hagia Sophia, Constantinople (now Instanbul), illuminated at night, completed 537. 8.29 Plan, section, and axonometric projection of Hagia Sophia. 8.30 View of the interior of Hagia Sophia after its conversion to a mosque. Colour lithograph by Louis Haghe, from an original drawing by Chevalier Caspar Fussati. -
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. -
The Medieval Heritage of Philadelphia's Sacred Windows
Swarthmore College Works Art & Art History Faculty Works Art & Art History 2002 "The Recollection Of The Past Is The Promise Of The Future": The Medieval Heritage Of Philadelphia's Sacred Windows Michael Watt Cothren Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-art Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Let us know how access to these works benefits ouy Recommended Citation Michael Watt Cothren. (2002). ""The Recollection Of The Past Is The Promise Of The Future": The Medieval Heritage Of Philadelphia's Sacred Windows". Stained Glass In Catholic Philadelphia. 9-25. https://works.swarthmore.edu/fac-art/111 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Art & Art History Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. “The Recollection of the Past IS THE Promise of the Future”* The Medieval Heritage of Philadelphia’s Sacred Windows Michael W. Cothren Arise, shine; for your light has come, and the glory of the Lord has risen upon you. For darkness shall cover the earth, and thick darkness the peoples; but the Lord will arise upon you, and his glory will appear over you. Nations shall come to your light, and kings to the brightness of your dawn. Isaiah 60:1-3^ And nowhere in our civilized world could we be more splendidly made aware of this light than in buildings where worshipers are surrounded by stained glass. In Philadelphia’s Catholic churches we are accustomed to gathering beneath constellations of glowing pictures projected from brilliantly fdtered colored light. -
Anglo-Saxon Sculpture and Rome: Perspectives and Interpretations
258 CHAPTER 6 Anglo-Saxon Sculpture and Rome: Perspectives and Interpretations Having seen the many and varied ways in which early Christian Anglo-Saxon architecture could articulate ideas of 'Rome', this chapter will turn to review the other public art form of the Anglo-Saxon landscape, the stone sculpture, to consider also its relationship with concepts of ‘Romanness’. This is an aspect that has emerged – more or less tangentially – from other scholarly analyses of the material, but it has not been used as a common denominator to interpret and understand Anglo-Saxon sculpture in its own right. In the course of the twentieth century, scholars from different disciplines have developed research questions often strictly related to their own circumstantial agendas or concerns when discussing this kind of material, and this has tended to affect and limit the information that could be gained. It is only recently that some more interdisciplinary approaches have been suggested which provide a fuller understanding of the artistic and cultural achievement conveyed through Anglo-Saxon sculpture. 6.1 The scholarship 6.1 a) Typology and Style1 Any discussion of Anglo-Saxon sculpture opens with an account of the work of W.G. Collingwood (1854-1932) 2 and the impact that it has had on the development of subsequent studies.3 As such, he is generally considered to have 1 For a recent and full discussion on the subject see the forthcoming work by A. Denton, An Anglo-Saxon Theory of Style: motif, mode and meaning in the art of eighth-century Northumbria (PhD, York, 2011); I am grateful to her for the chance of reading and discussing her work. -
K 03-UP-004 Insular Io02(A)
By Bernard Wailes TOP: Seventh century A.D., peoples of Ireland and Britain, with places and areas that are mentioned in the text. BOTTOM: The Ogham stone now in St. Declan’s Cathedral at Ardmore, County Waterford, Ireland. Ogham, or Ogam, was a form of cipher writing based on the Latin alphabet and preserving the earliest-known form of the Irish language. Most Ogham inscriptions are commemorative (e.g., de•fin•ing X son of Y) and occur on stone pillars (as here) or on boulders. They date probably from the fourth to seventh centuries A.D. who arrived in the fifth century, occupied the southeast. The British (p-Celtic speakers; see “Celtic Languages”) formed a (kel´tik) series of kingdoms down the western side of Britain and over- seas in Brittany. The q-Celtic speaking Irish were established not only in Ireland but also in northwest Britain, a fifth- THE CASE OF THE INSULAR CELTS century settlement that eventually expanded to become the kingdom of Scotland. (The term Scot was used interchange- ably with Irish for centuries, but was eventually used to describe only the Irish in northern Britain.) North and east of the Scots, the Picts occupied the rest of northern Britain. We know from written evidence that the Picts interacted extensively with their neighbors, but we know little of their n decades past, archaeologists several are spoken to this day. language, for they left no texts. After their incorporation into in search of clues to the ori- Moreover, since the seventh cen- the kingdom of Scotland in the ninth century, they appear to i gin of ethnic groups like the tury A.D. -
“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. -
Alice-Mary Talbot on the Kitzinger Years At
THE KITZINGER YEARS AT DUMBARTON OAKS In his masterful obituary notice of Ernst Kitzinger written for publication in Dumbarton Oaks Papers 57 (2003), Henry Maguire wrote as follows: "More than any other person, he [Ernst Kitzinger] was responsible for creating at Dumbarton Oaks the world's foremost institution for the study of Byzantium." I want to take the opportunity of this colloquium in his memory to investigate somewhat further exactly what Kitzinger was able to accomplish during his many years at Dumbarton Oaks, especially during the eleven years that he served so ably as Director of Byzantine Studies. By the time Kitzinger first arrived at Dumbarton Oaks late in 1941, at the age of 28, he was well accustomed to the uncertain life of an émigré from Nazi Germany. Born in Munich in 1912, he was educated at the University of Munich, rapidly completing his doctoral studies in 1934 in one year's time, under pressure from the Nazi threat that Jewish students would no longer be awarded the doctorate. He departed from Germany almost immediately, making his way to London where he found employment of a modest sort in the Department of British and Medieval Antiquities at the British Museum. One result of his labors there was a small book entitled Early Medieval Art in the British Museum; first published in 1940 it attained great acclaim and was republished in subsequent editions and eventually a German translation. When Britain declared war on Germany, Kitzinger was declared an enemy alien, despite his refugee status, interned and evacuated to Australia. He spent nine months in a desert camp, putting his time to good use by studying Russian, until his release in 1941, when he received a 1 most welcome invitation to come to Dumbarton Oaks. -
Roman Art Kindle
ROMAN ART PDF, EPUB, EBOOK Paul Zanker | 216 pages | 10 Jan 2012 | Getty Trust Publications | 9781606061015 | English | Santa Monica CA, United States Roman Art PDF Book If you don't know about Paracas textiles Construction of the Baths of Diocletian , for instance, monopolised the entire brick industry of Rome, for several years. Roman aqueducts , also based on the arch, were commonplace in the empire and essential transporters of water to large urban areas. The Romans also made frequent use of the semicircular arch, typically without resorting to mortar: relying instead on the precision of their stonework. The heads of the Marcus Aurelius figures are larger than normal, to show off their facial expressions. However it never lost its distinctive character, especially notable in such fields as architecture, portraiture, and historical relief. This led to a popular trend among the ancient Romans of including one or more such statues in the gardens and houses of wealthier patrons. With the authenticity of the medallion more firmly established, Joseph Breck was prepared to propose a late 3rd to early 4th century date for all of the brushed technique cobalt blue-backed portrait medallions, some of which also had Greek inscriptions in the Alexandrian dialect. They also served an important unifying force. Useing vivid colours it simulates the appearance of marble. From Wikipedia, the free encyclopedia. Sculpture: Types and Characteristics. A higher relief is used, permitting greater contrast between light and shadow. Further information: Roman portraiture. As another example of the lost "Golden Age", he singled out Peiraikos , "whose artistry is surpassed by only a very few But flagship buildings with domes were far from being the only architectural masterpieces built by Ancient Rome. -
Ernst Kitzinger Research Papers and Photographs, 1940S–1980S
PRELIMINARY FINDING AID to the ERNST KITZINGER RESEARCH PAPERS AND PHOTOGRAPHS, 1940s-1980s Repository: Image Collections and Fieldwork Archives Dumbarton Oaks Research Library and Collection, Washington, D.C. Location: ICFA Stacks Identifier: MS.BZ.016 Collection Title: Ernst Kitzinger Research Papers and Photographs, 1940s-1980s Name of Creator(s): Ernst Kitzinger Inclusive Dates: 1940s-1980s Language(s): English, Italian, German Quantity: TBD SCOPE AND CONTENT Ernest Kitzinger conducted study of the twelfth-century mosaics of Norman Sicily. Dumbarton Oaks Fieldwork sponsored this project. The materials document in detail mosaics and other architectural aspects from several buildings in Sicily. The collection contains photographic negatives and oversize drawings from Capella Palatina, Cefalù, Martorana, Monreale, and other sites. HISTORICAL NOTE Ernst Kitzinger was born on December 27, 1912 in Munich and died on January 22, 2003 in Poughkeepsie, NY. He received his PhD, summa cum laude, from the University of Munich in 1934 under the direction of Wilhelm Pinder. He completed his dissertation entitled Roman Painting from the early seventh to mid-eight century1 where he discussed the influence of Byzantine art on the early stages of medieval Roman artistic production. In the same year, Kitzinger moved to England, where he worked at the Department of British and Mediaeval Antiques at the British Musum, and in 1937, he published Early Medieval Art at the British Museum.2 He eventually migrated to the United States in 1941, and “he had been created Director of Studies [at Dumbarton Oaks], a post that he held with great distinction from 1955 until 19663. From 1950 to 1951, Kitzinger was awarded a Fulbright Scholarship during his tenure as an Assistant Professor of Byzantine Art and Archaeology at Dumbarton Oaks Research Library and Collection (Dumbarton Oaks).