DOCSLIB.ORG

Gothic (Art History 377) Professor Laura Weigert 60 College Avenue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gothic (Art History 377) Professor Laura Weigert 60 College Avenue Gothic (Art History 377) Professor Laura Weigert 60 College Avenue Course Description From the eighteenth-century gothic novel to today’s Goth look, “gothic” has been associated with the macabre, horror, or a rebellious subculture. This course returns to the historical origins of the style known as “gothic,” focusing on artistic production in Northern Europe from the mid-twelfth through the early fifteenth century. It examines architecture, sculpture, stained glass, manuscript illumination, ivories, textiles, and metalwork within the religious, social, political and economic contexts in which they were made and seen. We begin with an examination of the Gothic cathedral, turn to art and urbanism in the city of Paris, and then to art produced for the courts and members of the laity. We will conclude with a discussion of gothic revivals in architecture, cinema, and fashion. Topics to be explored include: liturgy and ceremony, mysticism and devotion, pictorial narrative, the construction of the “other,” lay literacy, attitudes towards death, courtly love, and new notions of seeing and the self. Requirements : -Attendance at all lectures and participation in all discussions -two group presentations -two four-page papers, which draw on the results of your group presentation but which each student submits individually. Paper/Presentation #1: Each group will present one cathedral, including its architecture, sculpture, stained glass, and liturgy. Paper/Presentation #2: Each group will present one manuscript, including text, illuminations, marginalia, and the circumstances of its commission and production. A facsimile of each manuscript will be available in either the Art Library or Alexander Library. -mid-term examination -Class trip to the Cloisters -Final examination All readings will be posted on Sakai Week 1: “Gothic” and its origins a) Introduction: the term “gothic;” course overview No reading assignment b) Abbot Suger and the “origins” of Gothic Reading: -“Abbot Suger of Saint-Denis: The Patron of the Arts,” in Gothic Art: Sources and Documents (Toronto, 1987), 4-13. Week 2: Gothic Cathedrals: the case of Chartres I a) Cult of the Virgin; the School of Chartres; the basics of gothic construction; the gothic “architect” Reading: -Three Disputes involving the Cathedral Chapter of Notre-Dame of Chartres, 1215-1224. Medieval Sourcebook: The Cathedral Chapter of Chartres: The Riot of 1210 (Medieval Sourcebook). Jane Williams, “The Virgin’s Wool,” in Radical Art History (Zurich, 1997), 461-465. Whitney Stoddard, “Notre Dame, Chartres, in Art and Architecture in Medieval France , 1972. b) Sculpture and Ceremony Reading: Margot Fassler, "Liturgy and Sacred History in the Twelfth-Century Tympana at Chartres," Art Bulletin 75 (1993): 499-520. Martin Büchsel, Gothic Sculpture from 1150 to 1250,” in Conrad Rudolph ed. A Companion to Medieval Art , 2006, 403-420. Week 3: Gothic Cathedrals: the case of Chartres II a) Stained Glass and pictorial narrative Reading: Wolfgang Kemp, The Narratives of Gothic Stained Glass , 1997, 10-21; 21-41; 79-88; 91- 101. Madeline Caviness, “Biblical Stories in Windows: Were they Bibles for the Poor?” in Bernard S. Levy, ed. The Bible in the Middle Ages: Its Influence on Literature and Art , 1992, 103-47. b) Interpreting Gothic Architecture Reading: -Erwin Panofsky, Gothic Architecture and Scholasticism , 1974. -Hans Jantzen, “Light” and “Gothic Space and its Containment,” in High Gothic: The Classic Cathedrals of Chartres, Reims and Amiens , 1962, 67-80. -Robert Mark, “The Technology of Light, Wind and Structure,” in Light, Wind and Structure: The Mystery of the Master Builders , 1990, 19-47. Week 4: The Model of Chartres and Beyond a) Reims and Amiens Reading: -Barbara Abou-el-Haj, “The Urban Setting for Late-Medieval Church Building: Reims and Its Cathedral between 1210 and 1240,” Art History 11 (1988): 17-41. -William Clark, “Notre Dame at Reims: The Cathedral of France,” in Medieval Cathedrals , 2006, 85-114. b) Bourges Reading: -Marvin Trachtenberg, “Suger’s Miracles, Branner’s Bourges: Reflections on ‘Gothic Architecture’ as Medieval Modernism,” Gesta 39, no. 2 (2000): 183-205. Week 5: a) group presentations: Cathedrals of Paris, Laon, Sens, Soissons, Beauvais. b) Gothic architecture outside the Ile-de-France, Canterbury and Westminster (Second paper due in class) Reading: “Gervase of Canterbury. The New Architecture,” in Frisch ed. Gothic Art 1140-1450. Sources and Documents , 1971, 14-23. -Christopher Wilson, "The English Response to Gothic Architecture," in Age of Chivalry: Art in Plantagenet England ." 74-82. -Robert Branner, "Westminster Abbey and the French Court Style," Journal of the Society of Architectural Historians XXIII (1964): 3-18. Week 6: St. Louis and the Crusades a) Ste Chapelle Reading: -Al-Makrisi: Account of the Crusade of St. Louis (Medieval Sourcebook). -Daniel Weiss, "Architectural Symbolism and the Decoration of the Ste.-Chapelle," Art Bulletin . 77 (1995): 308-20. -Alyce Jordan, Visualizing Kingship in the Windows of the Sainte-Chapelle , 2002. b) Jews, Muslims, and illuminated manuscripts for a king Reading: Laura Hollengreen, “The Politics and Poetics of Possession: Saint Louis, the Jews, and Old Testament Violence,” in Colum Hourihane ed. Between the Picture and the Word , 2005. Debra Higgs Strickland, “Christians Imagine Jews,” ch. 3 in Saracens, Demons, and Jews: Making Monsters in Medieval Art , 2003, 94-155. Week 7: Summarizing and Paris a) Mid term examination b) Paris as a Center of Art Production Reading: Mary A. and Richard H. Rouse, “The Book Trade and the University of Paris, ca. 1250- ca. 1350,” in Authentic Witnesses. Approaches to Medieval Texts and Manuscripts , 1991, 259-338. -Henry Kraus, The Living Theater of Medieval Art . 1967, 2-21. -Robert de Courçon: Statutes for the University of Paris, 1215 (Medieval Sourcebook). -Jean de Jandun. A Treatise of the Praises of Paris in 1323, In Old Paris. An Anthology of Source Descriptions 1323-1790 . Edited and translated by Robert W. Bergen, 1-17 Week 8: From the City to the Courts a) Tapestry: Nicolas Bataille, the Angers Apocalypse, and Revelation Reading: -James Bugslag, “Nicolas Bataille,” in The Grove Dictionary of Art , v. 3, 361-362. -Tom Campbell, Tapestry in the Renaissance: the Age of Magnificence , 2002, 41-49. -Geneviève Souchal, Masterpieces of Tapestry from the fourteenth through the sixteenth century , 1974. b) Manuscripts: the Limbourg Brothers Reading: -Margaret M. Manion, “Limburg, de” in Grove Art Online . -Jonathan J.G. Alexander, “Programmes and Instructions for Illuminators,” ch. 3 in Medieval Illuminators and their Methods of Work , 1992, 52-71. - Christopher De Hamel, “Books for Everybody,” in A History of Illuminated Manuscripts , 2 nd ed. (London, 1994), 168-199. Week 9: Lay Devotion, education, and manuscript production a) Literacy and lay devotion Reading: - Susan Groag Bell, “Medieval Women Book Owners: Arbiters of Lay Piety and Ambassadors of Culture,” Signs 7 (1982): 742-68. -Kathryn A. Smith, Identity and Devotion in Fourteenth-Century England: Three Women and Their Books of Hours , 2003. b) Devotion, mysticism, and spirituality -Caroline Bynum, “The Female Body and Religious Practice in the Later Middle Ages,” reprinted in Fragmentation and Redemption: Essays on Gender and the Human Body , 1991, 181-238. -Martha Easton, “The Wound of Christ, the Mount of Hell: Appropriations and Inversions of Female Anatomy in the Later Middle Ages,” in Tributes to Jonathan Alexander: the Making and Meaning of Illuminated Medieval and Renaissance Manuscripts, Art and Architecture , 2006, 395-414. Week 10: More Manuscripts a) Marginalia -Reading: -Lucy Freeman Sandler, “A Bawdy Betrothal in the Ormesby Psalter,” in Tribute to Lotte Brand Philip, Art Historian and Detective , ed. W.W. Clark et. al, 1985, 154-9. -Lillian Randall, “Games and the Passion in Pucelle’s Hours of Jeanne d’Evreux,” Speculum 47 (1972): 246-61. - Joan A. Holladay, “The Education of Jeanne d'Evreux: Personal Piety and Dynastic Salvation in her Book of Hours at the Cloisters,” Art History 17 (1994): 585-611. b) Presentation #2 Week 11: Death and Dying a) The Master of Death and Jean le Noir (Second paper due in class) Reading: Michael Camille, Master of Death: The Lifeless Art of Pierre Remiet, Illuminator , 1996, 57-95. Philip Ariès, Images of Man and Death , 1985. James Snyder, Medieval Art , 375. b) Monument for a prince: the Chartreuse de Champmol Reading: Sherry Lindquist, Agency, Visuality and Society at the Chartreuse de Champmol , 2008. Week 12: Courtly Love a) painting chivalric tales: Chrétien de Troyes Reading: -Chrétien de Troyes, excerpts from “Yvain” in Arthurian Romances , trans. D.D.R. Owen. -Chrétien de Troyes, excerpts from “Lancelot of the Lake,” Corine Corley trans., 311-23. -Alison Stones, “Illustrating Lancelot and Guinevere,” in Lancelot and Guinevere: A Casebook , Lori J. Walters ed., 1996, 125-57. -Sandra Hindman, “King Arthur, His Knights, and the French Aristocracy in Picardy,” Yale French Studies , 114-33. b) The Lady and the Unicorn Reading: -Andreas Capellanus, “The Rules of Love,” in The Art of Courtly Love , trans. Parry, 1969, 177-86. -Douglas Kelly, Medieval Imagination: Rhetoric and the Poetry of Courtly Love , 13-25. - Thomas Campbell, Tapestry in the Renaissance , 2002, 70-79. - Margaret B. Freeman, “The Unicorn in Ancient and Medieval Texts,” in The Unicorn Tapestry , 1976, 13-30. Week 13: International Gothic and class trip a) Bohemia b) Class trip to the Cloisters Week 14: The End of Gothic and its Revival a) Jan Van Eyck, a gothic artist? Reading: James Snyder, Northern Renaissance Art , 2005, 88-109. James Marrow, “History, Historiography, and Pictorial Invention in the Turin-Milan Hours,” in In Detail: New Studies of Northern Renaissance Art in Honor of Walter S. Gibson , 1998, 1-14. b) Gothic revivals Reading: -Victor Hugo, Notre-Dame de Paris , book 3, chapter 1. -Eugène-Emmanuel Viollet le Duc, “The Middle Ages” and “Restoration” in The Architectural Theory of Viollet-le-Duc: Readings and Commentary . M.F. Hearn, ed. 1990, 87-93, 272-88. -August Rodin, “Reims,” Cathedrals of France . E.C.
Load more

Recommended publications
  • Catalonia 1400 the International Gothic Style
    Lluís Borrassà: the Vocation of Saint Peter, a panel from the Retable of Saint Peter in Terrassa Catalonia 1400 The International Gothic Style Organised by: Museu Nacional d'Art de Catalunya. From 29 March to 15 July 2012 (Temporary Exhibitions Room 1) Curator: Rafael Cornudella (head of the MNAC's Department of Gothic Art), with the collaboration of Guadaira Macías and Cèsar Favà Catalonia 1400. The International Gothic Style looks at one of the most creative cycles in the history of Catalan art, which coincided with the period in western art known as the 'International Gothic Style'. This period, which began at the end of the 14th century and went on until the mid-15th century, gave us artists who played a central role in the history of European art, as in the case of Lluís Borrassà, Rafael Destorrents, Pere Joan and Bernat Martorell. During the course of the 14th century a process of dialogue and synthesis took place between the two great poles of modernity in art: on one hand Paris, the north of France and the old Netherlands, and on the other central Italy, mainly Tuscany. Around 1400 this process crystallised in a new aesthetic code which, despite having been formulated first and foremost in a French and 'Franco- Flemish' ambit, was also fed by other international contributions and immediately spread across Europe. The artistic dynamism of the Franco- Flemish area, along with the policies of patronage and prestige of the French ruling House of Valois, explain the success of a cultural model that was to captivate many other European princes and lords.
    [Show full text]
  • Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels Between English Poetry and the Visual Arts Roberta Aronson
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 1-1-2003 Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts Roberta Aronson Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Aronson, R. (2003). Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/11 This Worldwide Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts A Dissertation Presented to the Faculty of the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Roberta Chivers Aronson October 1, 2003 @Copyright by Roberta Chivers Aronson, 2003 ACKNOWLEDGEMENTS I would like to extend my appreciation to my many colleagues and family members whose collective support and inspiration underlie all that I do: • To my Provost, Dr. Ralph Pearson, for his kind professional encouragement, • To my Dean, Dr. Connie Ramirez, who creates a truly collegial and supportive academic environment, • To my Director, Dr. Albert C. Labriola, for his intellectual generosity and guidance; to Dr. Bernard Beranek for his enthusiasm and thoughtful conversation; and to Dr.
    [Show full text]
  • The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
    Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R.
    [Show full text]
  • The Romantic Movement on European Arts: a Brief Tutorial Review
    SCIENTIFIC CULTURE, Vol. 1, No 2, (2015), pp. 39-46 Copyright © 2015 SC Open Access. Printed in Greece. All Rights Reserved. The Romantic Movement on European arts: a brief tutorial review Anna Lazarou Academy of Athens, 84 Solonos Str., Athens 10680, Greece ([email protected]; [email protected]) Received: 10/01/2015 Accepted: 25/02/2015 ABSTRACT The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement institutionalized freedom of personal expression of the artist and presented various art styles, which were rooted mainly in topics of the past. One of the manifestations of the romantic spirit was Neoclassicism which was based on copies of works of Greek and Roman antiquities. Romantic painters, musicians and architects have left as heritage an amazing wealth of art works. KEYWORDS: art, architecture, music, romance, artistic movement, neoclassicism. 40 Anna Lazarou 1. INTRODUCTION his vision was a European empire with its capital The period from the second half of the 18th century Paris. The economic downturn that led to wars and until the first half of the 19th century in western social changes created by the Industrial Revolution, Europe was of a multidimensional character both in made Europeans to feel trapped by events that ex- art and in other fields of intellectual life, expressed ceeded the control, which could not be explained by by the romance, the first great movement of ideas of rational perception. Even Napoleon's career was for that era e.g. architecture, music, literature (Blayney many a supernatural power and his defeat, a divine judgment (Fig.1).
    [Show full text]
  • French Gothic Ivories and the Composanto, Pisa: Crosscurrents in Late Gothic Art Penny Howell Jolly Skidmore College, [email protected]
    Skidmore College Creative Matter Art History Faculty Scholarship Art History 1991 French Gothic Ivories and the Composanto, Pisa: Crosscurrents in Late Gothic Art Penny Howell Jolly Skidmore College, [email protected] Follow this and additional works at: https://creativematter.skidmore.edu/art_his_fac_schol Part of the Arts and Humanities Commons Recommended Citation Jolly, Penny Howell. "French Gothic Ivories and the Composanto, Pisa: Crosscurrents in Late Gothic Art."Gazette des Beaux-Arts 118 (1998): 161-170. This Article is brought to you for free and open access by the Art History at Creative Matter. It has been accepted for inclusion in Art History Faculty Scholarship by an authorized administrator of Creative Matter. For more information, please contact [email protected]. CROSSCURRENTS IN THE MID-TRECENTO FRENCH MEDIEVAL IVORIES AND THE CAMPOSANTO, PISA LI y PENNY HOWELL JOLLY ECE:--ITLY, Richard Randall convinc­ and the i vorics produced by the Atelier of the ingly argued that a group of nine Boxes will further confirm what scholars have french ivories was produced between proposed regarding fourteenth century French artisLs 1340 and 1360 in a Parisian or J\'orlh from Jean Pucelle through the great Franco­ FrenchR workshop. which he names the Atelier of Flemi sh illuminators of the International Gothic 1 the Boxes • Particularly impressive and original Style: Italian Treccnto art was a rich source for in the group. according to Randall, is the treat­ these late Gothic artists, both in terms of their ment of the landscape. "which rises at a steep striving for naturalism and their interest in in­ angle from the viewer, [sol the villages and novative iconography.
    [Show full text]
  • 14 CH14 P468-503.Qxp 9/10/09 11:40 Page 468 14 CH14 P468-503.Qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe
    14_CH14_P468-503.qxp 9/10/09 11:40 Page 468 14_CH14_P468-503.qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe HE GREAT CATHEDRALS OF EUROPE’S GOTHIC ERA—THE PRODUCTS of collaboration among church officials, rulers, and the laity—were mostly completed by 1400. As monuments of Christian faith, they T exemplify the medieval outlook. But cathedrals are also monuments of cities, where major social and economic changes would set the stage for the modern world. As the fourteenth century came to an end, the were emboldened to seek more autonomy from the traditional medieval agrarian economy was giving way to an economy based aristocracy, who sought to maintain the feudal status quo. on manufacturing and trade, activities that took place in urban Two of the most far-reaching changes concerned increased centers. A social shift accompanied this economic change. Many literacy and changes in religious expression. In the fourteenth city dwellers belonged to the middle classes, whose upper ranks century, the pope left Rome for Avignon, France, where his enjoyed literacy, leisure, and disposable income. With these successors resided until 1378. On the papacy’s return to Rome, advantages, the middle classes gained greater social and cultural however, a faction remained in France and elected their own pope. influence than they had wielded in the Middle Ages, when the This created a schism in the Church that only ended in 1417. But clergy and aristocracy had dominated. This transformation had a the damage to the integrity of the papacy had already been done.
    [Show full text]
  • EARLY NETHERLANDISH PAINTING Part One
    EARLY NETHERLANDISH PAINTING part one Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Leuven, Tounai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568. Early Netherlandish painting coincides with the Early and High Italian Renaissance but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy; although beginning in the 1490s as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic. Robert Campin (c. 1375 – 1444), now usually identified with the Master of Flémalle (earlier the Master of the Merode Triptych), was the first great master of Flemish and Early Netherlandish painting. Campin's identity and the attribution of the paintings in both the "Campin" and "Master of Flémalle" groupings have been a matter of controversy for decades. Campin was highly successful during his lifetime, and thus his activities are relatively well documented, but he did not sign or date his works, and none can be confidently connected with him.
    [Show full text]
  • Dana Jenei, Gothic in Transylvania. the Painting (C
    Book Reviews / Buchrezensionen Dana Jenei, Gothic in Transylvania. The Painting (c. 1300-1500), Oscar Print Publishing House, București, 2016, 240 p., 156 il., with a foreword by Răzvan Theodorescu Adrian Stoia* As the author has already accustomed us with her previous works, this new volume is printed in exquisite graphical conditions. The book presents two centuries of Western painting created in Tran- sylvania, an area situated at the border of Western European culture. More precisely, it refers to the flourishing period of the Gothic art, stimulated by the development of urban and rural communities invited here by the Hun- garian crown, until the political and religious changes caused by the fall of the Hungarian Kingdom under the Turks and the dawn of the Reformation, when numerous works of the Catholic art were destroyed. As the author states, the book presents the research “started in faculty and first materialized in the PhD thesis”, defended in 2005 at the National University of Arts in Bucharest, with the scientific information updated to 2016, and “presented in the spirit of the «new manner of writing history» of the French School of Les Annales” (pp. 10-11). The volume opens with a brief analysis of the state of research in the field (pp. 11-13), continued by the chapterTransylvania in late Middle Ages (pp. 14-26), divided into four parts: Historical sketch, The crisis of „the security symbols”, New religious sensitivity and Care for life after death. Here are men- tioned the anxieties of the Transylvanian society – the war, the famine and the plague”– the permanent Ottoman menace, the economic, medical and climate problems that Medieval Europe has faced.
    [Show full text]
  • ART-102 History of Art and Visual Culture to 1400
    Bergen Community College Division of Arts and Humanities Department of Arts & Communication Course Syllabus Art 102 History of Art and Visual Culture to 1400 Three Credits - Three Hours I. Catalogue Description: History of Art and Visual Culture to 1400 is a chronological survey of art and visual culture, western and non-western, from the Mesopotamian period through the Middle Ages. In a lecture and discussion format, selected works of sculpture, architecture, and painting as well as decorative utilitarian objects made by peoples in Europe, the Middle East, India, Asia and Africa are studied both for their styles and materials and their relation to politics, religion and patronage. II. Student Learning Objectives: As a result of meeting the requirements of this course, students will be able to A. Identify major periods of art history, and exemplary works of art and visual culture, from ca. 3500 bce to ca. 1400, in western and non-western societies B. Define and use vocabulary of visual analysis in speech and writing C. Describe the materials used and the techniques employed to make works of art in a variety of media in these periods and cultures D. Describe how political, religious and economic situations influence the creation of works of art and their meaning and significance E. Analyze the difference between perceiving a work of art viewed on the internet and the same work experienced directly within a museum context. III. Course Content: A. Course Orientation 1. Procedures and requirements 2. Structure of course 3. Explanation of special features: museum visits 4. Evaluation methods B. Ancient Art 1.
    [Show full text]
  • European Romantic Perception of the Middle Ages: Nationalism and the Picturesque
    EUROPEAN ROMANTIC PERCEPTION OF THE MIDDLE AGES: NATIONALISM AND THE PICTURESQUE NÚRIA PERPINYÀ UNIVERSITAT DE LLEIDA SpaIN Date of receipt: 7th of July, 2012 Final date of acceptance: 12th of December, 2012 ABSTRACT The aims of this study1 are theoretical and comparative. It contains a theoretical section describing the 18th and 19th centuries visions of the Middle Ages (admirable, critical and indifferent). Then, the relationships with the European romantics, including the Catalans, are studied. The folkloric and nationalism are presented as bridges between the two epochs. The history of the 17th and 18th centuries Picturesque is reviewed and a new view of it is presented. Instead of conceiving it as a minor aesthetic, I propose it as a precedent for the avant-garde given its defence of the irregular and the badly done. Furthermore, the 19th century idea of paradise lost was conceptualised around four axes (past, infancy, nature and art) and I propose a fifth (ethnicity)2 for the 21st century. KEY WORDS Picturesque, Nationalist, Romantic Medievalism, Paradise Lost, Catalan. CAPITALIA VERBA Mirifice describere, Nationis ratio, Romanticum Medium Aevum, Paradisus Amissus, Catalaunienses. 1. This article is developed within the framework of the research project “Identity, Memory and Ideology in the Middle Ages” (HAR 2009-08598/HIST) 2. Although the concept of “ethnicity” is anti-scientific and outdated, I mention it because it was a relevant concept in the 19th century that, unfortunately, continues to be used in the 21st, as I explain below. IMAGO TEMPORIS. MEDIUM AEVUM, VI (2012): 23-47. ISSN 1888-3931 23 24 NÚRIA PERPINYÀ 1.
    [Show full text]
  • Vincent Caranchini Student Portfolio
    Vincent Caranchini Ancient Egyptian Temple- Justin Keller Student Portfolio 1 2 History of Interiors: Justin Keller, Deqi Qin & Katie Eastman 3 4 Ancient Egypt began to take form as a country around 3100 B.C.E. and was located along the Nile River. The Egyptians are known for their monumental struc- tures and buildings such as the great Pyramids of Giza and numerous other temples. These massive structures were made of stone and bricks that they Egyptians gathered or made. The important structures (those for the gods and pharaohs) were adorned with gold, painted with bright colors, and covered with patterns and drawings. The interior was decorated just as heavily. Intricate patterns were used on the walls and in other Egyptian artwork. Pottery(1) was a popular form of art in this time. Their pots were used for storage and also decoration. The columns(2) were adorned with patterns that were taken from nature and simplified. The columns themselves also showed the rhythm of nature in their flower capitals. These forms were taken directly from original method of tying reeds together to make a column. The Sphinx(3) was an important part of Egyptian culture. A sphinx consists of the body of a lion and the head of another animal. The chairs(4) and benches(5) were intricately carved and covered with gold and fabric. These objects were common for the interior of an Egyptian temple. 5 Baroque (Rococo) Perspective Deqi Kin Louis XV Gilt and Grey Marble Top Console from the S. of France PLACE OF ORIGIN: France DATE OF MANUFACTURE: Mid 18th C.
    [Show full text]
  • The 15Th International Gothic Association Conference A
    The 15th International Gothic Association Conference Lewis University, Romeoville, Illinois July 30 - August 2, 2019 Speakers, Abstracts, and Biographies A NICOLE ACETO “Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut”: The Terror of Domestic Femininity in Shirley Jackson’s The Haunting of Hill House Abstract From the beginning of Shirley Jackson’s The Haunting of Hill House, ordinary domestic spaces are inextricably tied with insanity. In describing the setting for her haunted house novel, she makes the audience aware that every part of the house conforms to the ideal of the conservative American home: walls are described as upright, and “doors [are] sensibly shut” (my emphasis). This opening paragraph ensures that the audience visualizes a house much like their own, despite the description of the house as “not sane.” The equation of the story with conventional American families is extended through Jackson’s main character of Eleanor, the obedient daughter, and main antagonist Hugh Crain, the tyrannical patriarch who guards the house and the movement of the heroine within its walls, much like traditional British gothic novels. Using Freud’s theory of the uncanny to explain Eleanor’s relationship with Hill House, as well as Anne Radcliffe’s conception of terror as a stimulating emotion, I will explore the ways in which Eleanor is both drawn to and repelled by Hill House, and, by extension, confinement within traditional domestic roles. This combination of emotions makes her the perfect victim of Hugh Crain’s prisonlike home, eventually entrapping her within its walls. I argue that Jackson is commenting on the restriction of women within domestic roles, and the insanity that ensues when women accept this restriction.
    [Show full text]