DOCSLIB.ORG

PALEOLITHIC Overlapping Forms Forms Placed in Front of Other Forms

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PALEOLITHIC Overlapping Forms Forms Placed in Front of Other Forms PALEOLITHIC less important figures, as in the Egyptian which the dead and shoulders face in a different Hunting Scene. direction from the hips and legs; a spiral twist Overlapping Forms Forms placed in front of other forms to suggest Hieroglyph Foreshortening: their relative placement within the illusion of A picture or symbol of an object standing for a A method of representing objects or parts of space. This device that can be used in painting word or syllable, developed by the ancient objects as if they were seen at an angle instead and relief sculpture to help suggest perspective. Egyptians into a form of writing. of being seen in profile or frontal view Placement: The positioning of an image Hellenism: NEAR EASTERN Term describing the later and less classical Sign: Something perceived that suggests the phase of Greek art existence of a fact or quality or condition, either Expression past, present, or future A look or manner or style that expresses Idealization or Idealized: The improvement and abstraction of forms to NEOLITHIC Propaganda conform to contemporary cultural standards of Publicity intended to spread ideas or information perfection and beauty; e.g., Menkure and His Megalith that will persuade of convince people Queen. A large, undressed stone used in the construction of prehistoric monuments. Rhythm: The regular repetition or sequence or Korai (sculpture): Female figure interval of a form/forms Monolith Kouros (sculpture): Male figure A large block of stone that is all in one piece (i.e. Ziggurat not composed of smaller blocks), used in A stone temple in the form of a stepped pyramid Naturalism or naturalistic megalithic structures. in Mesopotamia A style of art seeking to represent objects as they actually appear in nature. Monumental Being, or appearing to be, larger than life-size. GREECE Order A system of rules or procedure Casting EGYPTIAN A sculptural process in which liquid metal or Orientation plaster is poured into a mold to create a copy of The placement or position of a thing Canon the original model. A general principle or set of rules and standards. Classical Pathos: A quality that arouses pity or sadness 1. It often simply denotes excellence......'a Figurative Art classic' 'Pregnant Moment' Representing the likeness of a recognizable 2. Or, it is used historically as 'classic antiquity' Movement or action is compressed into one human (or animal) figure. 3. This revolution will be one of rationality and single situation, though itself without movement, restraint is pregnant with movement, hence the term. Framing: To put or form or arrange around or one event in a series of events within "Classical Antiquity': Frontality Refers to Greek and Roman civilization, in order Synthesis As seen from the 'front' view of the object to distinguish them form the remote antiquity of The combining of separate parts or elements to the civilizations of Egypt and the Near East. form a complex whole Hierarchical Scale: The representation of figures who are more Contrapposto: important politically (or socially) as larger than Arrested motion: The pose of the human form in ROMAN AND LATE ROMAN or Renaissance. If it has painted illustrations, it Arch Diptych is known as an illuminated manuscript. A curved architectural member, generally A painting in which two panels are hinged consisting of wedge-shaped blocks, which is together Spontaneous used to span opening; it transmits the downward Resulting from natural impulse pressure laterally. Icon A special term used in Orthodox Christianity to Tone Bust refer to a painting of a religious subject. Loosely, any color, but more specifically a value A sculpture of head, shoulders, and chest or shade Icons Cast Shadows Representation Triptych The shadows cast by an object onto surrounding A painting in which three panels are hinged surfaces and objects. In a painting, these Iconoclasm: The breaking of images together shadows help increase the ILLUSIONISM, as in the ancient Roman still life. Idolatry Apse The majority of Christians believed the power to The vaulted space at the end of an aisle Figure/Field or Figure/Ground: work miracles resided not only in the physical The relation of any object, shape, or line to the remains of the saints and such relics as their Chapels field, or background against which it is seen hair and clothing, but even in there A space within a large church that contains an representations, or icons altar Painterly In painting, using the qualities of color and Lay Artist Dome: A hemispherical roof texture, rather than line, to define form. During periods when much artistic production was controlled by monks and nuns, a lay artist Groin vault Portrait was one who lived and worked in the city, Curved edge formed by the intersection of 2 A picture or drawing or photograph of a person outside of the MONASTERY, and was often a vaults or animal member of a GUILD. Pilgrim Stoic: Longitudinal: A person who travels to a sacred place as a A calm and not excitable person mark of respect Luminosity Emitting light, or glowing Pilgrimage EARLY CHRISTIAN, BYZANTINE & The practice of pilgrimage was frequent from the MEDIEVAL Medieval third century on. The cult of relics appeared A common parlance the word connotes a early out to the East and led to the unprincipled 'Byzantine Compromise backward time, but the High Middle Ages were revelries, holy souvenir collecting. The 'Byzantine Compromise' is the harmonious not backward; they were a forward time. They way in which the demands and conflicts were a time of noble aspiration and of A Donor Portrait or Votive Portrait between historical naturalism, regional flexibility, unexampled villainy. And they were a time of A donor portrait or votive portrait is a portrait in a and a demanding formula were brought together advance and discovery, of exploration. They larger painting or other work showing the person were a time of progress. The High Middle Ages who commissioned and paid for the image, or a Catacomb had created that European civilization that was member of his, or (much more rarely) her, A subterranean burial ground. An underground to become our own. family. complex of passageways and vaults, such as those used by Jews and early Christians to bury Manuscript Nave their dead. A handwritten book produced in the Middle Ages Usually applied only to the center aisle of a church Humanism Trecento Intellectual movement of the Renaissance Tympanum It.: ‘The 14th century’ or 1300's period, away from medieval theological courses The recessed surface above an arched doorway of study and towards study of Greek and Roman Guild classics, towards emphasis on human activities GOTHIC / INTERNATIONAL GOTHIC An association of craftsmen in a particular trade. and capabilities rather than on the divine. The earliest types of guild were formed as Book of Hours: confraternities of workers. Quattrocento A book of private devotions with prayers for the Italian term for four hundred, meaning the seven canonical hours of the Roman Catholic Mural Painting fourteen hundreds or the fifteenth century. church. Sometimes contains a calendar and is Any piece of artwork painted or applied directly illustrated with illuminations. on a wall, ceiling or other large permanent Renaissance surface. Term traditionally used to describe a period Flying Buttress when a 'rebirth' or 'revival' of intellectual and A bridge of masonry that transmits the thrust of Fresco artistic activity based from the past is said to a vault to an outer support A mural painting technique, whereby pigments have taken place. are applied on plaster on walls or ceilings Gothic 'S' Curve: 'Sacred conversation’ The key figurative characteristic of the Late Tempra A composition in which angels, saints, and Gothic style, or the curving savy of the figure, A permanent fast-drying painting medium sometimes donors occupy the same space as emphasized by the bladelike sweeps of drapery consisting of colored pigment mixed with a the Madonna and Christ Child and in which the that converge the body water-soluble binder medium (usually a figures seem to be engaged in conversation. glutinous material such as egg yolk or some Rose Window other size) Convent A circular window with elaborate tracery. They A convent is either a community of priests, are a signal feature of Gothic architecture. Perspective religious brothers, religious sisters, or nuns, or An approximate representation, on a flat surface the building used by the community, particularly The Nativity of Jesus, or simply The Nativity (such as paper), of an image as it is seen by the in the Roman Catholic Church and in the Refers to the accounts of the birth of Jesus, eye. The two most characteristic features of Anglican Communion. primarily based on the two accounts in the perspective are that objects are drawn: gospels of Luke and Matthew 1. Smaller as their distance from the observer Verisimilitude increases The Life of the Virgin 2. Foreshortened: the size of an object's Protestant showing narrative scenes from the life of Mary, dimensions along the line of sight are relatively The frustrated reformism of the humanists, the mother of Jesus, is a common subject for shorter than dimensions across the line of sight ushered in by the Renaissance, contributed to a pictorial cycles in Christian art growing impatience among reformers. The Foreshortening efforts of the self-described "reformers", who The Life of Christ objected to ("protested") the doctrines, rituals Comprises a number of different subjects, which and ecclesiastical structure of the Roman were often grouped in series or cycles of works THE RENAISSANCE Catholic Church, led to the creation of new in a variety of media, narrating the life of Jesus national Protestant churches. on earth, as distinguished from the many other Axonometric projection subjects in art showing the eternal life of Christ The depiction on a single plane of a three- Donor Portrait dimensional object by placing it at an angle to Dugento the picture plane so that three faces are visible.
Load more

Recommended publications
  • Sex, Lies, and Mosaics: the Zoe Panel As a Reflection of Change in Eleventh-Century Byzantium*
    SEX, LIES, AND MOSAICS: THE ZOE PANEL AS A REFLECTION OF CHANGE IN ELEVENTH-CENTURY BYZANTIUM* Brian A. Pollick, University of Victoria Abstract The stereotype of Byzantine art as static and unchanging still compels Byzantine specialists to emphasize that change is readily evident in Byzantine art if one knows where and how to look for it. This paper is a case study about such change and how a unique set of social forces in the early eleventh century induced cultural change that resulted in new visual forms. The subject of this case study is the mosaic known as The Zoe Panel, located in the South Gallery of the Hagia Sophia in Constantinople. The panel depicts the Emperor Constantine IX presenting a bag of money to the enthroned Christ, while the Empress Zoe presents an imperial scroll probably signifying an ongoing grant. Although there has been much written about this mosaic, the fact that the moneybag and imperial scroll represent two new iconographic elements in imperial portraits has gone largely unnoticed. This study argues that the appearance of these new iconographic features is a direct reflection of the specific dynastic, economic and social circumstances in the Byzantine Empire in the early eleventh century. he stereotype of Byzantine art as static and unchanging still compels Byzantine specialists to emphasize that change is readily evident in Byzantine art if one knows where and how to look for it. This paper is a Tcase study about such change and examines how a unique set of political, economic and social forces in the early eleventh century induced socio-cultural change that resulted in new visual forms.
    [Show full text]
  • Buildings in Their Patrons' Hands? the Multiform Function of Small Size
    Transkulturelle Perspektiven 3/2014 - 1 - و Maria Cristina Carile Buildings in their patrons’ hands? The multiform function of small size models between Byzantium and Transcaucasia The representation of the church model in the hands order to understand the value of these models after of the church's patron or founder finds its roots in the the twelfth century – following the chronological frame arts of Late Antiquity. Since the sixth century, this mo- of this volume – it is important to determine their im- tif adorned church apses, as an image of offering to portance in Caucasian visual culture, first tracing the Christ or the Virgin. 1 Later, it became a strong iconic evolution of the donation image. This will help us to image conveying the role of the patron/founder in the evaluate the meaning of architectural models in the construction and his devotion, which was embodied changed historical context of the Transcaucasian in the model as well as in the building itself. As such, principalities between the late twelfth and the thir- the theme had particular fortune in medieval Rome teenth centuries, when architectural models on and spread to the East as far as the Caucasus. After church walls were enriched with new meanings. the Latin conquest of Constantinople during the fourth crusade (1204 AD), the motif was widely adopted in The first appearance of the motif in the Transcaucasi- the Balkans and in the territories in close contact with an area probably dates back to the sixth century. This Byzantium. 2 This paper will focus on church models is testified by a now-lost sculpted relief with the im- as a motif, reflecting on their spread and role in the age of a woman holding a church model, which may decoration of the external façades of the churches in have decorated the outer walls of the cathedral com- the Caucasus and, specifically, in the area of Trans- plex at Agarak (region of Ayrarat), formed by a fifth- or caucasia.
    [Show full text]
  • The Representation of Architecture on the Donor Portrait in Lesnovo
    У Ж 75.052.033.2(497.723) The Representation of Architecture on the Donor Portrait in Tesnovo Čedomila MARINKOVIĆ Faculty of Dramatic Arts Belgrade, Serbia In the first zone of the main monastic church, dedicated to the ar­ changel Michael and Holy Father Gabriel of Lesnovo, in Lesnovo, on the northern wall of the nave, beside the entrance to the prothesis, there is a re­ presentation of the church founder, Jovan Oliver who is represented fron­ tally, holding a church (fig. 1). According to the assumption already accep­ ted in the science, this representation, together with the fresco decoration of the nave, was done in 1346/1347.1 The three-nave building with a dome, high drum and three windows with transennae is represented, while the nar- thex is omitted. Below the dome and above the portal, there is a tambour- carré with two connecting windows, also with transennae. In the lunette of the main portal there is a half-figure representation of Archangel Michael meticulously painted and signed.2 The façade is dominated by the huge dou­ ble door consisting of six decorated panels. On both sides of the door, high on the façade, there are three more openings, richly decorated. Above the door, there is a meticulously painted doorframe with a floral motif. The fa­ çade is uniformly painted in green and further decorated with a huge orna­ ment of a stylized lily and a heart-like one voluted and inserted in circle. The ornamental repertoire is further enriched with rectangular stripes of darker color with volutes.
    [Show full text]
  • Hans Holbein the Younger's Darmstadt
    © COPYRIGHT by Jennifer Wu 2016 ALL RIGHTS RESERVED 1 For my mother and father. REINVENTING DONOR FAMILY PORTRAITURE: HANS HOLBEIN THE YOUNGER’S DARMSTADT MADONNA BY Jennifer Wu ABSTRACT This thesis examines how Hans Holbein the Younger negotiated the genre of donor family portraiture in the Darmstadt Madonna (1526/1528) by creating a contemporary representation of the patron Jakob Meyer’s family. In early sixteenth- century Basel, reforms within the Catholic Church and the advent of Protestantism contested late medieval concepts of gender, kinship, and piety. I argue that the Darmstadt Madonna addressed this tumultuous context by partially reorienting the focus of traditional devotionally-themed paintings from the holy figures to the donor family. In this transitional work, Holbein offered an innovative and complex representation of the Meyer family members, their interconnections, and their relations with the depicted holy figures. The painting inventively satisfied Jakob Meyer’s ostensible objectives in representing his family’s exemplary devotional practices, his own paternal authority, and the Meyers’ procreative continuity through their daughter, Anna. ii ACKNOWLEDGMENTS I am deeply grateful to a number of people who have supported me in writing this thesis. It has been a true privilege to work with Dr. Andrea Pearson, who guided my academic journey at American University from the very beginning, shared her time and wisdom generously, and inspired me to do my best work. I thank Dr. Kim Butler Wingfield for encouraging me to “go big,” trust my instincts, and pursue my ideas. I am greatly appreciative of the wonderful art history faculty and staff, including Dr.
    [Show full text]
  • Byzantium and Medieval Europe Byzantium—Early Byzantine 1. Title
    Byzantium and Medieval Europe Byzantium—Early Byzantine 1. Title 2. map of Byzantine Empire at the time of Justinian 3. exterior, Church of San Vitale, Exterior from south, brick, marble and stone veneer, Ravenna, Italy, 526-47 4. Plan of San Vitale (octagonal, center plan) showing placement of mosaics 5. Church of San Vitale, interior view from apse 6. Church of San Vitale, mosaic decoration, Justinian and his retinue with Bishop Maximianus 7. Church of San Vitale, mosaic decoration, Theodora and her retinue 8. detail of mosaic (Theodora’s retinue), Church of San Vitale, mosaic decoration Charlemagne—Carolingian Renaissance (ca. 800-850) 9. Equestrian statue of Charlemagne (r. 748-814) (possibly Charles the Bald, r. 843-877), bronze (was gilt) Metz, Germany/France, early 800s 10. comparison—equestrian statues of Marcus Aurelius (L) and Charlemagne (or Charles the Bald) 11. detail, Equestrian statue of Charlemagne (r. 748-814) (possibly Charles the Bald, r. 843-877) 12. Otto III enthroned, Gospel Book of Otto III, tempera on vellum, Trier, Germany, 997-1000 13. comparison—mosaic of Justianian (L) and illustration of Otto III (R) 14. Margrave Ekkehard of Meissen and Uta (donor portraits), Naumberg Cathedral, Naumberg, Germany, ca. 1245-55 15. Timo von Kistritz (donor portrait), Naumberg Cathedral, Naumberg, Germany, ca. 1245-55 16. Jan van Eyck, Madonna with the Chancellor Rolin, oil on wood, 1434-35 17. Rogier van der Weyden, Last Judgment Altarpiece, Hotel-Dieu, Beaune, France, oil on wood, 1444-48, closed showing donor portraits of Nicholas Rolin and his wife 18. Rogier van der Weyden, Last Judgment Altarpiece, Hotel-Dieu, Beaune, France, oil on wood, 1444-48, fully opened 19.
    [Show full text]
  • Visions and Meditations in Early Flemish Painting Craig Harbison
    Visions and Meditations in Early Flemish Painting Craig Harbison Simiolus: Netherlands Quarterly for the History of Art, Vol. 15, No. 2. (1985), pp. 87-118. Stable URL: http://links.jstor.org/sici?sici=0037-5411%281985%2915%3A2%3C87%3AVAMIEF%3E2.0.CO%3B2-X Simiolus: Netherlands Quarterly for the History of Art is currently published by Stichting voor Nederlandse kunsthistorishes publicaties. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/svnk.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is an independent not-for-profit organization dedicated to and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sat May 19 12:02:39 2007 Visions and meditations in early Flemish paintingX Craig Harbison In fifteenth-century Flanders we find a religious art in gious movements at the time, of which the chief w.as which individual piety is the prime motivating force; known as the Modern Devotion, were specificall!- dedi- not scholastic disputation, transcendent ecstasy or litur- cated to mot-ing beyond the monastic perimeters which gical ritual, but a calculated, personal religious espe- had at least partly restricted earlier revitalization ef- rience, the vision or meditation is found at the center of forts.' La!- brother and sisterhoods and the use of the things.
    [Show full text]
  • Seek the Eyes of Mary': a Widow and a Virgin's Illuminating Invitation
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2020-04-09 'Seek the Eyes of Mary': A Widow and a Virgin's Illuminating Invitation Kristina Gayle Heiss Kryscynski Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Arts and Humanities Commons BYU ScholarsArchive Citation Kryscynski, Kristina Gayle Heiss, "'Seek the Eyes of Mary': A Widow and a Virgin's Illuminating Invitation" (2020). Theses and Dissertations. 8416. https://scholarsarchive.byu.edu/etd/8416 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. “Seek the Eyes of Mary”: A Widow and a Virgin’s Illuminating Invitation Kristina Gayle Heiss Kryscynski A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Elliott D. Wise, Chair Martha M. Peacock Jennifer Haraguchi Department of Comparative Arts and Letters Brigham Young University Copyright © 2020 Kristina Gayle Heiss Kryscynski All Rights Reserved ABSTRACT “Seek the Eyes of Mary”: A Widow and a Virgin’s Illuminating Invitation Kristina Gayle Heiss Kryscynski Department of Comparative Arts and Letters, BYU Master of Arts A deep visual analysis of Ludovico Carracci’s 1588 Madonna and Child, Angels, and Saints Francis, Dominic, Mary Magdalene and the Donor Cecilia Bargellini Boncompagni with an emphasis on the role of the patron, the significance of the locality, and the visual semiotics of the Virgin Mary’s gaze in prompting conversion in the repentant prostitutes of the Carmelite convertite convent associated with Ss.
    [Show full text]
  • Hazelhofman.Pdf
    ABSTRACT AN INTERPRETATION OF TEXTILE WEALTH IN THE ELEVENTH-CENTURY ARMENIAN MINIATURE FAMILY PORTRAIT OF KING GAGIK-ABAS OF KARS The eleventh-century miniature family portrait of Christian King Gagik- Abas is the only known Armenian painting of a Bagratuni dynastic family. Established interpretation of the image suggests that indicators of rank and status are displayed within the iconography and mannerisms of the figures. My analysis focuses on the profusion of sumptuous textiles and the intriguing compositional placement of the female figures in the picture. I interpret these pictorial elements as allusions to dowry wealth and matrilineal inheritance. My thesis suggests that the composition of the image and the opulence of the represented textiles convey dynastic affluence in an effort to support the central figure, the young daughter, within the socio-political context of medieval life in the region. As the only heir of the last Bagratuni king in Greater Armenia, Princess Marem was to inherit the dynastic lineage from her father. Their kingdom was threatened by Seljuk invasions and Byzantine land annexation policies. The image was created during this tumultuous period in the history of the Bagratunis. In such a situation, I suggest that the miniature painting reveals the family’s response to the hostile situation of regional politics for Armenian nobles in their homeland. Within the historical context of the image, marital alliances between Armenian nobles were not uncommon and intermarriages existed between Armenian and non-Armenian dynastic families. Showing dynastic lineage and textile wealth in the image was a plausible way to secure a future for Marem through marital arrangements.
    [Show full text]
  • Women's Books? Gendered Piety and Patronage in Late Medieval
    Title Page Women’s Books? Gendered Piety and Patronage in Late Medieval Bohemian Illuminated Codices by Allison McCann Bachelor of Fine Arts, Kutztown University of Pennsylvania, 2013 Master of Arts, University of Pittsburgh, 2015 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 COMMITTEE PAGE UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Allison McCann It was defended on December 3, 2019 and approved by Renate Blumenfeld-Kosinski, Distinguished Professor Emerita, French and Italian Katheryn Linduff, Professor Emerita, History of Art and Architecture Barbara McCloskey, Professor, History of Art and Architecture Christopher Nygren, Assistant Professor, History of Art and Architecture Dissertation Advisor: Shirin Fozi, Assistant Professor, History of Art and Architecture ii Copyright © by Allison McCann 2019 iii Abstract Women’s Books? Gendered Piety and Patronage in Late Medieval Bohemian Illuminated Codices Allison McCann, PhD University of Pittsburgh, 2019 The manuscripts forming the core of this dissertation’s four case studies are some of the most artistically ambitious and theologically rich books to emerge from fourteenth-century Bohemia—and the European Middle Ages broadly—but they have not yet been considered together as an art historical phenomenon. Made at a moment when aristocratic women were playing a new role as divine matriarchs, these complicated and dynamic manuscripts open new avenues of inquiry into the intersection of later medieval gender and patronage. The pictorial programs of these manuscripts visualize the agency of their patrons, owners, and subjects in challenging and expansive ways and enrich our understanding of late medieval devotional practice and art production in the broadest terms.
    [Show full text]
  • Bulgarian Lands
    Religious Art in the Bulgarian Lands Authors Nadya Petrova, Virginiya Pencheva Stoyanova, Grisha Kubratov, Zornitsa Staneva, Miglena Molhova, Krasen Berbenkov, Galina Gencheva, Elena Haralambieva Zinev Art Technologies, Sofia, Bulgaria Introduction The purpose of the course will be to present in detail particular directions of the development of the religious art throughout the Bulgarian lands during the period 11-20 century. The course will start with a theoretical part providing details on selected topics from the scope of developments, which affected the arts evolution locally during the selected period of 10 centuries. The course shall continue with a practical section, which will again comprise of separate chapters, each providing practical information on a respective topic from the relevant chapter from the previous theoretical module. The last part of the course will include an interactive section, where teachers and students will be able to post materials and comments on the subjects discussed in the previous modules. Part 1 Art Theory Chapter 1: Influence of Byzantine art Icon-painting comprising of „icon“ and “paint” is a kind of visual art, which is closely related to Christianity and widespread mainly in the Eastern Orthodox world. In ancient times the term „εικών “ („icon“) was used to mark ordinary images (of philosophers, rulers, athletes, courtesans) in order to distinguish them from the images of Gods. In the Christian tradition the term acquired the opposite meaning. According to the legend of king Abgarus, told by bishop Eusebius of Caesarea, the archetype of all icons is the linen cloth („Image of Edessa“), with which Jesus Christ dried up his face.
    [Show full text]
  • The Place and Space of a Donator in Late Medieval Devotional Art the Reciprocal Nature of the Living and the Dead
    The Place and Space of a Donator in Late Medieval Devotional Art The Reciprocal Nature of the Living and the Dead Maria Luiza Pietraszek Master Thesis in Art History at the Department of Linguistic, Literary and Aesthetic Studies, Humanistic Faculty Bergen University Supervisor: Associate Professor Henning Laugerud Autumn 2019 Abstract This thesis examines the place and space of the donator in late Medieval Art. The first part of this study investigates the supplicants’ relations and interactions based on their position within an artwork. I analyze the importance of being visible and its connection with the act of devotion, as the space that the donor is occupying and sharing with the other depicted figures. I try to find the patterns and the rules governing the ways in which the commissioners are portrayed. To illustrate this aspect, I will use the concept of memoria and care for the here and the hereafter as well as its connection to the donor’s appearance. It is a three-way relation, a kind of pattern of influence where there is a supplicant, a regular churchgoer who is a spectator, and God himself. In the second part of my thesis, I to focus on the commissioners’ place in the society and the significance of being seen not only as a pious but also as a noble, rich and powerful person. The way in which donators attempted to present themselves, both for the here and the hereafter, apparently played a significant role in the medieval devotional art. The third part approaches the question of donators’ visibility for the sake of their salvation.
    [Show full text]
  • Gazes and Gesture of Bovine Animals in Trecento Fresco Elsa L
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2014 Exemplary Equines: Gazes and Gesture of Bovine Animals in Trecento Fresco Elsa L. Bruno Scripps College Recommended Citation Bruno, Elsa L., "Exemplary Equines: Gazes and Gesture of Bovine Animals in Trecento Fresco" (2014). Scripps Senior Theses. Paper 383. http://scholarship.claremont.edu/scripps_theses/383 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. ! ! ! ! EXEMPLARY EQUINES: GAZES AND GESTURE OF BOVINE! ANIMALS IN TRECENTO FRESCO ! ! ! ! ! ! ! By ELSA LEE! BRUNO ! ! ! ! ! ! ! SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR! OF ARTS ! ! ! ! GEORGE GORSE COREY TAZZARA! ! ! ! ! ! ! APRIL 25,! 2014 CONTENTS ! I. Epigraph 3 II. Acknowledgments 4 !III. Prologue 5 A. INTRO - BEGINNING AT BIRTH: NATIVITY SCENES, GIOTTO, AND A NEW STYLE 8 I. The Byzantine Style II. The First Participating Bovine Animals - the Ox and the Ass III. The Cinema of the Trecento - the Church IV. Equine Amici !V. Horses and Humans, Side by Side in Dramatic Treatment B. CHAPTER ONE - HUMILITY AND DELIGHT AND UNDERSTANDING - THE WORK OF GIOTTO di BONDONE 21 I. Giotto at the Dawn of the Trecento II. The Refreshing Spirit of Francis at Assisi III. Acceptance and Animals - the Life of Saint Francis IV. St. Francis’ Horse V. Excitement from the East !VI. Bovine Animals That Launch a Motif C. CHAPTER TWO - ISTORIA AND IMAGINATION 33 I.
    [Show full text]