ATHAN OR XII FLORIDA STATE UNIVERSITY DEPARTMENT OF ART HISTORY ATHANORXII FLORIDASTA TE UNIVERSITYDEPARTMENT OF ART H ISTORY F<Wl!.m:AY' ,COSMIQ)'Z· Cosmic oven or Atlra,wr from Annibal Barlc1.LtVroy Cours de Physique. Paris, 1653. Cover: Michelangelo, Pieta, c. 1538-40, black chalk, 11 5/8" x 7 5/8", Isabella Stewart Gardner Museum, Boston. Manuscriptsubmission: Readers are i11vi1edt o submit manuscriprs for consideration. Aurhors should consuh !heModem La11guageAssociatio11 H andbook for Writers of Research Papers for matters of form; manuscripls should be original rypescripts wilh xeroxed phorographs and cannot be rcrumed unless accompanied by a self-addressed,sramped envelope.The Universiry assumes no responsibility for loss or damage of materials. Correspondence and manuscripts may be addressed 10 lhe Editor, ATHANOR, Depanmenl of Art Hisrory, FAB,Flo rida S1a1e University, Tallahassee,FL 32306-2037. To obtain copies: ATHANOR is publishedannua lly by 1heDepartmen1of Art History as a projecr of the Florida State UniversityMu seum of Fine Ans Press. The issues arc available for a suggested minimumdonation of$5.00 10 cover handlingand contributeto subsequentissues; please request volumes lhrough the Museum of Fine Ans, FloridaState University, Tallahassee, FL 32306-2055. The 1995 Annual An History Graduate Symposiumwill behe ld March I 0-1I; symposium papersess ions cover a wide varietyof topics. Smdents from the Southeast make presentations which frequentlybecome published essays in ATHANOR.Th e format of the symposium includes a featuredspeaker of national reputationin addition 10 the student paper sessions. For derails of date and for precis submission, please contact Professor Patricia Rose. Chairman, Departmentof Art History, Florida State University, Tallahassee, FL 32306-2037. Papers Copyright 1994by Aulhors Athanor XTI Copyright 1994by Florida State University / Tallahassee, FL 32306-2055 All Rights Reserved L.C. #8 I -68863 The essays contained in ATHANOR are articles by graduate studenL~ on topics of an history and humanities. As such, ATHANOR exists as a critical forum for the exchange of idea~and for contrast and comparison of theories and research and is disseminatedfornon-profit, educational p urposes; annotated allusions,q uotations, and visual materials are employed solely to !hat end. ATHAN OR was produced at a total cost of $4848.00 to its departmentalpubli sher, or $4.85 per copy, wirh gratefullyacknowledged in-kind d onationsof time andexpertise by the Schoolof VisualAns and Dancefacully and staff. ATHANORXII FrallfOis Bucher Foreword: From Saints to Excrements 4 WilliamTravis Points of View in Romanesque Sculpture: The Cluniac Group 9 Tania Mertvnan An Examination of Miniatures of the Office of St. Louis in Jeanne de Navarre's Book of Hours 19 Je1111iferL Fields-Crow Controlling Images: Portraits of Charles Vas Representations of His Political Agenda in Fourteenth Century France 27 Gail A. Kalli11s Mantegna's Mi11ervaOvercoming the Vices Reconsidered 35 10h11Gabriel Haddad The Sabbatarian Struggle of Michelangelo 45 Thomas Bayer Socio-economic Aspects of Netherlandish Painting during the Sixteenth Century 55 Glen11Taylor "Cloth of the Spider:" Deciphering Alfred Stevens' Intriguing "Puzzle Painting," Young Woma11with a Japa,iese Scree11 61 Betty Lou Williams Frederick Carl Frieseke Rediscovered 69 Ver/011Cary Picasso's Influence on Jackson Pollock's Late Black and White Paintings 79 Dia11aMcClintock The Art of Bessie Harvey: Her Gift of the Spirit 85 ATHANOR Xll: Fran9ois Bucher, Faculty Advisor Allys Palladino-Craig, General Editor, Museum Press Julienne T. Mason, Senior Editorial Assistant and Designer, Museum Press Kelly McCabe, Editorial Assistant, Museum Intern Typography and Design: Florida State University Museum of Fine Arts Press Printing: Gandy Printers, Inc., Tallahassee Seventeenth Ce111uryFre11ch Ship Decoratio11:Pierre Puget and Jea11Berai11, by James E. Bryan, III, won the G0nther Stamm Prize for Excellence at the 1993 Art History Graduate Student Symposium. FromSaints to Excrements "Sincesuuult1rtls are wanting everywhere nowadays. brought a blast of secular themes, allegories, emblems and a we mus, have lost ourselves in I his long soughtbr eadth tremendous surge of graphics, much of which is artistica.lly without having experienced the new dimension. In the mediocre. Financial well being and the increasingimportanceof course af lime and with the means of physics and a11as a status S)'mbol lowered the quality of portraits, house mechanics we did, in fact, achieve some astonishh,gly altars, sculptures and pouery further. All these artifacts were .tuccessful results; bw at the same time we let our still technically proficient and could, such as in the temporary psyche more or less wretchedl y wither away and go 10 triumphal arches for Maximilian I by DUrerand Hans Burgkmair, ruin, and thus obstruct other possible means of access reach the upper limits of skill and iconographic variety. to the deeper strata of Jmmtm existence lyi11gwithin From the 17th through the end of the 19th centuries the us. "-Johannes Gachnang. Introduction to the demand for privately owned art increased geometricaJI)'. Arti­ Docume111a7 catalogue (Kassel, 1982), xxviii. sans churned out copies of paintings, produced innumerable family portraits and still lives, some of which are said to have Imagine an art connoisseur around 1300 A.D. describing se,ved as appetizers in opulent dining rooms illuminated by the glorious procession of burghers carrying Duccio's Mae.,ra highly elaborate candelabras. These artifacts including bibelots altarpiece into the cathedral while loudly criticizing Dante for in ivory, polished minerals, silver and gold. were still techni­ preferring the lumbering figures of Giono which lacked even cally irreproachable and based on disciplined apprenticeships Ciroabue's or Simone Martini'scourtly elegance. Or in the or rigorous training in Academics or Ecoles des Beaux-Ans . 1450s another critic praising the enamel-like quality of the Treatises ranging from color theories, gilding, lace pauerning. Richard II portrait in the Wilton Diptych while objecting to the the rendering of any possible facial expression, appeared by the 'degrading' naturalism in Konrad Witz's Geneva altar. In both dozen. Manual s with examples for furniture design, garden cases, these critics would have missed the great movements sculplUre, beakers. ornaments and gazebos provided guidance towardadeepeningcomplexityofphysicalrealitywbichanwas to even uninspired artists and eased the choices for patrons. going to explore in the subsequent centuries. Most critics of Migrant painters found a fertile market in the colonies where 20th century art wishing to define trends within an ever increas- they added portrait faces to puppet bodies and produced works ingdisarrayofunp redictability may have missed the boat trying now prized forthe ir naive, charming ineptitude. to separate quality works from a host of irrelevant and thor- By the 20th cemury-and cena inly after the breakwater oughly inept junk art. 1913 Armory Show in New York-the industrial nations be- lt thus seems significant that the essays in the present issue came a single cultural bloc offering a global encycloped ia of of Athanor deal with solid topics and avoid artists whose artistic choices, in fact Malraux's Musee lmagi,wir e. Contacts iconography is obtuse and imagery chaotic. between intellectuals. scientists and artists speeded up. Photog- As we approach the end of the Millenium, a panoramic raphy and film, which amazingly are Still not recognized as sifting of major cultural turning points is in order. What is and perhaps the most solid and major art forms of this century, will be worth chronicling, who and what will disappear in the allowed foranevermoreprecisetransm.iss ion ofimages. Actual dust bin of history? Which highly praised works have already artifacts were shown side by side at international exhibits. world ended up in cavernous museum depolS, and what will be fairs and the rapidly emerging private galleries which evcntu• discarded by the grandchildren of fashion-struck collectors? ally took over the art "market." Einstein's theories, Freud and Finally, how does 20th century art stack up against the cultural Jung's explorations of the subconscious, the disasters of World energy of the last nine centu ries? War I, the rise of Fascism, World Warn , Viet Nam, portrayed From the beginning of the Millenium to a break around in photographs and films of corpses in muddy trenches, or rice 1500 A.D., the arts strived toward enlightenment. offering the paddies, acted as fundamenwlly unsettling forces and put into viewer specific information as well as proofs of wealth and question the traditional anthropocentric imagery with its so­ status within a relatively stable, identifiable context. All ob- cially and aesthetically clear messages. jects-be they aquamales, shields, banners (painted e.g. by the This new disconnectedness produced a frightening flood of van Eycks), tombs, stained glass, statuary-s erved a purpose, choices in which the lines between potent and decipherable be it an encouragemen t to devotion, a display of refined practi- messages understood by the intellectual elite. and an undisci­ caliry or an intent at self aggrandizement. The houses of the plined chaotic search for empty originality or totally personal burghers, the mansions of the powerful, were built to last, confessionalismbecameblurrcd . Theoriginalheadysenseofa omamentedw ithfrcscocs,tapestrie