By Robert Gibbs Louise Bourdua
Julian Gardners preeminent position in British stories of the paintings of the thirteenth and 14th centuries, rather the interplay of papal and theological matters with its creation and on both sides of the Alps, is widely known in those experiences via his scholars. They talk about Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, in addition to monochrome dado portray as much as Giotto, Duccios representations of proskynesis, a Parisian reliquary in Assisi, Riminese portray for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of affection at Sabbionara, the cult of city V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardners occupation itself.The participants to the amount are Serena Romano, Jill Bain, Claudia Bolgia, Louise Bourdua, Joanna Cannon, Roberto Cobianchi, Anne Dunlop, Jill Farquhar, Robert Gibbs, Virginia Glenn, Dillian Gordon, John Osborne and Martina Schilling.
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Additional resources for A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner
Grams-Thieme, Lebendige Steine: Studien zur Niederländischen Grisaillemaleriei des 15. und frühen 16. Jahrhunderts, Cologne, 1988. The relation of Italian Renaissance grisailles to ancient sculpture is discussed by Blumenröder (Andrea Mantegna’s Grisaille Paintings, passim), while Steiner (Paradoxien der Nachahmung, 74–7) discusses the levels of imitation in Giotto’s rendering of the Virtues and Vices of the Arena Chapel, which both mimic and contradict sculptural form. Ferber, ‘Jean Pucelle and Giovanni Pisano, Art Bulletin 66 (1984), 65–72; Krieger, Grisaille als Metapher, 7–37.
25 These can be interpreted as battles between good and evil, referencing the Psy chomachia and Psalm 90:13 amongst other possible allegorical battles; see C. Verzar Bornstein, ‘Victory over Evil: Variations on the Image of Psalm 90:13 in the Art of Nicholaus’, in Scritti di storia dell’arte in onore di Roberto Salvini, Florence, 1984, 45–51 and P. Verdier, ‘Dominus potens in praelio’, Wallraf-Richartz-Jahrbuch 43 (1982), 35–106; see also A. Kartsonis (Anastasis: The Making of an Image, Prince ton, 1986, 71–5), regarding the related image of Christ trampling Hades.
Curial narratives: the Seals of Cardinal Deacons 1280–1305’, in Good Impression : Image and Authority in Medieval Seals, eds N. Adams, J. Cherry and J. Robinson, London, 85–90. ‘Painting in Florence and Siena after the Cold War’, in Medioevo: arte e storia, ed. Quintavalle, Milan, I Convegni di Parma 10, 662–8. Arnolfoʼs moment: acts of an international conference, Florence, Villa I Tatti, May 26–27, 2005 eds D. Friedman, J. Gardner, M. Haines, Florence. ‘Arnolfo di Cambio: from Rome to Florence’, in Arnolfoʼs moment, eds D.
A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner by Robert Gibbs Louise Bourdua