History of art Books

Book SynopsisEssays on the depiction of animals, birds and insects in early medieval material culture, from texts to carvings to the landscape itself. For people in the early Middle Ages, the earth, air, water and ether teemed with other beings. Some of these were sentient creatures that swam, flew, slithered or stalked through the same environments inhabited by their human contemporaries. Others were objects that a modern beholder would be unlikely to think of as living things, but could yet be considered to possess a vitality that rendered them potent. Still others were things half glimpsed on a dark night or seen only in the mind's eye; strange beasts that haunted dreams and visions or inhabited exotic lands beyond the compass of everyday knowledge. This book discusses the various ways in which the early English and Scandinavians thought about and represented these other inhabitants of their world, and considers the multi-faceted nature of the relationship between people and beasts. Drawing on the evidence of material culture, art, language, literature, place-names and landscapes, the studies presented here reveal a world where the boundaries between humans, animals, monsters and objects were blurred and often permeable, and where to represent the bestial could be to holda mirror to the self. Michael D.J. Bintley is Senior Lecturer in Medieval Literature at Canterbury Christ Church University; Thomas J.T. Williams is a doctoral researcher at UCL's Institute of Archaeology. Contributors: Noël Adams, John Baker, Michael D. J. Bintley, Sue Brunning, László Sándor Chardonnens, Della Hooke, Eric Lacey, Richard North, Marijane Osborn, Victoria Symons, Thomas J. WilliamsTrade ReviewAn engaging and thought-provoking overview of various types of evidence that shed light on both medieval perceptions of beasts and the often blurred boundaries between them and humans....The varieties of beasts and diverse source materials considered here make this volume valuable not only to those interested in natural history, but also for those interested in medieval allegories for, and expressions of, identity, warfare and the supernatural. * EARLY MEDIEVAL EUROPE *This collection of essays combines rigorous analysis with insightful guidance. * REVIEW OF ENGLISH STUDIES *An excellent volume for anyone with an interest in early medieval England and Scandinavia. * TIME & MIND *A welcome addition to the growing collection of studies of medieval human-animal relations. Its contribution is that it goes beyond the simple juxtaposition of traditional zooarchaeological analyses and more discursive artistic/literary pieces. * MEDIEVAL ARCHAEOLOGY *The essays in Representing Beasts cogently and vividly convey a broader understanding of human and non-human interaction during the Middle Ages in England and Scandinavia . This tightly constructed collection of essays would be enjoyed by anyone with an interest in ecomedievalism and/or animal studies. * THE MEDIEVAL REVIEW *Table of ContentsRepresenting Beasts in Early Medieval England and Scandinavia: an Introduction - Michael D.J. Bintley and Thomas J.T. Williams Between Myth and Reality: Hunter and Prey in Early Anglo-Saxon Art - Noël Adams '(Swinger of) the Serpent of Wounds': Swords and Snakes in the Viking Mind - Sue Brunning Wreoþenhilt ond wyrmfah: Confronting Serpents in Beowulf and Beyond - Victoria Symons The Ravens on the Lejre Throne: Avian Identifiers, Odin at Home, Farm Ravens - Marijane Osborn Beowulf's Blithe-Hearted Raven - Eric Lacey Do Anglo-Saxons Dream of Exotic Sheep? - László Sándor Chardonnens You Sexy Beast: The Pig in a Villa in Vandalic North Africa and Boar-Cults in Old Germanic Heathendom - Richard North 'For the Sake of Bravado in the Wilderness': Confronting the Bestial in Anglo-Saxon Warfare - Thomas J.T. Williams Where the Wild Things Are in Old English Poetry - Michael D.J. Bintley Entomological Etymologies: Creepy-Crawlies in English Place-Names - John Baker Beasts, Birds and Other Creatures in Pre-Conquest Charters and Place-Names in England - Della Hooke

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Book SynopsisThe first biography of the 18th-century landscape gardener, Uvedale Price, showing the key interconnections between his roles as landowner, art collector, forester, landscaper, connoisseur and scholar.

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Book SynopsisThe first full edition of the correspondence, between three artists Joanna Boyce, her brother George P. Boyce and Henry Wells, who she eventually married. It dates from the period 1845 to 1861, and covers artistic life in both Paris and London, including the Pre-Raphaelites. This correspondence, between three artists Joanna Boyce, her brother George P. Boyce and Henry Wells, whom she eventually married, dates from the period 1845 to 1861. They were all friends of Rossetti and the Pre-Raphaelite circle, but in addition Henry and Joanna both studied in Paris, and Joanna wrote extensively about her time there, training with Thomas Couture. She wrote for The Saturday Review as well as painting a small number of very interesting and much admired pictures. Her brother George established himself as a successful watercolourist and member of the Old Watercolour Society, having been encouraged both by David Cox on his Welsh sketching expeditions,and by Ruskin, whose letters advising him what to paint in Venice are included here. Henry Wells was primarily a portrait painter. At first he specialised in miniatures, and was commissioned to paint Mary, princess of Cambridge byQueen Victoria. There are vivid accounts of visits to country houses to carry out commissions from their owners. The three wrote constantly about techniques of painting and about the new colours that became available at this period, and about their visits to exhibitions both in Paris and London. They all contributed to the Royal Academy and other exhibitions. In addition, there is the extraordinary story of Joanna's and Henry's courtship and marriage, at first encouraged and then viciously opposed by Joanna's recently widowed mother. The correspondence survives only in an unpublished transcript made in the 1940s, as the originals were all destroyed in a bombing raid on Bath during the second world war. Excerpts from George P. Boyce's diaries were published in the 1930s, but the present edition contains a considerable amount of new material.Trade ReviewIt is finally hearing the voice of Joanna Boyce Wells which is truly remarkable and makes this publication one of the most important of the last decade...The writing of the artists and editors alike is enjoyable and readable...[It] is a wonderful achievement that will greatly aid historians, and equally delight those with a keen interest in the period. * PRE-RAPHAELITE SOCIETY REVIEW *Table of ContentsGeneral Introduction Memoir by Alice Street, including diaries and letters to 1855 Letters and diaries 1855 Letters and diaries 1856 Letters and diaries 1857 Letters and diaries 1858 Letters and diaries 1859 Letters and diaries 1860 Letters and diaries 1861 Epilogue: 1862 onwards Essays by Alice Street Reviews G. P. Boyce's Diaries, 1848-1875 Appendix I: The Short Memoir Appendix 2: Table of entries not in the printed edition of The Diaries of George Price Boyce Abbreviations Bibliography

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Book SynopsisA study of the representation of education in material culture, at a period of considerable change and growth. On the facade of Chartres cathedral serene personifications of the arts of grammar, rhetoric, dialectic, music, arithmetic, geometry and astronomy present passers-by with a vision of education as an improving process leading to greater knowledge of God. The arts proved a popular subject in medieval imagery, and were included in manuscripts, stained-glass and luxury metalwork objects as well as on the facades of churches. These idealized figures contrast with many textual accounts of education, in which authors recorded the hardships of student poverty and the temptations of drink and women to be found in the cities where teachers were increasingly establishing themselves. Thisbook considers how and why education was explored in the art and architecture of the twelfth century. Through analysis of imagery in a wide range of media, it examines how teachers and students sought to use images to enhance their reputations and the status of their studies. It also investigates how the ideal models often set out in imagery compared with contemporary practice in an era that saw significant changes, beginning with a shift away from monastic education and culminating in the appearance of the first universities. LAURA CLEAVER is Senior Lecturer in Manuscript Studies, Institute of English Studies, University of London.Trade ReviewA very welcome book in several respects . . . As an introduction to an intriguing world of learned imagery and visualisation of abstract thought, the book is . . . a most welcome addition to the growing body of research into the medieval schools. * H-SOZ-KULT *The delightful attention that Cleaver gives throughout this book to the humor of medieval artistry and pedagogy only enhances the steady and reliable scholarship that marks this volume from cover to cover. . . . We can now examine with all the more profit images that many of us have admired for years but never fully appreciated, thanks to the explanations offered by the meticulous analysis present in this volume. * PEREGRINATIONS *A must-read for any scholar interested in the history of learning and visual culture. * ÓENACH *Table of ContentsIntroduction The Liberal Arts: Making Education Visible Learning to Read in Texts and Images Telling Tales: Art for the Illiterate Learning to Speak: The Art of Logic The Image of the Master The Art of Music Arithmetic and Geometry in the Classroom and Beyond Looking at the Heavens: Astronomy in Images Conclusion Bibliography

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Book SynopsisFirst full examination of the medieval livery collar, form, function, and significance. The livery collar had a pervasive presence in late-medieval England. Worn about the neck to denote service to a lord, references to the collar abound in government records, contemporary chronicles and correspondence, and many depictions of the collar can be found in illuminated manuscripts and on church monuments. From the fifteenth century the collar was regarded as a powerful symbol of royal power, the artefact associating the recipient with the king; italso played a significant function in the construction and articulation of political and other group identities during the period. This first book-length study of the livery collar examines its cultural and political significance from the late fourteenth to the early sixteenth centuries, in particular between 1450 and 1500, the period associated with the Wars of the Roses. It explores the principal meanings bestowed on the collar, considers the itemin its various political contexts, and places the collar within the sphere of medieval identity construction. It also investigates the motives which lay behind its distribution, shedding new light on the nature and understanding of royal power at the time.Trade ReviewCarefully researched and well-written..[The author] Ward has rendered a valuable service to scholars of the late Middle Ages by focusing on one of the more ubiquitous cultural symbols of the age. * ENGLISH HISTORICAL REVIEW *A revelation for anyone interested in livery collars and what they meant. * THE RICARDIAN *Table of ContentsIntroduction: The Livery Collar and its Contexts Function, Meaning and Significance The Political Milieu Visual Culture, Agency and Identities of Association The Appearance of Lancastrian and Yorkist Livery Collars on Church Monuments: Distribution and Motivations Livery Collars in Wales and the Edgecote Connection Conclusion Appendix 1: Genealogies Appendix 2: Livery Collars on Church Monuments in England, Wales and Ireland to c. 1540 Bibliography

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Book SynopsisAn examination of the passion and crucifixion of Christ as depicted in the visual and religious culture of Anglo-Norman England. The twelfth century has long been recognised as a period of unusual vibrancy and importance, witnessing seminal changes in the inter-related spheres of theology, devotional practice, and iconography, especially with regard to thecross and the crucifixion of Christ. However, the visual arts of the period have been somewhat neglected, scholarly activity tending to concentrate on its textual and intellectual heritage. This book explores this extraordinarily rich and vibrant visual and religious culture, offering new and exciting insights into its significance, and studying the dynamic relationships between ideas and images in England between 1066 and the first decades of the thirteenth century. In addition to providing the first extensive survey of surviving Passion imagery from the period, it explores those images' contexts: intellectual, cultural, religious, and art-historical. It thus not only enhances our understanding of the place of the cross in Anglo-Norman culture; it also demonstrates how new image theories and patterns of agency shaped the life of the later medieval church. John Munns is a Fellow of MagdaleneCollege, Cambridge.Trade Review[Munns] demonstrates clearly the interdependence of theology, artistic production, devotion, philosophy, individual agency, and religious institutions that characterize the development of human thought. In doing so, he also demonstrates his own magisterial grasp of them. * SPECULUM *Beautifully produced .. Munns has complied a remarkably comprehensive overview of the centrality of the Cross in English society. [His] lavishly illustrated study opens a window onto the rich and vibrant visual culture of post-Conquest England, shedding new light on contemporary expressions of devotion and of individual spiritual practices. * ART AND CHRISTIANITY *Both a good read and an original contribution to its complex subject. * CHURCH TIMES *[A] truly impressive interdisciplinary study of a period of art history that has long merited more scholarly attention. . . . Cross and Culture in Anglo-Norman England is a monumental work of scholarship that will long be a primary point of reference for medievalists in a variety of fields. * CATHOLIC HISTORICAL REVIEW *Table of ContentsIntroduction Part I: The Theology of the Cross, c. 1066-c. 1170 St Anselm, Affect, and the Site of Salvation The Cross, the Trinity, and the Sacrifice of the Mass The Art of Imitation Part II: The Image of the Cross In ecclesio media: The Public Image Ecce homo: Liturgy and Exposition Narrative and Contemplation in Manuscript Illumination Part III: The Way of the Cross, c. 1170-c. 1215 Pilgrimage and Relics: Proximity to the Holy Cross, Councils, and Crusade Epilogue Bibliography

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Book SynopsisExaminations of the use of diagrams, symbols etc. found as commentary in medieval texts. In our electronic age, we are accustomed to the use of icons, symbols, graphs, charts, diagrams and visualisations as part of the vocabulary of communication. But this rich ecosystem is far from a modern phenomenon. Early medievalmanuscripts demonstrate that their makers and readers achieved very sophisticated levels of "graphicacy". When considered from this perspective, many elements familiar to students of manuscript decoration - embellished charactersin scripts, decorated initials, monograms, graphic symbols, assembly marks, diagrammatic structures, frames, symbolic ornaments, musical notation - are revealed to be not minor, incidental marks but crucial elements within the larger sign systems of manuscripts. This interdisciplinary volume is the first to discuss the conflation of text and image with a specific focus on the appearance of various graphic devices in manuscript culture. By looking attheir many forms as they appear from the fourth century to their full maturity in the long ninth century, its contributors demonstrate the importance of these symbols to understanding medieval culture. Michelle P. Brown FSA is Professor Emerita of Medieval Book History at the School of Advanced Study, University of London and was formerly the Curator of Illuminated Manuscripts at the British Library; Ildar Garipzanov is Professor of Early Medieval History at the Department of Archaeology, Conservation and History at the University of Oslo; Benjamin C. Tilghman is Assistant Professor of Art History at Washington College. Contributors: Tina Bawden, Michelle P.Brown, Leslie Brubaker, David Ganz, Ildar H. Garipzanov, Cynthia Hahn, Catherine E. Karkov, Herbert L. Kessler, Beatrice Kitzinger, Kallirroe Linardou, Lawrence Nees, Eric Palazzo, Benjamin C. Tilghman.Trade ReviewProvides a much-needed modern exploration of the potential function and meaning behind decoration within early medieval manuscripts....it will surely be of great use to researchers in a wide range of disciplines, from paleography to history and art history. * EARLY MEDIEVAL EUROPE *The . . . fourteen studies, all excellent, address a range of innovations to which nascent book cultures, from the fourth century through the end of the first millennium, gave rise. * SPECULUM *Table of ContentsIntroduction: The Role of Graphic Devices in Understanding the Early Decorated Book "In the Image and Likeness of God": The Dedication Monogram in the Calendar of 354 and Early Medieval Monogrammatic Initials - Ildar Garipzanov 'Character' and the Power of the Letter - David Ganz Tangled Voices: Writing, Drawing and the Anglo-Saxon Decorated Initial - Catherine E. Karkov Graphic Visualization in Liturgical Manuscripts in the Early Middle Ages: The Initial "O" in the Sacramentary of Gellone - Eric Palazzo Graphic Quire Marks and Qur'anic Verse Markers in Frankish and Islamic manuscripts from the Seventh and Eighth Centuries - Lawrence Nees The Graphic Cross as Salvific Mark and Organizing Principle: Making, Marking, Shaping - Cynthia Hahn The Visual Rhetoric of Insular Decorated Incipit Openings - Michelle Brown The Relationship between Letter and Frame in Insular and Carolingian Manuscripts - Tina Bawden Patterns of Meaning in Insular Manuscripts: folio 183r in the Book of Kells - Benjamin C. Tilghman Graphic and Figural Representation in Touronian Gospel Illumination - Beatrice Kitzinger Meaning from the Margins: Graphic Signs, Frames and Initials in a ninth-century Byzantine Manuscript - Leslie Brubaker An Exercise in Extravagance and Abundance: Some Thoughts on the Marginalia Decorata in the Codex Parasinus graecus 216 - Kallirroe Linardou The Cross on the Book: Diagram, Ornament, Materiality - David Ganz Graphic Glosses and Argumentative Ornament - Herbert Kessler Bibliography

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Book SynopsisAn examination of women as mothers in medieval French sculpture. What can medieval sculptural representations of women tell us about medieval women's experiences of motherhood? Presumably the work of male sculptors, working for clerical patrons, these sculptures are unlikely to have been shaped by women's maternal experiences during their production. Once produced, however, their beholders would have included women who were mothers and potential mothers, thus opening a space between the sculptures' intended meanings and other meanings liable to be produced by these women as they brought their own interests and concerns to these works of art. Building on theories of reception and response, this book focuses on interactions between women asbeholders and a range of sculptures made in France in the twelfth through sixteenth centuries, aiming to provide insight into women's experiences of motherhood; particular sculptures considered include the Annunciation and Visitation from Reims cathedral, the femme-aux-serpents from Moissac, the transi of Jeanne de Bourbon-Vendome, the Eve from Autun, and a number of French Gothic Virgin and Child sculptures. Marian Bleeke is Associate Professor of Art History and Chair of the Department of Art and Design at Cleveland State University.Trade ReviewThere is much to admire about Bleeke's energetic and wide-ranging study. A great strength of her book is her belief that public sculpture could shape peoples' thoughts and behaviors, and that it could do so in ways not intended by the designers of the program. * SPECULUM *The impressive assembly of modern scholarship on the broad subject of female reception and experience is evident. * ECCLESIOLOGY TODAY *Table of ContentsIntroduction: Motherhood and Meaning in Medieval Sculpture Motherhood as Transformation: From Annunciation to Visitation at Reims Motherhood as Monstrosity: The Moissac Femme-aux-serpents and the Transi of Jeanne de Bourbon-Vendome Resurrecting Lazarus: The Eve from Saint-Lazare at Autun Visualizing Parturition: Devotional Sculptures of the Virgin and Child Afterword: Motherhood and Meaning: Medieval Sculpture and Contemporary Art Bibliography Index

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Book SynopsisAn illustrated manual showing how a medieval tournament was organised, here presented in three volumes with essays on various aspects of the manuscript. This 3 volume set contains the full text of René d'Anjou's Livre des tournois. This is famous as the most substantial account of the organisation of a medieval tournament that has come down to us. It survives in eight manuscripts, most of which have an almost identical layout; the best of these is a magnificent work of art in its own right. But these manuscripts have a further interest to the historian of culture, because they represent in effect the evidence for one of the first illustrated manuals, in which text and image are complementary, and form a single whole. The copyists understood this, and followed the original because the mise en page was an essential part of the whole. Justin Sturgeon's interdisciplinary study reveals the patterns and relationships which give the manual its very specific character. The study begins by exploring the relationship between the work's images and text, and brings into focus the author's identity as an authority on the subject matter. Next, the use and depiction of heraldry as essential to the construction of an embedded visual narrative within the work is explored. We then turn to the subject matter and to René's sources for the work and the form of tournament he describes, are examined and the author shows that René was drawing on specific precedents to construct his idealized version of such an event. Analysis of the visual presentation uses spatial and ritual theory to engage with a series of spectacles surrounding the punishment and review of the noble tourneyers. The last section of the book concentrates on the physical manuscripts.The codicological, textual and visual evidence from all eight known medieval manuscript copies is used to construct a new understanding of the provenance and transmission of the work, before turning to scrutinize the reception of two copies in detail. The conclusion draws together threads of identity, authority, and the importance of the Livre des tournois as a product of the culture and circumstances of its production. A series of appendices forms the second volume and directly supports the book. These appendices include the first scholarly edition of the source manuscript to make use of all eight medieval manuscripts,with full supporting data. The third volume contains 300 images of vital comparisons in high resolution close-ups using a special technique developed by the author which highlights important details within images while showing the detail in the context of the whole picture. Three Volume set.Table of ContentsIntroduction 1 Text and Image in the Livre des tournois: Creating Authorial Identity and Projecting Authority 2 Heraldry: The Interaction of Imagination and Reality 3 The Role of the Herald in the Livre des tournois 4 Tournaments, Customs and Authority in the Livre des tournois 5 Ritual and Regulation: The Tournament as a Tribunal and the Spectacle of Punishment 6 Transmission and Reception of the Livre des tournois Conclusion Bibliography Index

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Book SynopsisPioneering investigation of the popular "double tomb" effigies in the Middle Ages. 2022 Historians of British Art Book Award for Exemplary Scholarship on the Period before 1600 2021 International Center of Medieval Art Annual Book Prize Medieval tombs often depict husband and wife lying side-by-side, and hand in hand, immortalised in elegantly carved stone: what Philip Larkin's poem An Arundel Tomb later described as their "stone fidelity". This first full account of the "double tomb" places its rich tradition into dialogue with powerful discourses of gender, marriage, politics and emotion during the Middle Ages. As well as offering new interpretations of some of the most famous medieval tombs, such as those found in Westminster Abbey and Canterbury Cathedral, it draws attention to a host of lesser-known memorials from throughout Europe, providing an innovative vantage point from which to reconsider the material culture of medieval marriage. Setting these twin effigies alongside wedding rings and dresses as the agents of matrimonial ritual and embodied symbolism, the author presents the "double tomb" as far more than mere romantic sentiment. Rather, it reveals the careful artifice beneath their seductive emotional surfaces: the artistic, religious, political and legal agendas underlying the medieval rhetoric of married love. Published with the generous financial assistance of the Henry Moore Foundation.Trade Review[Richly] satisfying [...] Handsomely produced [...] Overall, it is a remarkable achievement, itself a successful marriage of different approaches which are brought together with clarity and perception. * THE RICARDIAN *[This] attractively-produced and well-illustrated volume is thoroughly researched. * ECCLESIOLOGY TODAY *[A] magnificent and original study. -- Christopher Howse * DAILY TELEGRAPH *[This book] leads the way in the current movement urging the reappraisal of pre-Reformation monuments by what is regarded as a holistic art-historical contextualisation. . . . It is certainly essential reading for all interested in medieval church monuments. * Peregrinations *Table of ContentsIntroduction The Double Tomb: Marriage, Symbol and Society Love's Rhetorical Power: The Royal Tomb Gender, Agency and the Much-Married Woman Holding Hands: Gesture, Sign, Sacrament Epilogue Gazetteer of Hand-Joining Monuments Bibliography

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Book SynopsisAn exploration of how power and political society were imagined, represented and reflected on in medieval English art Images and imagery played a major role in medieval political thought and culture, but their influence has rarely been explored. This book provides a full assessment of the subject. Starting with an examination of the writings of late twelfth-century courtier-clerics, and their new vision of English political life as a heightened religious drama, it argues that visual images were key to the development and expression of medieval English political ideas andarguments. It discusses the vivid pictorial metaphors used in contemporary political treatises, and highlights their interaction with public decorative schemas in English great churches, private devotional imagery, seal iconography, illustrations of English history and a range of other visual sources. Meanwhile, through an exploration of events such as the Thomas Becket conflict, the making of Magna Carta, the Barons' War and the deposition of Edward II, it provides new perspectives on the political role of art, especially in reshaping basic assumptions and expectations about government and political society in medieval England. LAURA SLATER is a Fulford Junior ResearchFellow at Somerville College, University of Oxford.Trade ReviewSlater provides us with a very valuable survey of the kind of visual language - expressed in texts and in material culture - that underpinned and helped to shape political discussions and debates among the political elite of Angevin and early Plantagenet England. * JOURNAL OF BRITISH STUDIES *[A] work of intellectual history that makes a prominent space for images within the cross-section of political thought that it reveals. . . . Slater has . . . made a solid case for the mutually reinforcing coherence of verbal imagery and images-figures and figurae-in dictating the coordinates of political thought and action in an important period of England's bureaucratic development. -- Sonja Drimmer * Speculum *Table of ContentsIntroduction Imagining Power in Angevin England From the Clerics to the Court, c.1200-1250 The Barons' War and the Dreams of Reformers Visions of Government During the Three Edwards Conclusion Bibliography

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Book SynopsisNew interpretations of an art form ubiquitious in the Middle Ages. English alabasters played a seminal role in the artistic development of late medieval and early modern Europe. Carvings made of this lustrous white stone were sold throughout England and abroad, and as a result many survived the iconoclasm that destroyed so much else from this period. They are a unique and valuable witness to the material culture of the Middle Ages. This volume incorporates a variety of new approaches to these artefacts, employing methodologies drawn from a number of different disciplines. Its chapters explore a range of key points connected to alabasters: their origins, their general history and their social, cultural, intellectual and devotional contexts. ZULEIKA MURAT is a Research Fellow and Lecturer in the History of Medieval Art at the University of Padua. Contributors: Jennifer Alexander, Jon Bayliss, Claire Blakey, Stephanie De Roemer, Rachel King, AndrewKirkman, Aleksandra Lipinska, Zuleika Murat, Luca Palozzi, Sophie Phillips, Nigel Ramsay, Christina Welch, Philip Weller, Kim Woods, Michaela ZöschgTrade ReviewThe colour plates are of spectacular quality...This is a volume worthy of a place on the bookshelves of anyone interested in alabaster sculptures. * CHURCH MONUMENTS *Together these essays disprove the assumption that English alabasters were mere industrial production. The social, cultural, intellectual, and devotional contexts explored show the high value of alabasters in the Middle Ages, their variety, and their far-flung export. Recommended. * CHOICE *All of the chapters make valuable contributions to our understanding of this significant artistic industry in later medieval England, whether it is recognizing the foundational figures and parameters that still shape the field today, the meanings accruing to the material itself, little-studied patronage groups, important collectors' motivations in acquiring works, or more in-depth examinations of individual works and their devotional functions, to name a few of the areas covered. * PEREGRINATIONS *Table of ContentsIntroduction - Zuleika Murat 'Burton-upon-Trent, not Nottingham.' The evolving study of medieval English alabaster sculpture - Nigel Ramsay Stone to ensure victory and to generate friendships. On the meaning of alabaster - Aleksandra Lipinska Contextualizing English Alabasters in the Material Culture of the Medieval Mediterranean - Luca Palozzi English Alabaster Images as Recipients of Music in the Long Fifteenth Century: English Sacred Traditions in a European Perspective - Andrew Kirkman Contextualizing alabasters in their immersive environment. The 'ancona d'allabastro di diverse figure' of the Novalesa abbey: meaning and function - Zuleika Murat Alabaster Carvings in Late-Medieval Lincolnshire - Jennifer S. Alexander 'Tabernacles, howsynges and other things'. Three Alabasters from the Burrell Collection in Context - Claire Blakey 'Tabernacles, howsynges and other things'. Three Alabasters from the Burrell Collection in Context - Rachel King 'Tabernacles, howsynges and other things'. Three Alabasters from the Burrell Collection in Context - Michaela Zöschg Conservation study of three 'caput' alabaster carvings from the Burrell Collection, Glasgow Museums - Sophie Phillips Conservation study of three 'caput' alabaster carvings from the Burrell Collection, Glasgow Museums - Stephanie De Roemer 'Smooth as Monumental Alabaster'. The Alabaster Tomb Industry in England 1550 - 1660 - Jon Bayliss Merchants' tombs in alabaster - Kim Woods Exploring Alice: the theological, socio-historical, and anatomical context of the de la Pole cadaver sculpture - Christina Welch Bibliography Index

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Book SynopsisEssays on aspects of iconography as manifested in the material culture of medieval England. Professor Jane Hawkes has devoted her career to the study of medieval stone, exploring its iconographies, symbolic significances and scholarly contexts, and shedding light on the obscure and understudied sculpted stone monuments of Anglo-Saxon England. This volume builds on her scholarly interests, offering new engagements with medieval culture and the current scholarly methodologies that shape the discipline. The contributors approach several significantobjects and texts from the early and later Middle Ages, working across several disciplinary backgrounds and periods, largely focusing on the Insular World as it intersects with wider global contexts of the period. The chapters cover a wide range of subjects, from the material culture of baptism, to the material, symbolic and iconographic consideration of the artistic outputs of the Insular world, with essays on sculpture, metalwork, glass and manuscripts,to ideas of stone and salvation in both material and textual contexts, to intellectual puzzles and patterns - both material and mathematic - to consideration of the ways in which the conversion to Christianity played out on the landscape. MEG BOULTON is Research Affiliate and Visiting Lecturer in the History of Art Department at the University of York; MICHAEL D.J. BINTLEY is Lecturer in Early Medieval Literature and Culture at Birkbeck, University of London. Contributors: Elizabeth Alexander, Michael Brennan, Melissa Herman, Mags Mannion, Thomas Pickles, Harry Stirrup, Heidi Stoner, Colleen Thomas, Philippa Turner, Carolyn Twomey,Trade ReviewThe articles in the present volume show what can be achieved across numerous related fields despite the vast gaps in our knowledge. * English Historical Review *The contributions offered here offer much that is new and interesting, and many will be essential reading for those in the field. * PARERGON *Table of ContentsIntroduction Recutting the Cross: The Anglo-Saxon Baptismal Font at Wilne The Fountain Sealed Up in the Garden Enclosed: A Vine Scroll at Kells The Art of the Church in Ninth-Century Anglo-Saxon England: The Case of the Newent Cross The Stones of the Wall Will Cry Out: Lithic Emissaries and Marble Messengers in Andreas Conversion, Ritual, and Landscape: Streoneshalh (Whitby), Osingadun, and the Anglo-Saxon Cemetery at Street House, North Yorkshire Outside the Box: Relics and Reliquaries at the Shrine of St Cuthbert in the Later Middle Ages An Unusual Hell Mouth in an Old Testament Illustration: Understanding the Numbers Initial in the Twelfth-Century Laud Bible The Problem of Man, Carved from the Same Stone Glass Beads: Production and Decorative Motifs Unmasking Meaning: Faces hidden and Revealed in Early Anglo-Saxon England Alcuin, Mathematics and the Rational Mind Looking down from the Rothbury Cross: (Re)Viewing the Place of Anglo-Saxon Art Bibliography of Jane Hawkes' Writings Index Tabula Gratulatoria

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Book SynopsisFirst full collection on the seven most significant English mappae mundi from the twelfth and thirteenth centuries. Mappae mundi (maps of the world), beautiful objects in themselves, offer huge insights into how medieval scholars conceived the world and their place within it. They are a fusion of "real" geographical locations with fantastical, geographic, historical, legendary and theological material. Their production reached its height in England in the twelfth and thirteenth centuries, with such well-known examples as the Hereford map, the maps of Matthew Paris, and the Vercelli map. This volume provides a comprehensive Companion to the seven most significant English mappae mundi. It begins with a survey of the maps' materials, types, shapes, sources, contents, conventions,idiosyncrasies, commissioners and users, moving on to locate the maps' creation and use in the realms of medieval rhetoric, Victorine memory theory and clerical pedagogy. It also establishes the shared history of map and book making, and demonstrates how pre-and post-Conquest monastic libraries in Britain fostered and fed their complementary relationship. A chapter is then devoted to each individual map. An annotated bibliography of multilingual resourcescompletes the volume. DAN TERKLA is Emeritus Professor of English at Illinois Wesleyan University; NICK MILLEA is Map Librarian, Bodleian Library, University of Oxford. Contributors: Nathalie Bouloux, Michelle Brown. Daniel Connolly, Helen Davies, Gregory Heyworth, Alfred Hiatt, Marcia Kupfer, Nick Millea, Asa Simon Mittman, Dan Terkla, Chet Van Duzer.Trade ReviewAn interesting book, and an important one... A book that is full of valuable information and valuable insights. It is to be seen as a standard work of reference that will be read and consulted as basic for many years to come. * IMCOS JOURNAL *The editors have brought together a group of the leading experts in the field to give the latest interpretation of these interesting world maps. * THE PORTOLAN *Terkla and Millea's impressive set of authors have made it abundantly clear how interests and developments within the scholarly community have enriched the study of mappae mundi, and how new avenues for future research have been opened up. The volume has been well edited and put together, and produced to Boydell's normal high standards. * LIBRARY & INFORMATION HISTORY *[These essays] make a strong case for a fresh look at medieval map making-filling a void in scholarship on medieval Anglo-French cartography of the period and expanding what we know about this style of mapmaking. . . . The delight and enthusiasm the contributors and editors have for their subject comes through on every page. -- Gillian Bailey * CARTOGRAPHIC PERSPECTIVES *A work that is especially useful for the breadth of its coverage, the bibliographical references and the new insights found [...] * IMAGO MUNDI *Medieval maps deserve more scholarly attention and understanding, and much in this volume inarguably helps meet that need and will inspire further critical growth. * MANUSCRIPT STUDIES *Table of ContentsIntroduction: Where to fix Cadiz? - Daniel Terkla Making Manuscripts and Mappae Mundi - Michelle Brown Books and Maps: Anglo-Saxon Glastonbury and Geospatial Awareness - Daniel Terkla Books and Maps: Anglo-Norman Durham and Geospatial Awareness - Daniel Terkla The Munich Map (c. 1130): Description, Meanings and Uses - Nathalie Bouloux The Sawley Map (c. 1190) - Alfred Hiatt The Vercelli Map (c. 1217) - Asa Simon Mittman In the Company of Matthew Paris: Mapping the World at St Albans Abbey - Daniel Connolly The Psalter Map (c.1262) - Chet Van Duzer The Duchy of Cornwall Map Fragment (c. 1286) - Daniel Terkla The Hereford Map (c. 1300) - Marcia Kupfer Digital Mapping, Spectral Imaging and Medieval Mappae Mundi - Helen Davies and Gregory Heyworth Annotated Bibliography (1987-2018) - Nick Millea

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Book SynopsisBiography of three artists closely associated with the Pre-Raphaelites whose letters give a vivid insight into the dramas of their personal life. Joanna, George and Henry tells the story of the intertwined lives of three young artists in the 1850s. When the transcript of the material on which this group portrait is based came to light ten years ago, no one could haveimagined the drama within. They were family letters: letters from a young woman to her brother and later to her suitor - of interest chiefly because all three were painters, and all were active participants in the youthful Pre-Raphaelite revolution that swept England in the 1850s. They turned out to be a revelation - giving not only a comprehensive picture of what it was like to be an artist in the mid-19th century, but containing within them a powerful family drama and a most unusual love story. It is a love story, moreover, told largely from a woman's point of view. Joanna Boyce's dedication to her art was absolute: she studied in Paris under Thomas Couture and had her first painting exhibited at the Academy when she was only 24. She was headstrong, self-critical, opinionated and teasing - "an artist with her pen as well as her brush". She died tragically young. Between them, Joanna, her brother George and suitor Henry Wells knew all the artistic luminaries of the day, among them Ruskin, Millais and Rossetti (with whom George shared a great deal, including mistresses). They wrote to each other not just about art, butabout their friends, their favourite books, their travels, their illnesses, their passions and their quarrels. In this book, they tell their story in their own vivid words - a story which portrays the age in which they lived andthe powerful drama of their emotional and professional lives.Trade ReviewO?ers a touching and extremely interesting group portrait that adds to our knowledge of these artists, as well as to Pre-Raphaelitism more generally. * PRE-RAPHAELITE SOCIETY REVIEW *Offers new insights on life in a close-knit Victorian family as well as into the painter's profession in mid-19th-century Britain. Debra Mancoff, * THE ART NEWSPAPER *Sue Bradbury [...] has done a superb job. * CONTEMPORARY REVIEW *Ultimately, this is Joanna's story; with her passing, one obituarist wrote: 'English art has lost more than it knows.' Sue Bradbury, 152 years later, has finally remedied this oversight. * THE CHURCH TIMES *A masterful group portrait of the lives of three Pre-Raphaelite artists that serves as a slice of social history. [This] wonderful book is compulsive reading, partly, of course, because Sue Bradbury has done full justice to some terrific and important material, but mostly because of Joanna Boyce herself. * APOLLO *A welcome feature of the book is its many illustrations of unpublished works.. [...] For the art historian, the book contains a good deal of interest. * THE BURLINGTON MAGAZINE *A richly contextualised account of one of the most intriguing artistic families in mid-Victorian Britain. [...] Thanks to this book [Joanna Boyce] deserves to find a new audience as not only a painter, but also a woman of wit and determination in a world weighted against her ambitions. * COUNTRY LIFE *The light their correspondence shines on the more famous painters of the period is delightful. [...] Social history at its most fascinating. * THE SPECTATOR *An enjoyable study of people and their lives and gives some interesting insights on the difficulties a woman faced as a professional painter in the nineteenth century. * BIBLIOBUFFET.COM *Table of ContentsIntroduction Artists in the Family Refuge in Work A Faltering Romance Joanna in Paris Mamma's Tyranny Leaving Home Limbo Sloping to Italy Man and Wife The Greatest Happiness on Earth Afterwards

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Book SynopsisGround-breaking study of the enigmatic and unique tabernacles from fourteenth-century Italy, which for the first time combined relics and images. Images and relics were central tools in the process of devotional practice in medieval Europe. The reliquary tabernacles that emerged in the 1340s, in the area of Central Italy surrounding the city of Siena, combined images and relics, presented visibly together, within painted and decorated wooden frames. In these tabernacles the various media and materials worked together to create a powerful and captivating ensemble, usable in several contexts, both in procession and static, as the centre of focussed, prayerful attention. This book looks at Siena and Central Italy as environments of artistic invention, and at Sienese painters in particular as experts in experimentation whose ingenuity encouraged the development of this new form of devotional technology. It is the first full-length study to focus in depth on the materiality of these tabernacles, investigating the connotations and effects of the materials from which they were made. It examines especially the effect of bringing relics and images together, and considers how the impressions of variety and abundance created by the multiplication of materials give birth to meaning and encourage certain kinds of action or thought.Trade ReviewFascinating. * CHRISTOPHER HOWSE, DAILY TELEGRAPH *There is a welcome emphasis on materiality, both real and implied, between the actual relic and the artistic materials that suggest other substances. Williamson also collects insights from a diverse group of scholars investigating interpretive possibilities. Recommended. * CHOICE *Table of ContentsIntroduction: The Matter in the Margins Relics, Reliquaries, and Images The Earliest Examples Context New Iconographies Relics and Other Matter Abundance and Ensemble, Varietas and Bricolage Transformation and Potential Appendix Bibliography Acknowledgements

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Book SynopsisEssays showing how the stuff of Norman Sicily, its mosaics, frescoes, art and architecture, was used to construct its history. Material culture played a crucial role in developing the cultural narrative of Norman Sicily. The essays in this book consider how images, designs, artifacts, structures and objects were used to help create the story of the medieval kingdom, and what they reveal about the complex political and social dynamics that underpinned the so-called "multicultural" state. Arguing that a visual language developed in medieval Sicily and southern Italy in this period, the contributions journey through both familiar and unexplored aspects of Siculo-Norman art, in particular those areas which have only been made possible with recent advances in technology and international academic collaboration. Topics addressed include manuscripts and mosaics, textile diplomacy, the drama of coins and trade, new readings of old buildings, and the insights of archaeological excavations into everyday life. All of the ideas presented in this volume converge on the central theme of how material culture helped to develop story and society in the medieval kingdom of Sicily.Trade ReviewDesigning Norman Sicily signals a refreshing break from modish paradigms of hybridity and multiculturality, hallmarking regional identity, artistic creativity and choice, as shapers of medieval Sicily and Italy in a way that is certain to promote and provoke debate. -- SPECULUMCaptures the state-of-the-art of the diverse scholarship on Norman Sicily and provides a stimulating and accessible set of studies. * MEDIEVAL ARCHAEOLOGY *Table of ContentsIntroduction: The Story of Designing Norman Sicily - Emily A. Winkler and Liam Fitzgerald Roger II and Mediterranean Visual Culture - Lisa Reilly The interplay of media: textile, sculpture and mosaic - William Tronzo 'The True Nature of His Lands': Strategic Information on Sicily in the Book of Roger - Katherine Jacka Patronage and Tradition in Textile Exchange and Use in the Early Norman South - Emma Edwards Imperial iconography on the silver ducalis: Cultural appropriation in the construction and consolidation of Norman royal power - Liam Fitzgerald Sicily and England: Norman transitions compared - Martin Carver and Alessandra Molinari Beyond 'Plan bénédictin': Reconsidering Sicilian and Calabrian Cathedrals in the Age of the Norman County - Margherita Tabanelli Designing a Visual Language in Norman Sicily: The Creation Sequence in the Mosaics of Palermo and Monreale - Fabio Scirea Remembering, Illustrating, and Forgetting in the Register of Peter the Deacon - Sarah Whitten

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Book SynopsisBringing the existence and significance of the lost riches of Henry VIII back to life, this book sheds new light on Henrician and Tudor court culture. Henry VIII amassed the most spectacular collection of gold and silver of any British monarch. Plate and jewels were hugely prominent in medieval and Renaissance courts and played an essential role in dynastic marriages and diplomacy as well as in cementing the bonds between king and court. Ranging from plain domestic wares to extraordinary bejewelled works of art, Henry's collection embraced virtuoso continental objects as well as vast quantities of plate commissioned from London goldsmiths or inherited from his father. But nearly all of these holdings were destroyed over the following century, and of the thousands that he owned no more than a handful have survived to modern times. This book makes use of the wealth of surviving documentation - inventories, drawings, lists of payments, dispatches by foreign ambassadors and other records - to explore this lost collection and the light it sheds on the monarchy. Starting with an assessment of the young king's inheritance from his father, the book considers the role of plate at state banquets, in great church services and in the regular exchange of gifts between courtiers and ambassadors; the role of plate and jewels as a potent symbol of power; how the king used confiscation as an instrument of humiliation of those who fell from grace, including Cardinal Wolsey and Katherine of Aragon; and how Henry's avaricious seizure of church plate towards the end of his life throws light on his changing character. While the focus is on plate and goldsmiths' work, the context ranges from court ceremonial to rivalry between princes, the role of the church, the vulnerability of persons and institutions with covetable assets, and relations between the king and his own family. Bringing the existence and significance of these lost riches back to life, the book sheds new light on Henrician and Tudor court culture.Trade ReviewA sumptuous book to read, richly illustrated with numerous, well-chosen colour plates, which are produced to a high quality. [...] The visual side of 'A Marvel to Behold' is matched by the fluent and engaging prose and both are underpinned by an extensive bibliography. [...] Hopefully 'A Marvel to Behold' will result in other pieces being uncovered, offering us a glimpse of just how beautiful and technically brilliant Henry VIII's collection of plates was. -- ROYAL STUDIES JOURNALA well-written book of impeccable scholarship....This erudite volume, the fruit of a long-standing study of the objects and their sources, should be essential reading for everyone interested in goldsmiths' work and the decorative arts in Renaissance Europe. * THE BURLINGTON MAGAZINE *An important book not just because it deals with a topic that has been previously overlooked, but because it opens up new fields of enquiry. * JEWELLERY HISTORY TODAY *Erudite and fascinating. * SILVER SOCIETY JOURNAL *This sumptuously illustrated book explores how Henry VIII's desire to maintain the "magnificence" of a Renaissance prince led him to acquire more gold and silver plate than any English king before or since. . . . Highly recommended. * CHOICE *Timothy Schroder's "A Marvel to Behold": Gold and Silver at the Court of Henry VIII is an astonishingly good book about a subject that many readers will find unfamiliar. -- Journal of British StudiesTable of ContentsPreface and Glossary Magnificence and princely virtue The Jewel House The King's Inheritance 'Heaven Smiles, Earth Rejoices' 'Defender of the Faith': Spectacle and the Church Royal Banquets 'Rich, Fierce, and Greedy for Glory' Thomas Wolsey, Patron of Goldsmiths The Field of Cloth of Gold Holbein and the 'Antique' The Family Silver Cromwell, the Tower and the Goldsmiths Dissolution and augmentation 'Most Avaricious of Men' 'Sic Transit Gloria Mundi': The Fate of Henry VIII's Plate and Jewels Bibliography Index

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Book SynopsisExamines the role of the East India Company in the production and development of British art, demonstrating how art and related forms of culture were closely tied to commerce and the rise of the commercial state. This book examines the role of the East India Company in the production and development of British art during the eighteenth and early nineteenth centuries, when a new "school" of British art was in its formative stages with the foundation of exhibiting societies and the Royal Academy in 1768. It focuses on the Company's patronage, promotion and uses of art, both in Britain and in India and the Far East, and how the Company and its trade with the East were represented visually, through maritime imagery, landscape, genre painting and print-making. It also considers how, for artists such as William Hodges and Arthur William Devis, the East India Company, and its provision of a wealthy market in British India, provided opportunities for career advancement, through alignment with Company commercial principles. In this light, the book's main concern is to address the conflicted and ambiguous nature of art produced in the service of a corporation that was the "scandal of empire" for most of its existence, and how this has shaped and distorted our understanding of the history of British art in relation to the concomitant rise of Britain as a self-consciously commercial and maritime nation, whose prosperity relied upon global expansion, increasing colonialism and the development of mercantile organisations.Trade ReviewGeoff Quilley's British Art and the East India Company is a major new publication which analyses in thorough, scholarly detail the role of the British East India Company in the production and sponsorship of new, commercial art forms in late-eighteenth and early- to mid-nineteenth century British culture. The focus of the study, however, is certainly not narrow and Quilley's research will be of substantial interest to all those who are interested in the cultural encounter between Britain and Asia in the eighteenth and early nineteenth centuries much more widely, especially in terms of visual representation. * INTERNATIONAL JOURNAL OF ASIAN STUDIES *Table of ContentsIntroduction: corporate patronage and Company artists 'That extensive commerce': the maritime image of the East India Company Travels in India: landscape and colonial patronage Networks of knowledge, power and cultural exchange The cries of India: colonial power, classification, and the diffusion of knowledge By way of China Collecting India Conclusion Notes Bibliography Index

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Book SynopsisA fresh approach to the construction of "Anglo-Saxon England" and its depiction in art and writing. This book explores the ways in which early medieval England was envisioned as an ideal, a placeless, and a conflicted geography in works of art and literature from the eighth to the eleventh century and in their modern scholarly and popular afterlives. It suggests that what came to be called "Anglo-Saxon England" has always been an imaginary place, an empty space into which ideas of what England was, or should have been, or should be, have been inserted from the arrival of peoples from the Continent in the fifth and sixth centuries to the arrival of the self-named "alt-right" in the twenty-first. It argues that the political and ideological violence that was a part of the origins of England as a place and the English as a people has never been fully acknowledged; instead, the island was reimagined as a chosen land home to a chosen people, the gens Anglorum. Unacknowledged violence, however, continued to haunt English history and culture. Through her examination here of the writings of Bede and King Alfred, the Franks Casket and the illuminated Wonders of the East, and the texts collected together to form the Beowulf manuscript, the author shows how this continues to haunt "Anglo-Saxon Studies" as a discipline and Anglo-Saxonism as an ideology, from the antiquarian studies of the sixteenth century through to the nationalistic and racist violence of today.Trade ReviewImportantly, Karkov has positioned her voice within a monograph, which enables her to develop a sustained and complex argument that asks her reader to think deeply and honestly about issues that have been the subject of much division and derisiveness. The importance of what Karkov has done for the field of early medieval studies by writing Imagining Anglo-Saxon England cannot be overstated. * THE MEDIEVAL REVIEW *[O]ne of the most important studies of early medieval identity published in the past twenty years. . . . This monograph is not only impeccably researched and forcefully argued, but it also has the rare (and hopefully increasingly common) quality in medieval scholarship of being unequivocally important. As medieval studies (and Anglo-American society more broadly) attempts to confront its own colonial and racialized past, Catherine Karkov has identified a good place to start. * COMITATUS *Sharply incisive, unflinchingly direct, and the best kind of provocative, Catherine Karkov's Imagining Anglo-Saxon England provides one of the most cogent accounts to date of the fraught history of "Anglo-Saxon" studies. ...Imagining Anglo Saxon England takes important steps towards bridging the chasm between acknowledgment of the field's past harms and hope for its newly envisioned future. * SPECULUM *The book is uncompromising in its response to a turbulent world and changing field and is sure to be influential. -- TOEBI NEWSLETTER[E]ngaging and important points. -- Mary Cockray-Miller * Journal of English and Germanic Philology *Table of ContentsIntroduction A plan for utopia to come Utopia past and the heterotopia of origins Utopia/dystopia: humanity and its others in the Beowulf manuscript Retrotopia: Anglo-Saxonism, Anglo-Saxonists, and the myth of origins Bibliography

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Book SynopsisAn examination of the passion and crucifixion of Christ as depicted in the visual and religious culture of Anglo-Norman England. The twelfth century has long been recognised as a period of unusual vibrancy and importance, witnessing seminal changes in the inter-related spheres of theology, devotional practice, and iconography, especially with regard to the cross and the crucifixion of Christ. However, the visual arts of the period have been somewhat neglected, scholarly activity tending to concentrate on its textual and intellectual heritage. This book explores this extraordinarily rich and vibrant visual and religious culture, offering new and exciting insights into its significance, and studying the dynamic relationships between ideas and images in England between 1066 and the first decades of the thirteenth century. In addition to providing the first extensive survey of surviving Passion imagery from the period, it explores those images' contexts: intellectual, cultural, religious, and art-historical. It thus not only enhances our understanding of the place of the cross in Anglo-Norman culture; it also demonstrates how new image theories and patterns of agency shaped the life of the later medieval church.Trade Review[Munns] demonstrates clearly the interdependence of theology, artistic production, devotion, philosophy, individual agency, and religious institutions that characterize the development of human thought. In doing so, he also demonstrates his own magisterial grasp of them. * SPECULUM *Beautifully produced .. Munns has compiled a remarkably comprehensive overview of the centrality of the Cross in English society. [His] lavishly illustrated study opens a window onto the rich and vibrant visual culture of post-Conquest England, shedding new light on contemporary expressions of devotion and of individual spiritual practices. * ART AND CHRISTIANITY *Both a good read and an original contribution to its complex subject. * CHURCH TIMES *[A] truly impressive interdisciplinary study of a period of art history that has long merited more scholarly attention. . . . Cross and Culture in Anglo-Norman England is a monumental work of scholarship that will long be a primary point of reference for medievalists in a variety of fields. * CATHOLIC HISTORICAL REVIEW *Table of ContentsIntroduction Part I: The Theology of the Cross, c. 1066-c. 1170 St Anselm, Affect, and the Site of Salvation The Cross, the Trinity, and the Sacrifice of the Mass The Art of Imitation Part II: The Image of the Cross In ecclesio media: The Public Image Ecce homo: Liturgy and Exposition Narrative and Contemplation in Manuscript Illumination Part III: The Way of the Cross, c. 1170-c. 1215 Pilgrimage and Relics: Proximity to the Holy Cross, Councils, and Crusade Epilogue Bibliography

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Book SynopsisA fresh interpretation of an enigmatic illumination and its contexts. The Ashburnham Pentateuch is an early medieval manuscript of uncertain provenance, which has puzzled and intrigued scholars since the nineteenth century. Its first image, which depicts the Genesis creation narrative, is itself a site of mystery; originally, it presented the Trinity as three men in various vignettes, but in the early ninth century, by which time the manuscript had come to the monastery at Tours, most of the figures were obscured by paint, leaving behind a single creator. In this sense, the manuscript serves as a kind of hinge between the late antique and early medieval periods. Why was the Ashburnham Pentateuch's anthropomorphic image of the Trinity acceptable in the sixth century, but not in the ninth? This study examines the theological, political, and iconographic contexts of the production and later modification of the Ashburnham Pentateuch's creation image. The discussion focuses on materiality, the oft-contested relationship between image and word, and iconoclastic acts as "embodied responses". Ultimately, this book argues that the Carolingian-era reception and modification of the creation image is consistent with contemporaneous iconography, a concern for maintaining the absolute unity of the Trinity, as well as Carolingian image theory following the Byzantine iconoclastic controversy. Tracing the changes in Trinitarian theology and theories of the image offers us a better understanding of the mutual influences between art, theology, and politics during Late Antiquity and the early Middle Ages.Table of ContentsIntroduction: Losing and Finding the Ashburnham Pentateuch 1. Early Trinitarian Texts and Debates 2. The Trinity in Early Christian Images 3. Carolingian Conceptions of the Trinity 4. Carolingian Image Theory 5. The Carolingian Reception of the Ashburnham Pentateuch Conclusion: Possible Motivations for the Ashburnham Pentateuch Erasures[TS1] Coda: The Afterlife [TS2] of the Ashburnham Pentateuch

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Book SynopsisAn examination of the fabrics, garments and cloth of the Iberian Middle Ages, bringing out in particular the international context. The Medieval Iberian Peninsula, encompassing various territories which make up present-day Spain and Portugal, was an ethnic and religious melting pot, comprising Christian, Jewish and Muslim communities, each contributing to a vibrant textile economy. They were also defined and distinguished by the material culture of clothing and dress, partly dictated by religious and cultural tradition, partly imposed by rulers anxious to avoid cross-ethnic relationships considered undesirable. Nevertheless, textiles, especially magnificent Islamic silks, crossed these barriers. The essays in this volume offer the first full analysis of Iberian textiles from the period, drawing on both material remains and historical documents, supported by evidence from contemporary artwork. Chapters cover surviving textiles, many of them magnificent silks; textile industries and trade; court dress and its use as a language of power and patronage; the vast market in utilitarian textiles for lower-status clothing and furnishings; and Muslim and Jewish dress. It also considers Arabic and Jewish texts as sources of information on textiles and the Arabic garment-names which crossed into Spanish. Particular emphasis is given to the the different ethnicities of Iberia and their influences on the use and trade of garments (both precious and common-place) and textiles.Table of ContentsIntroduction María Barrigón, Naḥum Ben-Yehuda, Gale R. Owen-Crocker and Joana Sequeira I The Historical Background/Context 1 From the Five Kingdoms to the Hispanic Monarchy: Political Structures, Ideology and Historical Development in the Medieval Iberian Peninsula (1157-1504) David Nogales Rincón II Techniques, Trade and Industry 2 Textile Techniques in the Iberian Peninsula (Thirteenth to Fourteenth Centuries) María Barrigón 3 Cloth Tade in the Iberian Kingdoms during the Late Middle Ages Máximo Diago Hernando 4 Textiles in the Crown of Aragon: Production, Commerce, Consumption Germán Navarro Espinach 5 The Textile Industry in al-Andalus Adela Fábregas 6 Flax, Wool and Silk: Textile Industries in Medieval Portugal Joana Sequeira III Social Context 7 Dress as a Language: A Survey of ArabicTexts from al-Andalus Manuela Marín 8 Muslim Dress in Medieval Portugal: Textual Evidence in the Context of the Iberian Peninsula †Maria Filomena Lopes de Barros 9 Medieval Castilian Garments and their Arabic Names Dolores Serrano-Niza 10 Clothing, Furnishings and Ceremonies at the Castilian Court (c. 1214−c. 1332) María Barrigón 11 Fabrics and Attire at the Court of Navarre in the Second Half of the Fourteenth Century Merche Osés Urricelqui 12 Textile Production and Jewish Clothing in the Iberian Peninsula: Characteristics, Customs and Differences between Catalan and Other Jewish Communities Esperança Valls Pujol 13 Silk as Reflected in Medieval Iberian Jewish Literature Naḥum Ben-Yehuda 14 The Garment and the Difference: The Attire of Portuguese Jews and New Christians (Conversos) during the Thirteenth to Fifteenth centuries Susana Bastos Mateus Index of Persons and Places Index of Textile terms

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Book SynopsisMade in Brooklyn is a belated critique of the Maker Movement: from its origins in the nineteenth century to its impact on labor and its entanglement in the neoliberal economic model of the tech industry. Part history, part ethnography, Made in Brooklyn provides a unified analysis of how the tech industry has infiltrated artistic practice and urban space.

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Book SynopsisThis volume is the first publication to examine in detail the phenomenon of collective art practice in the continental Western Europe of the late 1950s and of the 1960s. The book elaborates a comparative perspective, engaging with a cultural history of art deeply concerned with political ideas and geopolitical conflicts. Groups of artists and activists including Equipo 57, Equipo Cronica, Equipo Realidad, N, GRAV, Spur, Geflecht and Kommune I, have often been neglected in the English-speaking world. This happened partly because they were active in allegedly minor art centres such as Valencia, Padua, Cordoba, West-Berlin and Munich. However, their works, debates and intellectual networks cast new light on both the art produced during the Cold War and the heightened interest in participatory and collaborative art practices that has characterised the art world of the 2000s and 2010s. Individuals against Individualism tells the stories of these artists and activists, and focuses on their attempts to depict and embody forms of egalitarianism opposing the Eastern bloc authoritarianism as much as the Free world’s ethos. By setting their political use of collective authorship, resistance to institutional co-optation and attack on the 'ideology of freedom, against the backdrop of the Cold War, the book largely speaks to the present.Trade ReviewReviews 'An invaluable, critical work that provides a wealth of information.' Dr Angela Dimitrakaki, University of Edinburgh'The transnational approach proposed by the author is something to celebrate because it allows us to demonstrate, in the framework of the new models of collective production developed in Western Europe, the contemporaneity of this work and to emphasize the relations between collectives operating in France, Germany, Spain and Italy. In addition, the originality of the research on groups little known and treated by the English bibliography is to be welcomed. This analysis makes it possible to leave the hegemonic centralism on which studies on modern art have been based until recently, and to challenge the conception of Europe in monolithic terms. In the book, the connected and networked structure of artistic practices clearly evokes a decentralized and multicentric modernity.Individuals against Individualism is undoubtedly an important and necessary reading to delve into the contributions of the cited artistic collectives and their contexts, as well as to arrive at a complex interpretation of the structures and artistic interrelations established in Western Europe during the 1960s.'Paula Barreiro López, Critique D'ArtTable of Contents List of Illustrations Acknowledgements Introduction 1 The Re-emergence of Collective Art Practice, 1956–1962 2 The Controversial Success of Collective Art Practice, 1960–1965 3 The Moment of Collective Painting, 1963–1968 4 Collective Art Practice and Protest, 1967–1969 Conclusion Index

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Book SynopsisThe texts gathered in this volume embrace women artists-only exhibitions, festivals, collective art projects, groups and associations, organised in the long 1970s in Europe (1968-1984). These all-women art initiatives are closely related to developments within the political and politicized women's movement in Europe and America but what emerges is the varied and plural manner of their engagements with feminism(s) alongside their creation of `heterotopias' in relation to specific sites/ politics/ collaborative art practices. This book presents examples from Italy, Spain, UK, Portugal, Austria, Poland, Denmark, Germany (East and West), The Netherlands, France and Sweden. While each chapter is largely devoted to one country, the authors point to how the local and specific political situation in which these initiatives emerged is linked to global tendencies as well as inter-European exchanges. Each chapter of this book thus assesses the impact of travelling views of feminism, by considering connections made between women artists (often when travelling abroad) or their knowledge of art practices from abroad. Distinct and highly varied attitudes towards political activism (from strong engagement to a clearly pronounced distance and even hostility) are shown in each essay and, what is more, they are shown as based on radically different premises about feminism, politics and art.Trade Review'One can only hope that this book will give rise to new publications on the same subject, which take Europe into account as a space for exchange and thought, as well as other, more peripheral, geographical areas.' (Translated from French) Phoebe Clarke, Critique d’art'All-women art spaces in Europe in the long 1970s is an ambitious and invaluable contribution to the fields of art history and gender studies that acknowledges the diverse practices of women artists and enriches our understanding of this transformative period in the history of art and feminism.'Ksenia Nouril, Women’s Art JournalReviews'The volume is characterized by its wealth of information [...] It is a knowledgeable and multifaceted contribution to the history of the women-specific and feminist art movement of the 1970s in a comparative and global perspective, and continues into the following decades.' (Translated from German.) Edith Futscher, FrauenKunstWissenschaft Table of ContentsAcknowledgements viiIntroduction 1Katy Deepwell and Agata Jakubowska1 Women Artists' Collectives in France: A Multiplicity of Positionsin a Turbulent Context 19Fabienne Dumont2 Making Space for Feminism. All-Women Art Exhibitions inSweden in the 1970s 47Annika OEhrner3 Feminist Collaborative Projects in the UK in the 1970s 71Katy Deepwell4 `For Us, Art is Work': In♀Akt - International ActionCommunity of Women Artists 96Elke Krasny5 The VBKOE's Archive as a Site of Political Confrontation, or HowCan You Sing Out of Tune? 119Nina Hoechtl and Julia Wieger6 The International Exhibition Kvindeudstillingen XX paCharlottenborg in Copenhagen and the Idea of Feminist Art Space 144Monika Kaiser7 Heterotopian Spaces of Feminist Art Practice: The Schulefur kreativen Feminismus and the Stichting Vrouwen in deBeeldende Kunst 167Kathleen Wentrack8 Women's Art Spaces: Two Mediterranean Case Studies 189Katia Almerini9 Portuguese Women Artists at the National Society of Fine Arts:Why Was This Not a Feminist Exhibition? 209Marcia Oliveira10 No Groups but Friendship. All-Women Initiatives in Poland atthe Turn of the 1980s 229Agata Jakubowska11 `And - I have not taken him'. The Erfurt Women Artists' Group 248Susanne AltmannNotes on Contributors 269Index 273

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Book Synopsis'A crisis in historical representation unfolded in French visual culture in the first half of the nineteenth century, reaching its climax at the Paris Universal Exhibition of 1855, when artists and critics alike came to a troubling realization: depictions of past heroes that had once held exceptional influence over their viewers now left the public indifferent. This book shows that underneath this crisis was a mounting demand for empirical observation in art, and an emergent modern epistemology that posited the past as foundational and yet inaccessible to the physically and historically specific individual. Since neither the painter nor the viewer could have actually experienced a bygone historical incident as it unfolded, was history painting even feasible in modern times? When historical representation seemed all but impossible to critics and artists of various hues, Gérôme came up with a momentous solution. A small group of paintings constitute the focus of this provocative study on the artist’s early work, whose pivotal role in Gérôme’s oeuvre as well as in the broader history of modernization of art have been so far unrecognized in art historical scholarship. In these, the artist charted a new roadmap for the art of painting in response to the modern sensibility of history.'Trade ReviewReviews 'Based on solid research, this exciting work takes the subject forward in a new and interesting direction, making a valuable contribution to scholarship.'Dr Patricia Smyth, University of Warwick'An important, powerfully-argued book that reinserts Gérôme back into the pictorial mainstream of the 1850s and 1860s, even as it also makes the case for the original, searching, and ambitious character of Gerome's art at a decisive moment of his career. A welcome intervention that essentially rewrites the career of a still controversial artist, now back in the public eye.' Marc Gotlieb, Williams Graduate Program in the History of Art'Gülru Çakmak’s book offers intriguing insights and a demonstration of the power of close analysis.' Beth S. Wright, H-France Review'Both methodologically and in terms of content, this latest contribution to the study of academic art in the 19th century is convincing and provides important impulses for the in-depth analysis of works of art that only seem to be accessible at first glance.' (Translated from German.)sehepunkte'Gülru Çakmak’s book on the French artist Jean-Léon Gérôme was a joy to read. It is the first monograph that I have read that engages seriously, thoroughly, and deeply with Gérôme’s academic paintings. [...] The book will be an indispensable go-to study for all subsequent scholarship on Gérôme and on European history painting.' Nina Lubbren, caa.reviews

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Book SynopsisThis volume focuses on the migration and acculturation of images in Jewish culture and how that reflects intercultural exchange. Gender aspects of Jewish art are also highlighted, as is the role of images in interreligious encounters. Other topics covered include the history, codicology, and iconography of a Haggadah produced in the late fifteenth century.Table of ContentsArticles 1. From Ashkenaz to Italy: The Riddle of the Sereni HaggadahSivan Gottlieb 2. Christian Illuminators, Jewish Patrons, and the Gender of the Jewish BookEva Frojmovic 3.From Kurdistan to Baghdad: Transitions of Visual Knowledge during the Early Modern PeriodEliezer Baumgarten 4. A Symbolic Image Envisioning Divine Communication in Jewish, Byzantine, and Islamic ArtShulamith Laderman 5. The Jewish Image Desecrator in the Cantigas de Santa MariaKatherine Aron-Beller 6. Défense Juive Contre l’Antisémitisme: A Surviving Medallic Expression of Resistance to NazismIra RezakBook Reviews Sarah Lipton, Dark Mirror: The Medieval Origins of Anti-Semitic IconographyNirit Ben-Aryeh Debby Natalia Avtonomova and John E. Bowlt (eds.), Lev Bakst, Léon Bakst. K 150-letiiu so dnia rozhdeniia; Célia Bernasconi, John E. Bowlt, and Nick Mauss (eds.), Designing Dreams: A Celebration of Léon Bakst; Mathias Auclair, Sarah Barbequette, and Stéphane Barsacq (eds.), Bakst. Des Ballets russes à la haute coutureOlga Medvedkova Synagogues in the Islamic World: Architecture, Design and IdentitySharman Kadish Sharman Kadish, Jewish Heritage in Britain and Ireland: An Architectural GuideSergey Kravtsov Amitai Mendelsohn, Behold the Man: Jesus in Israeli ArtZiva Amishai Maisels The Exhibition Jerusalem Between Heaven and EarthOri Soltes

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Book SynopsisThis is the twentieth volume in the Public Sculpture of Britain series, the ambitious collaboration between Liverpool University Press and the Public Monuments and Sculpture Association that will eventually document the outdoor sculptural heritage of the whole of the UK. Public sculpture is defined in this context as any work of three-dimensional art located in an unregulated public space, typically consisting of free-standing commemorative monuments, architectural carvings and statues attached to buildings, and contemporary site-specific interventions. A subject that was until recently overlooked as a matter of marginal relevance to the history of art, public sculpture has been shown through the Liverpool University Press series to offer a range of important insights into the built environment, enriching our understanding of architecture and city planning, and raising many challenging issues relating to the development of society as a whole. This is nowhere better illustrated than in Edinburgh, where the richness of its history as a capital city, and the dramatic power of its urban topography, have combined to create a uniquely fertile breeding ground for public sculpture of every kind. With the coverage divided between two companion volumes, the study begins appropriately with the historic Old Town, and the various suburbs extending from it to the south.Trade Review‘The Depth of detail, the lavish use of black and white photographs and the helpful indices and artists’ biographies are exemplary... These two handsome volumes will be key reference works for years to come but they are also of great interest to the public.’ Fiona Pearson, Journal of the Scottish Society for Art History‘Public Sculpture of Edinburgh is a triumph. It will be impossible to surpass, surely, by whatever measure one may care to adduce. In scholarship and in meticulous attention to detail (on the one hand) and (on the other) in lively discussion of, or trenchant opinion on, individual works of sculpture or the sculptural programmes which adorn the city’s grander buildings and public spaces it could not conceivably be bettered. No more significant work on the fabric of Scotland’s capital city has appeared in recent times.’ Iain Gordon Brown, Scottish Archives'These lovely books are all that anyone could ask for, and more. [...] Overall, Public Sculpture of Edinburgh is a remarkable achievement and a superb testament to the vitality of this great city and its public art.' William S. Rodner, SCOTIA: Interdisciplinary Journal of Scottish Studies

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Book SynopsisThis book is the companion to Public Sculpture of Edinburgh, volume 1, ‘The Old Town and South Edinburgh’, extending the coverage to the First New Town and its environs, and beyond that to the former independent burgh of Leith. It provides a comprehensive and detailed account of the entire spectrum of public sculptures to be found in these parts of the city, including free-standing commemorative monuments, architectural carvings, and contemporary site-specific interventions. Based on extensive new research, the text is structured as a catalogue raisonné, with each entry comprising a detailed description of the work, an account of how it came to be commissioned, and an analysis of its cultural significance. There are also separate appendices dealing with important works that have been lost or destroyed, minor works and sculptural coats of arms. The study of public sculpture is now recognised as offering a range of new insights into the development of the urban realm. Those insights are brought together here to provide a comprehensive resource for historians, architects, urban planners and conservators, and a narrative history that will be of interest to all who care about Edinburgh, and wish to celebrate its status as a UNESCO World Heritage Site.Trade Review‘The Depth of detail, the lavish use of black and white photographs and the helpful indices and artists’ biographies are exemplary... These two handsome volumes will be key reference works for years to come but they are also of great interest to the public.’ Fiona Pearson, Journal of the Scottish Society for Art History'These lovely books are all that anyone could ask for, and more. [...] Overall, Public Sculpture of Edinburgh is a remarkable achievement and a superb testament to the vitality of this great city and its public art.' William S. Rodner, SCOTIA: Interdisciplinary Journal of Scottish Studies

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Book SynopsisIn a contemporary and ever-changing society, ‘the visual’ has become a dynamic element that traverse all parts of current life all over the world – what in this book series is termed transvisuality. The present book is volume 3, which attempts to study the visual as it comes about: through the dynamic involvement in all sorts of articulations. The topics are in all volumes covered by introductions bring everything together under the new theme of transvisuality: the notion of visual as a cultural practice and constant dynamic that knows no representational limits and no framings. In this volume, the visual is seen as dynamic new and nonrepresentational matter – a ‘flesh’ which is researched from the particular vantage points of design of the visual and branding of the visual. In dialogue with radical new theories of the present, non-representational theory and new materialism, design and branding are surveyed from the viewpoint of business research, design studies, cultural studies, and practice – all focused on the visual. Topics covered are fashion blogging, DIY, Junk Space, handmade signage and public spaces in New Delhi, city branding, dance festivals and youtubing, visual branding in China and Multi-Sensory Retrieval Methods.

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Book SynopsisElvis Presley and Karlheinz Stockhausen. The Beatles and Andy Warhol. Terry Riley and Ken Kesey. What all these artists have in common is that loops have played a significant role in their work. The short sequences of sounds or images repeated using recording media have proved to be an astonishingly flexible, versatile and momentous aesthetic method in post-World War II art and music. Today, loops must be counted among the most important creative tools of postmodern art and music. Yet until now they have been largely overlooked as an aesthetic phenomenon. Now, for the first time, this book tells a secret story of the 20th century: how a formerly inconspicuous basic function of all modern media technology gave rise to complete artistic oeuvres, musical styles such as minimal music, hip hop and techno, and, most recently, entire scenes and subcultures that would have been unthinkable without loops.

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Book SynopsisArt is seen as a solitary, even a reclusive, endeavor. But visual artists, writers, and musicians often find themselves energized by a collective environment. Sharing ideas around a table has always provided a starting, and a continuing, place for fruitful exchanges between artists of all kinds. In her wide-ranging new book, Mary Ann Caws explores a rich variety of gathering places, past and present, which have been conducive to the release and sustenance of creative energies. Creative Gatherings surveys meeting locations across Europe and the United States, from cityscapes to island hideouts, from private homes to public cafes and artists' colonies. Examples include Florence Griswold's house in Old Lyme, Connecticut, meeting place of the Old Lyme Art Colony; Prague's Le Louvre caf , haunt of Kafka and Einstein; Picasso's modernist hangout in Barcelona, Els Quatre Gats; Charleston, gathering place of Virginia Woolf and Vanessa and Duncan Bell; and the caf s of Saint-Germain-des-Pr s and Montparnasse: the hangouts of Apollinaire, Sartre, and Patti Smith. Interweaving two hundred examples of collaborative artworks throughout the text, with more than one hundred in color, Creative Gatherings is a beautiful, erudite commingling as inspiring as the gathering places Caws depicts.Trade Review"Caws has a discriminating eye, a catholic taste, a fine feeling for feeding. . . .She is hard to beat."--Alex Danchev, Times Literary Supplement "Scholarly if not theoretical. . . .Accessible without being condescending."--Rain Taxi Review of Books

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Book SynopsisDifference exists; otherness is constructed. This book asks how important Western artists, from Giotto to Titian and Caravaggio, and from Bosch to D rer and Rembrandt, shaped the imaging of non-Western individuals in early modern art. Victor I. Stoichita's nuanced and detailed study examines images of racial otherness during a time of new encounters of the West with different cultures and peoples, such as those with dark skins: Muslims and Jews. Featuring a host of informative illustrations and crossing the disciplines of art history, anthropology, and postcolonial studies, Darker Shades also reconsiders the Western canon's most essential facets: perspective, pictorial narrative, composition, bodily proportion, beauty, color, harmony, and lighting. What room was there for the "Other," Stoichita would have us ask, in such a crystalline, unchanging paradigm?

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Book SynopsisPublished to coincide with the 500th anniversary of Leonardo da Vinci's death, this incisive and illuminating biography follows the three themes that shaped the life of Leonardo and forever changed Western art and imagination: nature, art and self-fashioning. Leonardo spent his childhood in the Tuscan countryside among farm workers before entering the most reputed artistic workshop of Florence. There he bloomed as one of the leading painters of his time, and began applying his skills to explore and question the world. By the 1480s he had transformed himself into an ideal court artist and was a familiar of kings; by the 1510s he left behind him the solemn image of a magus philosopher. Following the chronology of his life, Leonardo da Vinci: Self, Art and Nature examines Leonardo as artist, courtier and thinker, and explores how these aspects found expression in his paintings, as well as his work in sculpture, architecture, theatre design, urban planning, engineering, anatomy, geology and cartography. It concludes with observations on Leonardo's relevance today as a multidisciplinary artist, one who combined imagination and science to shape his own self and the world.

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Book SynopsisWe all make choices every day about which shoes to wear, but why do we choose the shoes we do? Organised around four main types — boots, sneakers, high heels and sandals — Shoes: The Meaning of Style explores the history of shoes and how different types of footwear have come to mean different things about the people who wear them. Along the way Elizabeth Semmelhack reveals the anecdotes and scandals, successes and failures, dislikes and obsessions of the makers, wearers and observers who helped to create the movements and fashions of footwear. Beautifully illustrated throughout, Shoes is a thoroughly surprising history of an everyday item that will appeal not only to followers of fashion, but to those interested in social history and identity.'Elizabeth Semmelhack's work sheds a new and fascinating light on footwear, looking at its social significance and how it has changed over the years. It is an absolute must for those interested in the subject.' — Manolo Blahnik'This book shows us all the fashion, art, and design that allowed shoes to become a powerful cultural phenomenon. From the feet to the street to the commercial mountain peaks!' — Darryl 'dmc' McDaniels

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Book SynopsisFacing China is an exploration of the portrait arts in China from the dynastic to the modern and contemporary, in painting, sculpture, photography and video. The book focuses on truth and memory in the portraiture process, from encounters between subject, portrait and artist, to broader familial, social and political arenas. It also examines the influence of location on portrait production, reception and display, from tombs, ancestral shrines, temples, gardens, and palace halls to public and private spaces. Featuring 150 fine illustrations, with 100 in colour, Facing China has much to say to specialists in the field as well as general readers interested in Chinese art.

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Book SynopsisThe Chinese picture-scroll, a long painting or calligraphic work held within a horizontal scrolling mount, has been China's pre-eminent aesthetic format for the last two millennia. This first extended history of the picture-scroll explores its extraordinary longevity, and its adaptability to social, political and technological change. The book describes what the picture-scroll demands of a viewer, how China's artists grappled with its cultural power, and how collectors and connoisseurs have left their marks on scrolls for later generations to judge. The return to mass appeal of scrolling - a media technology that seemed long outdated yet persists in our digital age - provides urgent and fascinating context to this book.Trade Review'Eruditely written . . . a welcome addition to the corpus of studies on Chinese painting, written by a scholar deeply immersed in the subject and well able to share his knowledge with the reader in an engaging and lively way.' - Nick Pearce, Professor and Richmond Chair of Fine Arts, University of GlasgowTable of ContentsIntroduction Chapter One On Origins and Uses over the First Millennium Chapter Two Inscribing the Artist and the Collector: The Picture-Scroll in the Song-Liao-Jin Period Chapter Three Handscrolls in Mongol Palaces Chapter Four Musing on Shadows: Reading the Ming Picture-Scroll Chapter Five Qing: Reading the 'Baroque' Handscroll Chapter Six Modernist Uses of the Chinese Picture-Scroll Chapter Seven The Medium of Silent Poetry in the Late Modern World References Further Reading Acknowledgements List of Illustrations Index

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Book SynopsisIn this captivating and richly illustrated account, Devika Singh presents together for the first time the work of Indian and foreign artists active in India after independence in 1947. The book engages with the many creators, critics and patrons of the post-war Indian art world, from Bhupen Khakhar, Zarina and Kekoo Gandhy to Isamu Noguchi, Le Corbusier and Clement Greenberg. Singh opens up new ways of thinking about Indian art, closely examining artworks and analysing how they were received in India and abroad. Featuring a wealth of rare and previously unpublished images, this provocative new book explores how artists in India participated in global modernism during a crucial period of decolonization and nation building.Table of ContentsIntroduction Chapter 1: Participating in the Indian Art Scene Chapter 2: Questions of Travel Chapter 3: New Forms of Internationalism Conclusion References Further Reading Acknowledgements Photo Acknowledgements Index

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Book SynopsisAn exploration of the extraordinary Buddhist burial mound at Amaravati.

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Book SynopsisFancy in the eighteenth century was part of a rich semantic network, connecting wit, whimsicality, erotic desire, spontaneity, deviation from norms and triviality. It was also a contentious term, signifying excess, oddness and irrationality, liable to offend taste, reason and morals. This collection of essays foregrounds fancy – and its close synonym, caprice – as a distinct strand of the imagination in the period. As a prevalent, coherent and enduring concept in aesthetics and visual culture, it deserves a more prominent place in scholarly understanding than it has hitherto occupied. Fancy is here understood as a type of creative output that deviated from rules and relished artistic freedom. It was also a mode of audience response, entailing a high degree of imaginative engagement with playful, quirky artworks, generating pleasure, desire or anxiety. Emphasizing commonalities between visual productions in different media from diverse locations, the authors interrogate and celebrate the expressive freedom of fancy in European visual culture. Topics include: the seductive fictions of the fancy picture, Fragonard and galanterie, fancy in drawing manuals, pattern books and popular prints, fans and fancy goods, chinoiserie, excess and virtuality in garden design, Canaletto's British 'capricci', urban design in Madrid, and Goya's 'Caprichos'.Trade Review‘The fifteen essays published here are focused more specifically on the eighteenth century, ad consider a broad range of potential gateways to fantasie/fancy offered by artists, artisans, writers and tradesmen. The result is a refreshingly expansive overview of a concept that hitherto was largely confined to discussions of painting and to the exclusive consideration of such artists as Joshua Reynolds or Fragonard.’ Yuriko Jackall, The Burlington Magazine'A valuable addition to European cultural studies, this well-documented collection provides a fascinating perspective on an important theme that pervades eighteenth-century creative expression.'Felicia B. Sturzer, New Perspectives on the Eighteenth CenturyTable of ContentsList of figuresAcknowledgementsMelissa Percival - IntroductionEmmanuel Faure-Carricaburu - The fantasy figures of Jean-Baptiste Santerre and the limits of generic frameworks of interpretationChristophe Guillouet - The Parisian world of printmaking at the heart of the invention of a genre? Poilly, Courtin and Bonnart's fantaisies (1713-1728)John Chu - Windows of opportunity: the French fantasy figure and the spirit of enterprise in early-eighteenth-century EuropeMartin Postle - Modelling for the fancy picture in eighteenth-century EnglandBénédicte Miyamoto - The influence of drawing manuals on the British practice and reception of fancy picturesGuillaume Faroult - A galant fantasy: Fragonard's fantasy figures and The Music lesson in relation to Van Dyck, Watteau and Carle VanlooPierre-Henri Biger - Fans, fantasy and fancyMelissa Percival - Fancy as a mode of consumptionVanessa Alayrac-Fielding - 'A butterfly supporting an elephant': chinoiserie, fantaisie and 'the luxuriance of fancy'Laurent Châtel - The garden as capriccio: the hortulan pleasures of imagination and virtualityBéatrice Laurent - Grand Tour capricciXavier Cervantes - Venetian reminiscences and cultural hybridity in Canaletto's English-period capricci and veduteAdrián Fernández Almoguera - From the private cabinet to the suburban villa: caprices and fantasies in eighteenth-century MadridAndrew Schulz - Satire and fantasy in Goya's CaprichosAlice Labourg - 'Fancy paints with hues unreal': pictorial fantasy and literary creation in Ann Radcliffe's Gothic novelsSummariesList of contributorsBibliographyIndex

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Book SynopsisFrench painting of Louis XV’s reign (1715–74), generally categorized by the term rococo, has typically been understood as an artistic style aimed at furnishing courtly society with delightful images of its own frivolous pursuits. Instead, this book shows the significance and seriousness underpinning the notion of pleasure embedded in eighteenth-century history painting. During this time, pleasure became a moral ideal grounded not only in domestic life but also defining a range of social, political, and cultural transactions oriented toward transforming and improving society at large. History, painting, and the seriousness of pleasure in the age of Louis XV reconsiders the role of history painting in creating a new visual language that presented peace and happiness as an individual’s natural rights in the aftermath of Louis XIV’s bellicose reign (1643-1715). In this new study, Susanna Caviglia reinvestigates the artistic practices of an entire generation of painters born around 1700 (e.g. Francois Boucher, Charles-Joseph Natoire, and Carle Vanloo) in order to highlight the cultural forces at work within their now iconic images.Table of ContentsList of illustrationsAcknowledgmentsIntroductionHistorical perspective: the peaceable kingdom of Louis XVThe paintersToward a new artistic idiomI. Historia in stasisChapter 1: The action de reposProlegomena to the theory and practiceMeditation, contemplationThe dynamic body suspended Narrative disrupted Moments in the present and the future Chapter 2: Corporeality and repose Fontenelle’s ideal Corporeal conversations Figures of seductionThe expression of reposeFrom narrative representation to figural presentationII. The figure in artistic practiceChapter 3: Figure/study/artwork Copying the figure The whole and the part The emergence of corporeal repose The new body language Chapter 4: The story beyond the figureFrom study to subjectAutonomous figures in paintingRepertoires of modelsLife study and historical subjectIII. The fabrication of a new grand genreChapter 5: Before the painting The figure: from the idea to the paintingThe emergence of new creative practicesThe single body and the multiplication of bodiesThe figure: from reuse to quotationChapter 6: Epilogue: on novelty in paintingBrand new beautiesThe painting of the presentBibliography Index

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Book SynopsisInside the Invisible provides the first examination of the work of Turner Prize-winning Black British artist and curator Professor Lubaina Himid CBE. This comprehensive volume breaks new ground by theorizing her development of an alternative visual and textual language within which to do justice to the hidden histories and untold stories of Black women, children, and men bought and sold into transatlantic slavery. For Himid, the act of forgetting within official sites of memory is indivisible from the art of remembering within an African diasporic art historical tradition. She interrogates the widespread distortion and even wholesale erasure of Black bodies and souls subjected to dehumanizing stereotypes and grotesque caricatures within western imaginaries and dominant iconographic traditions over the centuries. Creating bodies of work in which she comes to grips with the physical and psychological realities of iconic and anonymous African diasporic individuals as living breathing human beings rather than as objectified types, she bears witness not only to tragedy but to triumph. A self-appointed researcher, historian, and storyteller as well as an artist, she succeeds in seeing “inside the invisible” regarding untold narratives of Black agency and artistry by mining national archives, listening to oral stories, acknowledging art-making traditions, and revisiting autobiographical testimonies.Trade ReviewReviews'An extremely significant contribution to the art historical research focused on contemporary Black British visual artists.'Professor Earnestine Jenkins, University of MemphisWhile Inside the Invisible challenges us to face painful histories and their contemporary legacies, it also celebrates the possibilities of what can be achieved by reimagining these issues through Himid’s perspective. This is an important and generous publication, essential reading for scholars seeking to reframe the study of art through the lenses of anti-racism and decoloniality. Sabrina Rahman, Wasafiri‘Himid’s deft ability to link her artistic and academic gifts bridges a body of information that we take for granted: cultural visibility. Her work takes the stories of black men and women who have been systematically erased and makes them raw and visually accessible. Looking through these pages makes me ask why we do not currently use art – and this book specifically – to teach history.’ Lavinya Stennett (writer and founder of The Black Curriculum), The GuardianTable of ContentsList of IllustrationsAcknowledgements Foreword by Marlene SmithIntroduction: Making Black Histories, Stories, and Memories VisibleI - ‘Gathering and Reusing’ by Lubaina Himid Part 1: Visualising the ‘Politics of Representation’Chapter 1: ‘Humour, fury, celebration, and optimism’: A Politics of Protest and Cut-Out Men (1981-85)Chapter 2: ‘Rituals of reclaiming lost artefacts, refusing oppression and looking for ancestors’ in Heroes and Heroines (1984)Chapter 3: ‘They who document / paint the History hold the Power’: Retelling, Reimagining and Recreating New Narratives of Black Heroism in Toussaint I (1988) and Toussaint II (2002)II - ‘Telling Invisible Stories’ by Lubaina Himid Part 2: Resistance, Reclamation and Revolutionary History PaintingChapter 4: No more ‘Silent Victims’: Agency, Authority and Artistry in the ‘Black Woman’s Story’ in Revenge (1992)Chapter 5: ‘Lost hope, abandoned lives, decimated civilisations’: Sites of ‘Cultural Struggle’ in Beach House (1995)Chapter 6: ‘Safety and danger and how to tell the difference’: Suffering, Struggle and Survival in Plan B (1999)III - ‘Return to the Operatic’ by Lubaina Himid Part 3: Past, Present and Future Artistry, Activism and AgencyChapter 7: Imaging and Imagining ‘Lost Lives of the Black Diaspora’ in Venetian Maps (1997) Chapter 8: Reimaging and Reimagining an Absent-Presence in Cotton.com (2003)Chapter 9: ‘The Slave Servant’: Guerrilla Memorialisation and Multi-accented Performances in Naming the Money (2004)Chapter 10: ‘Intervention, Mapping and Excavation’: White Caricatures versus Black Dehumanisation in Swallow Hard: The Lancaster Dinner Service (2007)IV - ‘Painting over the British to reveal the British’ by Lubaina Himid Part 4: Imagining ‘the ghosts and the traces’Chapter 11: Tracing ‘The living/ the dead/ the ancestors’ in London and Paris Guidebooks (2009)Chapter 12: Mapping Space, Debating Place: Jelly Mould Pavilions (2010) and Official Sites and Sights of Slavery and MemoryChapter 13: ‘The “Ghost” of it all’: Tragedy, Trauma and a ‘People There and Not There’ in Le Rodeur (2016)V - ‘Working on Paper’ by Lubaina Himid ‘It’s All about Action’: An Interview with Lubaina Himid by Hannah DurkinConclusion: ‘Lives Depend on Accurate Histories’Bibliography

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Book SynopsisPerceiving Dubuffet: Art, Embodiment, and the Viewer offers a comprehensive reconsideration of Jean Dubuffet’s work which contextualizes it within contemporary developments in phenomenology and examines the central role played by questions relating to embodiment in the evolution of his aesthetic thinking and artistic practice. Conceived as an interdisciplinary project and combining phenomenological approaches with detailed visual and linguistic analysis, elucidation of interpictorial and intertextual reference, and extensive archival research, the study examines the development across Dubuffet’s work of a core set of cognate themes and formal concerns, charts his many and various shifts in priority and direction, and identifies the constants that drive his tireless experimentation with materials, genre, dimensionality, viewer involvement, visual-verbal interplay, and metareference. Topics explored include: the affinities between Merleau-Ponty's account of the phenomenological reduction and Dubuffet's conception of the functioning of the artwork; Dubuffet’s thematisation of the experience of embodiment; the foregrounding of temporality and the exploration of corporeal and associative memory; the testing and transgression of generic boundaries; the experimentation with unconventional materials and with dimensionality; the impact of Dubuffet’s reading of scientific theory and of Daoist and Buddhist philosophy on his understanding of man’s relationship with his environment; and the central role given to the viewer's physical interaction with the artwork. Perceiving Dubuffet: Art, Embodiment, and the Viewer covers Dubuffet’s lengthy career and examines the full range of his pictorial and sculptural œuvre and the large corpus of aesthetic writings produced between the 1940s and the 1980s.Trade Review'A detailed, comprehensive, and readable account of Dubuffet’s work, Perceiving Dubuffet is a highly informative and impressive piece of scholarship.' Dr Johanna Malt, King’s College London'Duffy’s nuanced analyses, grounded in archival research and close looking at Dubuffet’s art and writing — with an eye for not only visual but also bodily engagement — provides an important contribution to the scholarship on this artist. … Her situation of Dubuffet’s interest in perceiving — and how culture, language, and habit even in the domain of science affect it — brings a fresh perspective to Dubuffet scholarship.' Stephanie Chadwick, H-France ReviewTable of Contents Acknowledgements Illustrations and Copyright Information Abbreviations Outline Chronology Introduction Chapter 1: Breaking the Habit, Changing the View Chapter 2: Bodies and Boundaries Chapter 3: Rearranging Faces Chapter 4: Like Riding a Bicycle: Body Memory and Time-Consciousness Chapter 5: Assemblage, Association and Transformation: Dubuffet’s Memory Theatres Chapter 6: Times of Our Lives Chapter 7: Routes, Routines, and Wayfaring Travellers Chapter 8: Science, Art, and Language Conclusion and Epilogue Index

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Book SynopsisSamuel Hirszenberg is an artist who deserves to be more widely known: his work intertwined modernism and Jewish themes, and he influenced later artists of Jewish origin.Born into a traditional Jewish family in Łódź in 1865, Hirszenberg gradually became attached to Polish culture and language as he pursued his artistic calling. Like Maurycy Gottlieb before him, he studied at the School of Art in Kraków, which was then headed by the master of Polish painting, Jan Matejko. His early interests were to persist with varying degrees of intensity throughout his life: his Polish surroundings, traditional east European Jews, historical themes, the Orient, and the nature of relationships between men and women. He also had a lifelong commitment to landscape painting and portraiture.Hirszenberg’s personal circumstances, economic considerations, and historical upheavals took him to different countries, strongly influencing his artistic output. He moved to Jerusalem in 1907 and there, as a secular and acculturated Jew who had adopted the world of humanism and universalism, he strove also to express more personal aspirations and concerns. This fully illustrated study presents an intimate and detailed picture of the artist’s development.Trade Review‘Hirszenberg is a fascinating and important artist who deserves to be known more widely, The authors have produced an authoritative volume about his life and work, his studies and travels, his patrons and fellow artists, opening a most interesting window on the world of Polish Jews and their various milieux—Jewish, Polish, and European—during the late nineteenth and early twentieth centuries. The intellectual approach is sophisticated and speaks to current concerns in the social and cultural history of art more generally.’ Barbara Kirshenblatt-Gimblett, Ronald S. Lauder Chief Curator, Core Exhibition, POLIN Museum of the History of Polish Jews, Warsaw‘This comprehensive and well-researched book by two leading Israeli historians of Jewish art provides a fascinating account of Hirszenberg’s life and work, based on material preserved in Polish museums, private collections and archives, along with paintings, drawings and archival material in Israel, the United States, England, France, and Switzerland. Through its exploration of the complex situation of the Jews in partitioned Poland, how Jews fitted into the fin-de-siècle artistic world, and early Zionist visual culture, it will appeal to scholars and a wider public interested in the history of Jews in east-central Europe and in Jewish art.’ Antony Polonsky, Chief Historian of the Global Education Outreach Program, POLIN Museum of the History of Polish Jews, Warsaw‘This book makes a valuable contribution to the field of Jewish art history in eastern Europe and adds new layers to our understanding of nineteenth-century Jewish life and culture more generally. Hirszenberg is an important and original, yet understudied artist, and this very readable and richly illustrated biography, based on much new material, will be enjoyed and cited for many years to come.’ Marcin Wodziński, University of Wrocław‘Cohen and Rajner have made this figure, with all his complexities and inner tensions, accessible to a wider audience. The combination of historian and art expertise allows Hirszenberg to emerge against his contemporary background, while the detailed analysis of his works reflects the power and grace of the artist at all stages of his creative life.’ Mordechai Beck, The Jerusalem Post‘This book demonstrates that Hirszenberg’s work as a Jewish artist was not only a deliberate choice, but also a process that continued throughout his life. It also offers evidence that interdisciplinary biographical writing is possible.’ Adam Mickiewicz, Studia Judaica"Samuel Hirszenberg 1865-1908 represents an exemplary collaboration between a historian of modern Jewry (Cohen) and a historian of Jewish art (Rajner)… the book is essential for Judaica research libraries and art libraries." Zachary M. Baker, AJL ReviewsTable of ContentsIntroduction 1. Łódź: The Beginning 2. Kraków: Hirszenberg’s First Steps as an Artist 3. Coming of Age in Munich 4. The Years of Wandering: Paris, Łódź, and Munich 5. Success in Łódź 6. The Poznański Palace Commission 7. From Łódź to Kraków 8. Jerusalem: The Final Destination 9. Hirszenberg’s Legacy Epilogue: Hirszenberg—the Man, the Artist Bibliography Index

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Book SynopsisThis volume focuses on the migration and acculturation of images in Jewish culture and how that reflects intercultural exchange. Gender aspects of Jewish art are also highlighted, as is the role of images in interreligious encounters. Other topics covered include the history, codicology, and iconography of a Haggadah produced in the late fifteenth century.

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