Art & Visual Culture 1100-1600: Medieval to Renaissance (Art & Visual Culture 1 1)

Art & Visual Culture 1100-1600: Medieval to Renaissance (Art & Visual Culture 1 1)

Language: English

Pages: 416

ISBN: B00ER83YQS

Format: PDF / Kindle (mobi) / ePub


An innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods."1000-1600: Medieval to Renaissance" includes essays on key themes of Medieval and Renaissance art, including the theory and function of religious art and a generic analysis of art at court. Explorations cover key canonical artists such as Simone Martini and Botticelli and key monuments including St Denis and Westminster Abbey, as well as less familiar examples.The first of three text books, published by Tate in association with the Open University, which insight for students of Art History, Art Theory and Humanities. Introduction Part 1: Visual cultures of medieval Christendom 1: Sacred art as the Bible of the Poor' 2: Sacred architecture, Gothic architecture 3: Sacred in secular, secular in sacred: the art of Simone Martini 4: To the Holy Land and back again: the art of the Crusades Part 2: The shifting contexts of Renaissance art 5: Art at court 6: Botticelli 7: Did women patrons have a Renaissance? Italy 1420-1520 8: From Candia to Toledo: El Greco and his art

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dates from the sixth century (Plate 1.6). Here Saint Apollinaris himself appears beneath a stylised representation of the Transfiguration, a visionary experience in which Christ appeared with the Old Testament figures of Moses and Elijah (Matthew 17:1–8). There are several peculiarities, not least the substitution of a huge cross for the figure of Christ.16 This mosaic employs a symbolic mode that requires explanation in order to be deciphered: the witnesses of the Transfiguration Saint Peter,

be underestimated: a comparison of Plate 8.26 with Tintoretto’s painting of the same subject (Plate 8.27) indicates that El Greco’s formation of soft limbs and bodies is derived from the Venetian master. El Greco, however, carried this stylistic expression further and forged a signature style of his own. Could we, perhaps, explain his style as an assimilation of all the different artistic traditions he had encountered in his career? El Greco’s blurred settings, deconstructed bodies and

stoning on his rich garments, and Augustine to the right, who lower the body of the dead count, reside in heaven. Second, the angel’s yellow dress, depicted right in the middle, touches the head of one of the attendants at the back, providing another link between the two zones, which is also reinforced by echoing the colour of the garments of the two saints. The upper zone includes the only female presence in the painting, the Virgin Mary. Next to her, on the right, Saint John the Baptist is

displays of sculpture on the exterior as they did so. They were not usually able to move further into the church than the nave, as the choir screen would keep them from the clerics. The great north door was the other entry for the laity who wished to visit the eastern chapels. Plate 2.13 Plan of Westminster Abbey, based on an original supplied by the Dean and Chapter of Westminster. Great churches had multiple altars, to commemorate a range of saints. These were endowed by individuals and

the county to the south of Brussels also celebrated the duke’s dominions, which the coats of arms around the edge of the frontispiece itemise. In view of the book’s size, it was probably designed to be read aloud at court from a lectern, while visible to more than the individual reader. Its intended audience was presumably exactly the class of courtiers represented in the frontispiece. The sophisticated hint of informality in the figure grouping rather belies what is known of the rigidity of

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