Thèse dirigée en cotutelle par Sylvain Piron (EHESS) et Mauro Della valle (Université de Milan Italie), soutenue devant un jury composé de Marcello Angheben (Université de Poitiers), Vincent Debiais ...(CNRS), Tiziana Franco (Université de Vérone), et Anne-Laure Imbert (Université Paris1 Panthéon-Sorbonne). Résumé : À travers une méthode alliant analyses quantitatives et études de cas, cette thèse se propose d’étudier les décors des façades, revers de façades, arcs triomphaux, et sanctuaires réa...
Monographic study of the gold ground in Italian panel painting. Analyzes the art historiographical use of the term in the 20th century. "Gold ground" and "perspective" are not thought of as ...oppositional. For example, Fra Angelico is shown to develop strategies for perspective representation from within the gold ground. Notes theological, philosophical, and historico-scientific sources.
Abstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the ...faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or both? Essays in this collection explore these and other questions that coalesce around three broad themes: medieval abstraction as the untethering of image from what it purports to represent, abstraction as a vehicle for signification, and abstraction as a form of figuration. Contributors approach the concept of medieval abstraction from a multitude of perspectives-formal, semiotic, iconographic, material, phenomenological, epistemological.
Publicidad y Císter son dos conceptos que, a priori, pueden parecer enfrentados. En efecto, las inscripciones medievales —la escritura publicitaria— presenta una serie de particularidades en este ...monacato que merece ser atendida con particularidad y minuciosidad en cada uno de sus templos. Por suerte, contamos ya con algunas monografías que han tratado el tema en otros monasterios de la Orden y que nos abren el camino para adentrarnos en el estudio de Santa María de Gradefes. La limitación numérica y tipológica de los epígrafes, su emplazamiento y difusión, su limitada profusión textual o la ausencia de decoración o alarde en la escritura, son rasgos en común también presentes en este cenobio. Sin embargo, hay otra serie de singularidades que nos han llevado a detenernos en su análisis y a redactar estas líneas.
Despite the wealth of material and textual evidence attesting to the practice of Christian pilgrimage throughout history, comprehending an individual s understanding of pilgrimage in relation to his ...or her own identity has always proved challenging. Pilgrimage studies scholars have tended to look to travel accounts, chronicles, and collected pilgrim souvenirs to discern how pilgrims were affected by and responded to their experiences. One form of source material that has gone largely underexamined in this regard is the genre of portraiture. This article explores how and why the concept of pilgrimage could be incorporated into the self-fashioned images of patrons in medieval and early modern Europe. Building on foundational but geographically and temporally specific studies of Jerusalem confraternity portraits, it aims to consider both overt and subtle iconographic references to pilgrimage to broaden our understanding of what constitutes a pilgrim portrait. By engaging with the flexibility of pilgrimage iconography and the multifaceted motivations behind invoking it in a permanent likeness, this paper argues for the dual faculties of memory and imagination present in portraits that manifest allusions to an individual s pilgrim identity. Furthermore, it paves the way for future studies of pilgrimage iconography generally, and specifically of pilgrim portraits in a more abstract, allegorical sense.
Recycling is evidenced in the composition of glass by contamination from the workshop environment, loss of alkalis in melting, incidentally incorporated colorants, and the presence of compositions ...intermediate to the primary production groups. In later periods, anachronistic compositions may be present. In the first to third centuries, recycling is readily identified through the mixing of glasses decolorized with manganese and antimony respectively. While recycling of glass was common practice at that time, the glass supply seems to have been refreshed with primary glass relatively frequently. After the sixth century, the supply of fresh glass from the eastern Mediterranean to Europe greatly declined, and old Roman glass was increasingly used as a raw material. This culminated in the eighth and ninth centuries, when windows and mosaics were removed in bulk from standing classical buildings, probably at the same time as the removal of spolia of decorative stone. Systematic exploitation of Roman glass continued, until at least 1200, in the form of colorants for window glass, and for use as enamels and gems on decorative metalwork.
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