Tesi: "Civilzation, Medieval, in art"

1

Kirkham, Deborah Anne. "Medieval art writing and the study of art history". Thesis, University of Manchester, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529796.

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Snape, Julia. "Medieval art on display, 1750-2010". Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/medieval-art-on-display-17502010(9e0b3b30-1d52-412d-862a-b655757307b1).html.

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This thesis asks how the curatorial framing of medieval objects - the processes of selection, classification, display and interpretation - affect how medieval objects are made legible within the museum. It investigates how different collectors and curators have deployed medieval objects over a period of two hundred and fifty years of museological practice. Throughout this history, medieval objects have been appropriated within a range of museological narratives that have positioned them variously as objects of curiosity, utility, scientific analysis, nationalistic interest and as sites of scholarly and popular attention. My purpose is to inquire how the epistemological re-positioning of objects is articulated through their presentation within the framework of the collection, museum or temporary exhibition and to question how the mechanics of display facilitate particular readings of medieval objects. I then consider how certain curatorial approaches may produce unintended effects that render the medieval object illegible or problematic in unexpected ways. I also acknowledge that unforeseen exhibitionary outcomes may not be solely due to the effects of curatorial intervention but may be wrought by the agency of objects themselves. This thesis therefore examines medieval objects as active participants that play a crucial role in influencing the communication of curatorial objectives and in affecting how they may be apprehended through exhibitionary practice. The thesis examines sixteen chronologically presented case studies, beginning in the mid eighteenth century and concluding in the early twenty-first century, that represent important or influential episodes in the history of the display of medieval art. It traces a selective history of the various ways medieval objects have been culturally positioned at particular points in time to reveal how curatorial techniques have worked to reinforce or undermine the perception of medieval objects as carriers of specific meanings. Through the examination of historical approaches to the display of medieval objects I reveal how familiar tropes of display, such as the use of specific lighting techniques and stained glass have characterized the museological staging of medieval objects and how these have endured into the twenty-first century. Drawing on performance theory, material culture theory and sensory theory I identify how the biographical histories, material characteristics and sensory properties of medieval objects have been re-activated or suppressed by curators to encourage audiences to engage with them in specific ways. This theoretical approach reveals a previously unacknowledged sensory cultural history of engagement with the medieval object and highlights how historical approaches that have privileged embodied engagement with objects continue to inform contemporary museological practice. I also draw on Actor-Network theory to illuminate how medieval objects may be understood as active agents within the chain of correspondences that links people, objects and exhibitions at particular points throughout this history. In this way I delineate an exhibitionary landscape through which we can understand medieval objects as multi-authored and polysemic entities but principally as the products of exhibitionary practice.

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Clatworthy, Janine. "The art of magical narrative". Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/10196.

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Bibliography: leaf 61.
What is a magical narrative? How can the inconsistencies and strange repetitions in the plots of Malory's Arthurian cycle be explained? What are their purposes and why are they essential to the plot? In this dissertation, I have attempted to answer these questions by applying Anne Wilson's theory of magical narrative (The magical quest) to a selection of tales from the beginning of Malory's Arthurian cycle (The tale of King Arthur) and from the latter half (The book of Sir Launcelot and Queen Quinevere).

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Hansen, Kelli Bruce. "The Cross of Oviedo in medieval Spanish art /". free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p1418028.

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5

Woollam, Angela M. "The rhetorical art of some Vernon refrain lyrics". Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/6051.

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The dissertation considers how the anonymous authors of six moral and religious pseudo-ballade refrain poems first attested in the late fourteenth-century Vernon manuscript (Oxford, Bodleian Library, MS. Eng. poet.a.1) manipulate devices such as speaking persona, word-play, and allegory in ways that support rhetorical strategies hitherto unrecognized in Middle English lyric. The study begins with stemmatic analyses that identify, as far as is possible from the physical record, the archetypal text, or "work," of each poem. Chapter One then provides an overview of scholarship that has focussed on two important technical devices used in the Vernon refrain lyrics-the speaking voice and the refrain---and articulates how the lyrics use those devices in hitherto unrecognized ways. Chapter One concludes by considering the kinds of word-play found in other Middle English literature, in order to define that found in the Vernon lyrics. In the next six chapters, each of the six "works" is considered as a communicative event. Using mainly historicist, formalist, and reader-response methodologies, I explore, for each poem in turn, how the poet moulds language to signify indirectly so that the message is communicated figuratively, and how the implied audience is cast into a specific role vis-a-vis the communicative action in a way that inflects the message. I also explore how the rhetorical strategies of the poems are informed by various theories of signification, which are defined in relation to the socio-linguistic circumstances and philosophical currents of the time, and consider the poems in relation to other medieval, mostly earlier Middle English, lyrics. In the Conclusion, findings are assembled to indicate how the recovery of the Vernon refrain lyrics' rhetorical art expands the parameters that currently define Middle English lyric. I also turn from considering the implied audience of the "works" to considering the historical audience of the Vernon manuscript, and suggest that the recovery of the Vernon refrain lyrics' rhetorical art bolsters theories that maintain the Vernon manuscript was intended, at least in part, for an upper gentry or aristocratic audience, and that its thorough Englishness is more of a polemic assertion of the strength of the English language than a reflection of socio-linguistic conditions.

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Berenbeim, Jessica. "Art of Documentation: The Sherborne Missal and the Role of Documents in English Medieval Art". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10082.

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This dissertation considers an unfamiliar but fundamental aspect of late-medieval art: the role of documentation. Documents played as critical a part in that society as they do in our own. In late-medieval consciousness, the charter loomed as large as the sacred image, and documentation mattered no less than devotion—while the two also had a profound and inextricable connection. Discussion begins with three principal arguments, explained in detail in the first chapter: 1. The materials of documentation are part of the history of art; and accordingly, art-historical methods render an important contribution to diplomatics. 2. Documents are an important subject of representation; and accordingly, works of art are important sources for the cultural reception of documentary practices. 3. Documents are an important model for representation; and, consequently, an understanding of the paradigmatic role of the document suggests an alternative dimension to the interpretation of late-medieval art. The chapters that follow pursue these arguments through the analysis of individual works of art—charters, seals, archival manuscripts, liturgical manuscripts, architecture, and sculpture. These chapters also include a study of one of the great monuments of English gothic art: the Sherborne Missal, produced c.1400 for the Benedictine abbey of Sherborne. Ideas of documentation constitute critical aspects both of the Missal’s subject matter and its modes of representation, and these “documentary” elements also relate closely to the larger ideological project of the Missal’s creators. As details of the manuscript’s patronage, illumination, liturgy, inscriptions, and codicology all demonstrate, its creators associated documentation with central religious ideas about devotional images and the eucharist—essentially, the nature of valid representation and effective action. In keeping with the regional and institutional context of this principal study, the other objects discussed come primarily from English religious institutions. That context, however, by no means implies that the importance of documentation is limited either to England or to the conventual sphere, although it manifests itself differently from place to place and from one estate to another. The studies in this thesis represent only one example of where its arguments might lead, and what its approach might reveal in other works of art.
History of Art and Architecture

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Swarbrick, Elizabeth Joy. "The medieval art and architecture of Scottish collegiate churches". Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12210.

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Collegiate churches were founded for two essential aims: the augmentation of divine worship, and the salvation of souls. This thesis brings to light just how important material and aesthetic enrichments were in regards to these functions. The vast majority of collegiate churches in Scotland were substantially augmented around the time of their foundation. Patrons undertook significant building programmes and provided a variety of furnishings and ornaments to facilitate and enrich the services their body of clergy performed. Precise statutes were laid down in order to ensure that clergy were skilled singers and organists. Many founders also made provision for their burial within their collegiate churches so that they could garner the maximum spiritual benefit from the organisations that they had founded. To the author's knowledge, this is the first in-depth account of the art and architecture of Scottish medieval colleges. This thesis looks closely at the architecture, furnishings, rituals, music, imagery, and commemorative functions of the forty-nine collegiate churches founded in Scotland. A close concentration on this institutional form has meant that buildings, artworks, and practices which have hitherto not received significant scholarly attention have been carefully scrutinised. Furthermore, by looking at so many aspects of collegiate churches, the present study enriches an understanding of these institutions by providing a more holistic picture of their functions and significance. Ultimately this thesis examines why physical and aesthetic enrichment went hand in hand with the founding of a college, and what role this material culture had in regards to how collegiate churches functioned.

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McKinley, Kathryn Hill. "Ciceronian rhetoric and the art of medieval French hagiography". College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7737.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Dept. of French and Italian. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Klemettilä, Hannele. "Epitomes of evil : representations of executioners in northern France and the Low Countries in the late middle ages /". Turnhout : Brepolis, 2006. http://www.gbv.de/dms/spk/sbb/recht/toc/519371763.pdf.

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10

Kouneni, Garyfallia. "Antiquity through medieval eyes : the appropriation of antique art in the Trecento". Thesis, St Andrews, 2009. http://hdl.handle.net/10023/727.

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11

Evans, DeAnna Dare 1958. "Labyrinths in medieval churches: An investigation of form and function". Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/291937.

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This thesis analyzed the designs of a select group of labyrinths set into the pavements of Gothic churches in northern France. The designs of these labyrinths and their possible meanings and functions were examined. Existing information on the labyrinths, including oral traditions associated with them were considered. A study of earlier medieval church labyrinths and illustrations of labyrinths in medieval manuscripts was made. In addition, medieval philosophy and history were considered. The various meanings and functions scholars have proposed for the labyrinths were critically reviewed. It was possible to draw some conclusions as to the labyrinths' original meanings and their functions and to trace the evolution of these meanings and functions during the Middle Ages.

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Rasmussen, Claire. "Circular Inspirations: Medieval Mediterranean Influence in the Treasury of San Marco". Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1556730752971936.

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13

Graupera, Graupera Joaquim. "L’art gòtic al Baix Maresme (segles XIII al XVI). Art i promoció artística en una zona perifèrica del comtat de Barcelona". Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/80834.

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Aquest treball, pretén presentar un estudi monogràfic i de síntesi sobre l’art gòtic al Maresme. El primer objectiu proposat era presentar una anàlisi intentant superar les monografies locals d’edificis més o menys estudiats i intentar aconseguir una visió general inèdita més àmplia de l’estil a la comarca, evidenciant els seus ritmes constructius i els seus elements definidors. Això comportava també una revisió de les monografies ja publicades per tal d’actualitzar les noves recerques i replantejar algunes coses acceptades des de fa anys i que potser calia qüestionar. Un segon objectiu, vindria marcat per l’intent d’analitzar els diferents estils en una zona perifèrica del comtat de Barcelona medieval. La historiografia d’abast nacional inclou en els seus repertoris les grans obres monumentals i, en la majoria de casos, no hi ha un especial atenció als edificis de segon i tercer ordre, com a obres de caràcter més popular. Es tractava doncs de comparar les obres de la comarca i analitzar quin grau hi ha de seguiment dels models i repertoris generals de l’estil i si les característiques, cronologies i estilemes, que defineixen les grans etapes de l’art gòtic català es poden aplicar a aquesta comarca, i quina relació s’estableix entre aquestes obres i les primeres. A principis del el s. XIV, la majoria d’edificis i termes jurisdiccionals del baix Maresme ja estan plenament establerts. En contra del que passa en altres indrets, la introducció de l’art gòtic a Maresme no presenta inicialment un període de grans inversions i de grans projectes sinó que hi domina el manteniment de les estructures heretades del període de l’art romànic i les noves actuacions tindran un caràcter més aviat puntual. La introducció del nou estil en el Maresme el podem situar a mitjans del s.XIV gràcies a l’aparició d’uns nous promotors que formaran part dels grups influents de la burgesia comercial i burocràtica barcelonina. Alguns dels membres d’aquest grup esdevindran els propietaris de la majoria de senyories de la comarca i en el procés esdevindran els comitents d’una gran part de les obres d’art al Maresme. En aquest període es comença a palpar la incipient influència en l’àmbit artístic d’un grup de nous promotors que s’aniran imposant a mida que avanci la centúria del 1400. Seran les elits locals de les noves viles independents, constituïdes en “Universitats del terme” les que agafaran el relleu en la promoció artística tant religiosa com civil. Dins aquest període, també s’analitzen una sèrie d’edificis singulars vinculats a les ordes monàstiques (el priorat de Sant Pere de Clarà (Argentona), el convent - hospital de Caldes d’Estrac i la cartoixa de Montealegre a Tiana) a més de la renovació del mobiliari litúrgic (retaules, escultures, orfebreria....) Ja en el s.XVI, les elits locals com a nous promotors, utilitzaran els recursos del Comú de les viles i esdevindran els veritables renovadors de l’obra pública, tant laica com religiosa, promovent una gran activitat de renovació dels edificis, principalment els parroquials, els quals seran erigits de nova planta mantenint encara viu el llenguatge gotitzant que de forma epigonal arribarà fins a finals del s.XVI i principis del s.XVII. Al final del treball s’analitzen els diferents artífexs i les formes de treball per abordar la idea del colonialisme artístic dels tallers barcelonins a la zona del Maresme.
JOAQUIM GRAUPERA GRAUPERA: Gothic art in Baix Maresme (XIIth to XVIth century). Art and artistic promotion in a peripheral area of the Barcelona County. Mataró, 2011. This research offers a monographic study on Gothic art in Maresme area. The first aim is to transcend the local monographs with a more comprehensive view, which implied the review of the already published monographs in order to update their research and question it if necessary. The second aim is to analyze the styles in a peripheral area of Barcelona medieval county comparing the works of this area and analyzing to which extent followed the characteristics, chronology and style, which define the main phases of the Catalan Gothic art. The introduction of the new style in the Maresme area takes place at the second half of the XIVth century, thanks to the emergence of a new group of promoters that are part of the influential groups of the Barcelona trading and bureaucratic bourgeoisie. Some members of this group will become the owners of most of the lordships and the clients for many of the works of art in Maresme. In this period it starts to be felt the influence in art of a group of new promoters that will impose themselves as we enter into the 1400’s: the local elites of the new independent villages that will take the relay in the artistic promotion, both in the religious and in the civil art and some buildings linked to monastic orders are analyzed as well as the renewal of the liturgical furniture. Already in the XVIth century, the local elites will become the real renovators of both religious and secular public work, promoting the renewal of the buildings, specially the parish churches, which will be built still keeping alive the gothic language which will reach the end of the XVIth and the beginning of the XVIIth centuries. At the end of this research, different craftsmen and their way of working are also analysed in order to approach the idea of an artistic colonialism of the Barcelona workshops in the area of Maresme.

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Binkhorst, Caitlin E. "A Game of Love and Chess: A Study of Chess Players on Gothic Ivory Mirror Cases". Kent State University Honors College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1367695601.

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15

O'Driscoll, Joshua. "Image and Inscription in the Painterly Manuscripts From Ottonian Cologne". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467286.

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Focusing on a small number of richly illuminated manuscripts produced in Cologne around the year 1000—and known to scholars since the early twentieth century as the so-called "painterly" group of manuscripts—this dissertation takes the close study of a well-defined group of objects as the starting point for an examination of issues central to broader histories of medieval art. A diptych-like pairing of miniatures with inscriptions, each of which is given a full page, constitutes a characteristic feature of these manuscripts. Because these inscriptions were written specifically to accompany the facing images, the manuscripts from Cologne afford us a rare glimpse of a discourse on art and image making in the tenth and eleventh centuries, as well as providing insights into how such miniatures were meant to be viewed. The first chapter establishes a theoretical framework for the project, which examines both the historical and the scholarly origins of the Cologne School. Moreover, the concept of a "painterly" style is scrutinized and its use is traced back to significant developments in German art-historical writing of the late nineteenth century. The second chapter—devoted to a remarkable, yet relatively unknown tenth-century gospel book in Milan—demonstrates how the manuscript's carefully-crafted pictorial program draws upon an impressive tradition of Carolingian poetry and epigraphy in order to instill a pointed moralizing lesson on its recipient. A closely related sister-manuscript, preserved today in Paris, forms the subject of the third chapter, which demonstrates how the designer of its program employed philosophical and dialectical terms—taken from the school texts of the day—in order to devise an ambitiously complex set of miniatures and inscriptions, centered on a contemplative engagement with the paintings. The dissertation concludes with a chapter on the more famous Hitda Codex, illuminated at the behest of a powerful abbess in the early eleventh century. Through an analysis of the manuscript's narrative program, the chapter details how both image and inscription coordinate the active engagement of the viewer—prompting a consideration of the ways in which the pairings function as allegories of introspection. Throughout the dissertation I aim to reconcile the innovative formal qualities of the miniatures with the unusual complexity of their accompanying inscriptions. As a consequence of this study, it can be demonstrated that in the painterly manuscripts from Cologne, the close intertwining of image and inscription results in sophisticated programs of illumination, which elucidate an unprecedented contemporary reflection on the nature of painting in age otherwise known for its scarcity of written sources on art.
History of Art and Architecture

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Gallin, Pauli. "Mamluk Art Objects in Their Architectural Context". Thesis, Boston College, 2017. http://hdl.handle.net/2345/bc-ir:107566.

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Thesis advisor: Sheila S. Blair
The field of Mamluk art and architectural history is well developed but there has been a tendency to discuss objects apart from their architectural contexts. My research seeks to explore the relationship between Mamluk objects, furnishings, and fittings attached to particular foundations in Cairo, The aim of this study is to examine the dialogue between design elements in different media and explore their aesthetic and functional relationship to their surroundings. This will give insight into how designs are transferred across media, and how architecture acted as a meeting place for a variety of artistic disciplines. The study will also investigate the merits and limitations of such an approach, and the effects the removal of Mamluk objects from their context has on our perception of them
Thesis (MA) — Boston College, 2017
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Middle Eastern Studies

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Marchiori, Maria Laura. "Art and reform in tenth-century Rome - the paintings of S. Maria in Pallara". Thesis, Kingston, Ont. : [s.n.], 2007. http://hdl.handle.net/1974/908.

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Thunø, Erik. "Image and relic : mediating the sacred in early medieval Rome /". Roma : L'Erma di Bretschneider, 2002. http://catalogue.bnf.fr/ark:/12148/cb39178939p.

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Abenza, Soria Verónica Carla. "Ego Regina. Patronazgo y promoción artística femenina en Aragón, Navarra y Cataluña (1000-1200)". Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/669965.

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Aunque algunas de las mujeres que vivieron o estuvieron de paso entre los siglos XI y XII en las tierras de Aragón, Navarra y Cataluña, promocionaron algunas de las obras de arte y arquitectura de mayor transcendencia para el arte del período, y pese a que eso ha estimulado que sobre ellas recayera una considerable atención historiográfica, los estudios sobre la promoción artística femenina en estas coordenadas espacio-temporales siempre han priorizado una de las dos realidades del fenómeno, o promotora o arte. Cuando surgido de la Sociología, a menudo se suele poner el acento sobre la mujer como sujeto social y a la obra de arte se le concede una cierta autonomía, sólo como otra manifestación cultural más, sin atender a lo que la distingue de otras formas de expresión humana. Cuando surgido de la Historia del Arte, con frecuencia ocurre todo lo contrario, el énfasis se pone en los valores artísticos de la obra, y la mujer no es más que un pretexto para explicar cómo la intervención de unos sujetos permiten justificar ciertos procesos asociados a la creación artística, como la circulación de temas o la génesis y difusión de una determinada estética. El eje sobre el que bascula el objetivo fundamental de la Tesis Doctoral es la comprensión de la interrelación social entre las promotoras y las obras de arte que promocionan según el modelo que definió Alfred Gell entorno a la causalidad del arte y su afectación por la acción (agency) de la promotora. Aunque se trata de una investigación de Historia del Arte, en el estudio de la promoción artística femenina como fenómeno inherente a la creación de obras de arte y de arquitectura, se hace prevalecer el método sociológico, pues es el que se entiende de mejor aplicación para no polarizar el protagonismo sobre las creaciones en detrimento de la creadoras. Como realidad binomial, mitad social, mitad artística, la capacidad efectiva y transformativa tanto de las obras como de la acción de promoción se asocia a fenomenologías propias de lo social como la apropiación, la aculturación o la transculturación. También, en consecuencia, a las que se conectan con lo artístico, como las derivadas de lo semiótico, tal que las de representación y reconocimiento que se instrumentalizan en la obra de arte a través de un vehículo gráfico o visual que remite a la promotora. La introducción del elemento femenino permite aplicar los planteamientos teórico- metodológicos de los llamados “gender studies” a premisas bien teorizadas en el marco de los mismos. Es el caso de las que se derivan de una visión ontológica de la mujer medieval y atañen a nociones de especificidad femenina, corresponsabilidad, marginalidad y liminalidad, e función de las cuales se conecta a la promoción artística de las mujeres la protección de los monasterios femeninos, la cura de la memoria, el anonimato y la jerarquización de roles. La Tesis se divide en dos partes centradas, la primera, en la conceptualización del fenómeno atendiendo a la realidad navarra, catalana y aragonesa entre 1000-1200; el análisis de los extremos disputables o irrefutables de las fuentes documentales y materiales que lo informan; la individualización de motivaciones concretas; y la información de dinámicas concretas entorno a la promoción artística femenina en relación a las mismas premisas que preestablecen los estudios de género y las fenomenologías propias del arte y de la sociologías. La segunda, en cambio, contempla siete case studies representativos del fenómeno: la promoción artística de Arsenda de Fluvià, Ermesenda de Carcassone, Estefanía de Foix, las hermanas Ramírez, -infantas aragonesas-, para con el convento de Santa María de Santa Cruz de la Serós, así como en torno a los monasterios femeninos de Santa María de Vallbona de les Monges y Santa María de Sigena y el conocido Estandarte de san Odón.
Although some of the women who lived or were travelling in the lands of Aragon, Navarre and Catalonia between the 11th and 12th centuries, promoted some of the most important works of art and architecture during this artistic period, and despite that this drew considerable historiographical attention on them, the studies on female artistic agency in these space-time contexts have always prioritized one of the two realities of the phenomenon –art or agency. When emerging from Sociology, the accent is often placed on the woman as a social subject and the work of art is granted certain autonomy, just as another cultural manifestation, without paying attention to what distinguishes it from other forms of human expression. When emerging from Art History, the opposite often happens, the emphasis is placed on the artistic values of the work, and women are just a pretext to explain how the intervention of some subjects allows justifying certain processes associated with artistic creation, such as the circulation of themes or the genesis and diffusion of particular aesthetics. The axis on which the fundamental objective of this Doctoral Thesis is based, is the understanding of the social interrelation between the female agents and the works of art that they promote according to the model defined by Alfred Gell around the causality of art and its being affected by the agent’s action (agency). Although this is a research in History of Art, in the study of female artistic agency as a phenomenon inherent to the creation of works of art and architecture, the sociological method prevails, since it is the one considered of best application in order not to polarize the authority over the creations to the detriment of female creators. As a binomial reality, half social, half artistic, the effective and transformative capacity of both the works and the agency is associated with social phenomenologies such as appropriation, acculturation or transculturation. Consequently, those that are connected with the artistic, such as those derived from the semiotic, such as those of representation and recognition that are instrumentalized in the work of art through a graphic or visual vehicle that refers to the female agent. The introduction of the gender element allows to apply the theoretical-methodological approaches of the so-called "gender studies" to well-theorized premises within their framework. This is the case of those resulting from an ontological vision of medieval women and they involve notions of female specificity, shared responsibility, marginality and liminality, according to which the protection of women’s monasteries, the custody of memory, anonymity and hierarchisation of roles are linked to artistic female agency. This Thesis is divided in two parts. The first one is focused on the conceptualization of the phenomenon according to Navarrese, Catalan and Aragonese reality between 1000 and 1200, the analysis of the questionable or irrefutable extremes of documentary sources, the individualization of specific motivations and the information of the dynamics related to female artistic agency concerning the same premises pre-established by gender studies and the phenomenology of art and sociology. On the contrary, the second part analyses seven case studies representative of the phenomenon – Arsenda de Fluvià’s artistic agency, that of Ermesenda of Carcassone, Estefanía de Foix, and the Ramírez sisters (Aragonese infantas) on the convent of Santa María de Santa Cruz de Serós, as well as the female monasteries of Santa María de Vallbona de les Monges and Santa María de Sigena, and the renown Estandarte de san Odón.

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DeLuca, Dominique. "Ab Umbra Ad Umbram: Shadows in Late Medieval Secular Manuscripts". Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1575545731721228.

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Jacobus, Laura Sara. "Gesture in the art, drama and social life of late medieval Italy". Thesis, Online version, 1994. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.363474.

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Stowell, Steven. "The mystical experience of art : Medieval Christian themes in the literature on art of the Italian Renaissance". Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517020.

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23

Wolf, Johannes. "The art of arts : theorising pastoral power in the English Middle Ages". Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278517.

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Abstract (sommario):

Gregory the Great described the government of souls as ‘the art of arts,’ a sentiment that the Fourth Lateran Council would echo in 1215. This thesis takes as its fundamental proposition that this ‘art’ can be understood as a ‘craft’, one that is responsible for producing and maintaining a Christian subjectivity marked by introspection, inwardness, and a strong distrust of externalities. Using a theoretical framework influenced by Michel Foucault I suggest a tradition of administering and producing these subjects through ‘pastoral power.’ Charting the trajectory of these ideas from the ascetics of the early church through to fifteenth-century Middle English texts, I explore the dynamics produced by texts invested in producing this specific form of subjectivity as they expand their reach from a specialised audience of monks to an increasingly laicised vernacular sphere. This investigation is broken into two halves. The thesis begins with a re-reading of Michel Foucault’s theories of power and subjection. Here I suggest that there are important conceptual connections between Foucault’s concept of ‘discipline’ and medieval approaches to the care of the soul. The first half of the thesis stresses the longue durée development of pastoral power, focussing on two particular historical moments. The first of these chapters engages with the pastoral and monastic thinkers of the early church, who developed two overlapping regimes – that of body and spirit. The second turns to the Ancrene Wisse, arguing that the it responds to the developments of twelfth-century spirituality by suggesting a form of spiritual engagement that is increasingly imbricated in the mundane world. The second half of the thesis focuses on a number of texts produced in Middle English during the fourteenth and early fifteenth centuries. Two chapters focus on a collection of pastoral texts produced in the fourteenth and fifteenth centuries. The first focuses on the hermeneutic dynamics of these texts whilst second chapter assesses the use of documentary imagery and theories of legal accountability in the same texts. The final chapter suggests that certain proto-autobiographical texts, represented by the work of Julian of Norwich and Margery Kempe, are conditioned by the concerns and dynamics of pastoral power, which also affects the practices modern readers bring to bear on them.

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24

Thompson, Thea Sophia. "Tradition, audiences, and agents : new approaches towards social interpretations of naturalistic human images from medieval Scandinavia, c. AD 500-1200". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609336.

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25

Casey, Mary Frances 1937. "The apocryphal infancy of Christ as depicted on the fourteenth-century Tring Tiles". Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278524.

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Abstract (sommario):

The ten rectangular red clay tiles which comprise the collection known as the "Tring Tiles" depict stories from the apocryphal Infancy of Christ Gospels and are dated to before the second century. The eight tiles held at the British Museum and the two tiles and fragments at the Victoria and Albert Museum are believed to be the remains of a longer series which were mounted as a wall frieze in Tring Parish Church. The images on the tiles portray Jesus, from ages three to eight, performing miracles of killing and revival, trickery, and acts of charity. The final tile depicts a wedding feast similar to the feast at Cana. Explanation for the placement of these tiles, produced with a rare technique and containing unusual portrayals of Jesus, in a parish church, is dependent upon the examination and interpretation of religious and social perspectives in early fourteenth-century England.

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26

Kay, Nancy J. "The sacred public sculptures in Antwerp: From their medieval origins to the French Revolution". View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318337.

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27

Dobrynin, Laura M. "Social Closure and the Arts in Late Medieval Siena". Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1336061460.

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28

Lopes, Fabiana Fontes. "Indumentária europeia do final da Idade Média: aspectos estéticos, produtivos, funcionais e materiais". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-03112017-155231/.

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Abstract (sommario):

O presente trabalho constitui uma dissertação de mestrado na área de história do vestuário medieval. Dentro do contexto da Baixa Idade Média (séculos X ao XV), visa identificar e analisar os aspectos mais relevantes na indumentária dos séculos XIV e XV. O recorte temporal foi escolhido por constituir um cenário de importantes mudanças políticas, econômicas e sociais, manifestas em um vestuário rico em nuances criativas. São analisados aspectos estéticos, funcionais, materiais e produtivos deste vestuário. O modelo de pesquisa é qualitativo, de modalidade histórica. As principais fontes de dados são a literatura das áreas de História, História do Vestuário, História da Arte e Arqueologia. As principais técnicas de coleta de dados empregadas são revisão da bibliografia, pesquisa em bancos de monografias e de imagens, acervo virtual de museus e registros em fotografia. O trabalho resultou em um detalhado panorama do vestuário dos séculos XIV e XV. Foi confeccionado um protótipo de forma a exemplificar uma reconstrução a partir das soluções de confecção propostas por autores do campo. A pesquisa constitui uma ferramenta para criação e confecção de figurinos ambientados ou inspirados na Baixa Idade Média, bem como reproduções e restaurações de peças históricas de museus
The present work of research constitutes a thesis on the history of medieval clothing field. Within the context of Late Middle Ages (10th to 15th centuries), it aims to identify and analyze the most relevant aspects in costume, particularly in the 14th and 15th centuries. The time frame was chosen for being the scenario of important political, economic and social changes. Said changes are manifest in a way of dressing that is full of creative nuances. Aesthetical, functional, material and productive aspects of said costume are analyzed. The research model is qualitative, of historical mode. The main data sources are literature in the areas of History, Art History and Archaeology. The main data collection techniques are literature review, research in monograph and image banks, online museum collections and photography records. The present work of research has resulted in a detailed overview of dress in the 14th and 15th centuries. A prototype was made in order to demonstrate a reproduction case, based on constructive solutions presented by authors of the field. This research provides a tool for creation and making of costume set or inspired in the Middle Ages, as well as replicas and restoration of historical museum clothing

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29

Churchill, Neil. "Depictions of power in the imperial art of the early Macedonian Emperors : Basil I, Leo VI and Alexander". Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/60892/.

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Abstract (sommario):

The last comprehensive study of Byzantine imperial art was published in 1936 and there have been surprisingly few investigations of the art of the Macedonian Dynasty, despite their reputation as active propagandists. Most studies of imperial art have taken a centuries-long perspective, identifying major patterns but overlooking choices made by or on behalf of individual emperors. This thesis considers imperial in the reigns of the first three Macedonain Emperors: Basil (867 - 886) and his sons Leo (886 - 912) and Alexander (912 - 913). It seeks to understand how they constructed images of their power and what imperial art says about the power dynamics at Constatinople. Chapter 1 considers imperial portraits. It concludes that although elements of the imperial image were unchanging, there were nevertheless important differences in the public images put forward by each emperor. Basil's physical power was often depicted, whilst Leo was depicted as a wise ruler. Aspects of emperor's private lives are also visible in their art. Chapter 2 charts the changing iconography between reigns. It studies the emergence and development of the motif of an emperor being crowned by a heavenly figure, which signified the idea of anointing, and its assimilation into imperial art. The chief innovator in terms of imperial iconography, however, was Alexander, and not Basil. Chapter 3 considers Basil and Leo's records as builders and renovators of churches, monasteries, palaces and other buildings. Whilst multiple motives were at work, Basil and Leo acted in different ways. Basil's activity, it is argued, partly reflected his response to the earthquake of 869, which might have jeopardised the perceived legitimacy of his seizure of power in 867. Chapter 4 considers power relations between the emperor and other members of the imperial household. It finds evidence of tension, for example between Basil and his surviving sons Leo and Alexander, as well as examples when imperial behaviour was not dynastic in character. Chapter 5 examines the relationship bwteen emperor and patriarch, at a time when there may have been ideological differences about the extent of imperial power. It suggests that patriarchal art presented a potential challenge to unfettered imperial power, which Basil was prepared to accept but which ran counter to the way that Leo saw his own authority. The study of imperial art in these decades supports that interpretation that art was evolutionary and adaptive in character. Yet it was more grounded in the ideas, chaacter and preferences of individual emperors than has often been recognised and did, on occasion, respond to topical concerns, hopes and fears.

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30

Iafrate, Allegra. "The wandering throne of Solomon: precious objects and legends of kingship in the Medieval Mediterranean". Doctoral thesis, Scuola Normale Superiore, 2013. http://hdl.handle.net/11384/85772.

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31

Blažekovič, Zdravko. "Music in Medieval and Renaissance astrological imagery /". Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb400633724.

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32

Schmidt, Victor Michael. "A legend and its image : the aerial flight of Alexander the Great in medieval art /". Groningen : E. Forsten, 1995. http://catalogue.bnf.fr/ark:/12148/cb36684522j.

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33

Kuhn, Maria Diane. "Mother Mary Comes to Me: The Stylistic Shift in Portrayals of Mary and her Adoration in Medieval Italy". Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619455685665479.

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34

Botin-Sanz, de Sautuola Carolina. "The Spanish additions to the Avila Bible : a mid c12th giant Italian Bible in Madrid, (Bib.Nac.,Vitr.15-1)". Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307160.

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35

Phillips, Dianne Tisdale. "The Illustration of the Meditations on the Life of Christ| A Study of an Illuminated Fourteenth-Century Italian Manuscript at the University of Notre Dame (Snite Museum of Art, Acc. No. 85.25)". Thesis, Yale University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10160872.

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Abstract (sommario):

For more than fifty years, the Meditationes Vitae Christi (MVC) and the most famous of its illustrated manuscripts (Paris, Bibliothèque nationale, Ms. ital. 115) have been employed by scholars to exemplify late medieval female spirituality. The mid-fourteenth century ilhuminated manuscript of the Meditationes in the Snite Museum of Art at the University of Notre Dame that is the subject of this dissertation provides valuable evidence of the popularity of the famous text originally written for a woman religious and its appropriation by urban laity. As an example of the shorter text, in Italian, with 43 chapters plus prologue, its 48 large colored miniatures and the decorated initials that begin each chapter, point to a wealthy patron quite unlike the Poor Clare to whom the MVC text was initially directed. The style of the miniatures indicates that the manuscript was illuminated ca. 1350 in Bologna, site of the pre-eminent European university for the study of law.

The dissertation explores how the Meditationes Vitae Christi was adapted for an educated and prosperous husband and wife. While written in the vernacular, the Snite MVC illuminations bear a strong resemblance to the illustrations in fourteenth-century Bolognese legal manuscripts. Despite the vivid and often unconventional imagery of the text that is designed to stimulate the reader's affective response to its re-telling of the story of the life of Christ, the miniatures tend to preserve traditional iconographies. The superficially conventional Snite miniatures, which often seem indifferent to the visual specifics of the text, serve to align it with orthodox doctrine and underscore the veracity of its contents.

An analysis of the illuminations of the Snite MVC reveals a particular attentiveness by the illuminator to the representation of male exemplars that would appeal to an elite educated patron, who might have been a judge or lawyer, or law professor. The Infancy miniatures in particular depict St. Joseph in a prominent role and dressed as a late medieval professional man The dignified representation of St. Joseph is consistent with his scriptural appellation as a "just man " By attending to the themes of justice and wisdom in both the MVC text and in its scriptural sources, the Snite miniatures prove to be much richer in meaning than first glance would suggest, and their affinity with legal manuscript illumination hardly accidental.

The iconographic analysis of the Snite miniatures is complemented by the study of the social and intellectual context in which the manuscript was produced. Despite the seeming simplicity of the miniatures, the illuminator and his advisor prove to be theologically sophisticated and scripturally literate. By means of the illuminations, the MVC is made compatible with the religious and professional concerns of the elite laity, providing access for men wielding worldly authority into the life of Christ in which powerful and learned men play largely negative roles. The Snite manuscript responds to the lay patron's desire to see in the example of Christ and the events of his life confirmation of late medieval social, juridical, and political structures. In its miniatures, it provides saintly models for the educated laity desirous of reconciling their Christian commitments with the demands of an active, urban, professional life.

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36

Williamson, Beth. "The Madonna of Humility : development, dissemination & reception, c.1340-1400 /". Woodbridge : The Boydell Press, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9781843834199.

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37

Vülser, Ingrid. "The theme of death in Italian art : the triumph of death". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33944.

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Abstract (sommario):

This paper focuses on the evolution of the theme the Triumph of Death, the representation of the personification of death and the dead in the late Middle Ages. The first part of this thesis represents different points of view of art historians and historians concerning the death and the afterlife. There follows a short description and analysis of the cultural environment especially regarding literature which closely relates to the visual art and the representation of death. The last part describes three themes of death and the most important representations in frescoes, panels, bas-reliefs of the Triumph of Death evincing the main idea and the underlying structure and composition. Two different ways of representation can be distinguished: the Triumph of Death in the shape of the apocalyptic rider as appearing in the Revelation of Saint John the Evangelist and the Triumph of Death based on Petrarch's poem the Trionfi.

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38

Reed, Laurel Elizabeth. "Approaches to fifteenth- and early sixteenth-century painting in Dalmatia". Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3355597.

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Abstract (sommario):

Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 378-402).

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39

Stillinger, Thomas C. "The song of Troilus : lyric authority in the medieval book /". Philadelphia (Pa.) : University of Pennsylvania Press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35659449r.

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40

King, Rachel. "Divine Constructions: A Comparison of the Great Mosque of Cordoba and Notre-Dame-du-Chartres". Thesis, Boston College, 2007. http://hdl.handle.net/2345/504.

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Abstract (sommario):

Thesis advisor: Katherine Nahum
This thesis is a comparison between medieval Christian and Islamic sacred architecture, using the Great Mosque of Cordoba and the Cathedral of Notre-Dame in Chartres as examples. The paper links a formal analysis and comparison of the buildings, including their use of space, light, and decoration to an analysis and comparison of each religion's philosophy and theology. It includes a discussion of the role of Neo-Platonist philosophy on the architecture of each religion
Thesis (BA) — Boston College, 2007
Submitted to: Boston College. College of Arts and Sciences
Discipline: Fine Arts
Discipline: College Honors Program

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41

Windsor, Guy Stanley Tresham. "Recreating Medieval and Renaissance European combat systems : a critical review of The Art of Sword Fighting in Earnest, Mastering the Art of Arms vol 1 : The Medieval Dagger, and The Duellist's Companion". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31279.

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Abstract (sommario):

The three publications offered for evaluation, The Art of Sword Fighting in Earnest, Mastering the Art of Arms vol 1: The Medieval Dagger, and The Duellist's Companion, establish by example the relatively young discipline of the accurate recreation of historical martial skills. This discipline includes the following elements: • Textual analysis of historical sources (The Art of Sword Fighting in Earnest). • Image analysis for the purpose of establishing details of the execution of the illustrated action (all three works). Mechanical or kinesthetic analysis of the actions described and depicted (The Medieval Dagger, The Duellist's Companion). • Determination of the historical and combat context in which the system is intended to work. In these cases, a formal duel or tournament contest between knights (The Art of Sword Fighting in Earnest, The Medieval Dagger), or illegal but socially acceptable unarmoured duelling (The Duellist's Companion). • Observation of the overall tactical and mechanical preferences of the martial system represented (The Medieval Dagger, The Duellist's Companion). • Organisation of the material into a syllabus for study and practice (The Medieval Dagger, The Duellist's Companion). The submitted works demonstrate the discipline as applied to the extant works of three historical masters: Philippo Vadi (ca 1440-1500), Fiore dei Liberi (ca 1350-1420), and Ridolfo Capoferro (ca 1557-1620). The unified body of work is the approach to the material as represented by these books. The submitted works: 1. The Art of Sword Fighting in Earnest (2018) is a translation and commentary on the late 15th-century Italian manuscript De Arte Gladiatoria Dimicandi. It makes the content of the manuscript available to anglophone non-paleographers, in a transparent way. The translation itself has also been released as a free download, with the original images in colour reproduction. 2. Mastering the Art of Arms vol 1: The Medieval Dagger (2012) is a practical syllabus for understanding and executing the dagger combat skills represented in Fiore dei Liberi's 1410 manuscript Il Fior di Battaglia. It includes detailed reference to the source, but also provides a template for martial skill development, such as ways to gradually increase the intensity and complexity of the drill until it approaches an actual combat environment. 3. The Duellist's Companion (2006) is a training guide for the style of rapier combat represented in Ridolfo Capoferro's 1610 work Gran Simulacro dell'Arte e dell'uso della scherma. Rapier mechanics and actions are refined and complex, so this book covers mechanics in some detail, and provides comprehensive instructions for making Capoferro's techniques and theory accessible to the modern reader. Taken as a whole, these publications represent a new form of manuscript study: the recreation from textual sources of our hitherto lost martial heritage, and the development of a pedagogical method by which these arts can be safely taught and practised.

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42

Ramirez, Loretta Victoria. "Spain's Toledo Virgen Abridera| Revelations of Castile's shift in Marian iconography from Medieval to Isabelline". Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10046237.

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Abstract (sommario):

For what secular purposes did Spanish artists absorb into Marian Immaculate Conception devotional art the attributes of the Apocalyptic Woman from the Book of Revelation? In this absorption of a traditionally active Apocalypse motif into a traditionally inactive Marian motif, were artists and patrons responding to religious, political, and cultural turmoil of multi-faith Iberian societies? I argue that a shift in Marian iconography paralleled consolidation of Castilian national identity in the late-fifteenth and early-sixteenth centuries. This consolidation manifests in the Virgen Abridera at the Convent of the Concepcion de las Madres Agustinas, dated 1520 in Toledo, Spain. This mutable sculpture, also called a Shrine Madonna, Triptych Virgin, or Vierge Ouvrante, is an example of the tota pulchra Immaculate Conception motif, the absorption of Apocalyptic Woman imagery, and the transference in narratives from the Joys of Mary to the Sorrows of Mary?all the products of contemporary Franciscan and Spanish worldviews.

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43

Palumbo, Maria. "Il soggiorno di Gherardo Starnina in Spagna". Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398755.

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Abstract (sommario):

La misteriosa storia di Gherardo di Jacopo Starnina ha affascinato la critica per quasi un secolo, tale maestro che alla fine del Trecento viaggiò in Spagna lavorando a Toledo e Valenza per poi tornare a Firenze dove ottenne fama e successo e il merito di una biografia del Vasari, gode di una ampia serie di studi che presentano ancora dei punti oscuri soprattutto riguardo al suo soggiorno spagnolo. La molteplicità di opere attribuitegli dopo la sua riunificazione con l'altro misterioso pittore detto il Maestro del Bambino Vispo hanno in parte chiarito il mistero che ruotava attorno a questo artista, ma non completamente. Il fatto inoltre che si tratti di un artista a contatto con due mondi completamente diversi ne fa un ponte tra universi artistici poco comunicanti tra loro. Il proposito di tale studio è quello di chiarire soprattutto il periodo spagnolo del pittore, nonostante la scarsezza di opere attinenti a questo momento. Per permettere una tale analisi si è dovuto ripercorrere tutta la storia critica di Gherardo di Jacopo. Si è passati poi ad analizzare i pittori fiorentini più rappresentativi della seconda metà del Trecento che possano aver influito sull'artista per poter meglio comprendere la solida base toscana che sottende alla pittura di Starnina, che vi innesta il suo personale aggiornamento sullo stile espressionistico e alla moda del gotico internazionale appreso a Valenza, creando quel miscuglio inspiegabile e nuovo che è il fulcro del suo stile. Si è provato ad arrivare a qualche nuova conclusione circa la sua attività a Toledo e Valenza. Infine si è ricordata la sua magnifica attività fiorentina di ritorno dalla Spagna, analizzando soprattutto alcune opere meno considerate dalla critica che mostrano una serie di caratteristiche estranee al mondo fiorentino. Al termine di una lunga indagine si è coscienti che una parte delle domande sul pittore resteranno senza risposta per mancanza di dati, ma si spera che l'aggiunta di alcune nuove conclusioni riguardanti soprattutto la sua possibile attività spagnola servano da punto fermo per ulteriori ricerche su un argomento tanto complesso, ricco di induzioni e povero di dati. Al di là dei lati oscuri, la maestria e la finezza di tale maestro sarà fondamentale per lo sviluppo di Lorenzo Monaco e degli altri maestri della breve stagione tardo-gotica fiorentina, prima di essere surclassata dal Rinascimento, al contempo il lungo viaggio di Gherardo di Jacopo in terra iberica darà origine a due fiammate artistiche italianeggianti sia a Toledo che presso alcuni maestri valenzani come Miguel Alcañiz. Questa è una storia di luci e ombre dove il dibattito critico ferverà a lungo, specialmente perché la mancanza di dati ha portato alla moltiplicazione delle ipotesi e tutt'ora lascia ampio margine alle intuizioni, ma nonostante le difficoltà di una tale ricerca, lo splendore delle opere del maestro e l'anomalia del suo percorso artistico lo rendono strategico per comprendere lo sviluppo sia di un aspetto del gotico internazionale valenzano che la repentina internazionalizzazione della pittura gotica fiorentina nella sua tappa finale.
My research intent is to shed light on the Spanish stay of Gherardo Stamina, a Florentine painter who settled in Valencia from 1395 to 1401, before returning to Florence after that date. His stay in the Iberian Peninsula is the more obscure side of his artistic activity. On that period, I tried to add new data to get a clearer view of his experience in Spain. At the same time, these new findings about his trip to Spain allowed revision of his catalog and pictorial activity. This painter, already indicated by Vasari as a Florentine artist who made his fortune abroad, become a classic example of how an artist moving between two countries could be a bridge between two very different schools of painting: the splendid season of the International Gothic of Valencia and the Florentine late Gothic painting. Precisely, the charm of Starnina lies on his capacity to connect two very different artistic worlds: this is a painter who influenced the international Gothic style in the city of Turia and the gothic developments in his native Florence.

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44

Wrapson, Lucy Jane. "Patterns of production : a technical art historical study of East Anglia's late medieval screens". Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695227.

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45

Beech, Robert. "The hammer-beam roof : tradition, innovation and the carpenter's art in late medieval England". Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5863/.

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Abstract (sommario):

This thesis is about late medieval carpenters, their techniques and their art, and about the structure that became the fusion of their technical virtuosity and artistic creativity: the hammer-beam roof. The structural nature and origin of the hammer-beam roof is discussed, and it is argued that, although invented in the late thirteenth century, during the fourteenth century the hammer-beam roof became a developmental dead-end. In the early fifteenth century the hammer-beam roof suddenly blossomed into hundreds of structures of great technical proficiency and aesthetic acumen. The thesis assesses the role of the hammer-beam roof of Westminster Hall as the catalyst to such renewed enthusiasm. This structure is analysed and discussed in detail. Its place in the milieu of late medieval architecture is assessed, and its influence evaluated. That influence took effect mainly in East Anglia. Thus, early fifteenth-century trends in hammer-beam carpentry in the region are isolated and analysed. A typology of is created, from which arise surprising conclusions regarding the differing priorities late-medieval carpenters ascribed to structure, form and ornament. A chapter is also devoted to a critical review of literature pertaining to the topic.

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46

Angers, Philippe 1968. "Principles of religious imitation in mediaeval architecture : an analysis of the Holy Sepulchre in Jerusalem and its European copies from the Carolingian period to the late Romanesque". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98534.

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Abstract (sommario):

This study concerns the concept of sacred architectural imitation, using the Platonic notion of mimesis which then later finds expression in the medieval idea of imitatio. In Religious as well as in artistic and architectural forms of expression, the notion of imitation is indeed a very central and complex issue. At the heart of this concept is the question of meaning, or, more precisely, the transference or translation of meaning; from original to copy, from prototype to reproduction.
In order to better illustrate and understand the principles guiding the notion of medieval sacred architectural imitation I have chosen to focus on five specific instances surrounding the replication of the Holy Sepulcher in Jerusalem, arguably the most revered landmark in Christendom.
A close examination of the relationships which exist between model and copy will bring to the fore the dynamics which govern the process of mimesis by which meaning is reproduced in the architectural replicas.
From this comparative analysis will emerge a more universal picture of the medieval concept of religious imitation. Indeed, if anything, a preliminary survey of the great many imitations of the Holy Sepulcher spread throughout Europe reveals to the observer a surprising trend, namely a consistency of inconsistencies in their effort to "copy".
The present study will demonstrate that these seeming inconsistencies within the application of the mimetic process nevertheless reveal a somewhat unexpected structure.
From the pattern of these inconsistencies will emerge a clearer picture of the principles governing the transfer of sacred meaning via the method of imitatio during the Middle Ages.

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47

Barber, Charles Edward. "Image and cult : studies in the representation of the Virgin Mary in early medieval art". Thesis, Courtauld Institute of Art (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261573.

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48

Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power". Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.

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Abstract (sommario):

This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.

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Sowley, Katherine Ilsley. "The Lady and the unicorn : the iconography of love in a series of fifteenth-century tapestries". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21266.

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Abstract (sommario):

The corpus of literature on the Lady and The Unicorn tapestries has most often focussed on technical/stylistic aspects or attempted to explain the iconography of this work with little definitive consensus in either domain. An informative element in the history of this problematic work is the patron, who played a primordial role in the artistic process of the late Middle Ages. Although the patron of our subject has been identified as Jean LeViste and his personal and family history is relatively well-documented, few attempts have been made to place this work in the context of his reality. An investigation of the figure and his milieu will certainly benefit our understanding of the themes of heraldic display and courtly love that are most often proposed to interpret our work. The patron's situation will bring us to a new level of interpretation in this work---the glorification of women---which, like the other themes represented throughout this series, served the interests of the patron and reflected his reality.

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Velimirovic, Nada. "Reflections of the divine| Muslim, Christian and Jewish images on luster glazed ceramics in Late Medieval Iberia". Thesis, Graduate Theological Union, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10240733.

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Abstract (sommario):

For eight centuries, from 711 until 1492, a unique combination of political, cultural, and faith traditions coexisted in the mostly southern region of the Iberian Peninsula now called Spain. From the thirteenth century through the fifteenth century, two key production centers of luster glazed ceramics emerged in this region: Islamic-ruled Málaga and Christian-ruled Valencia. Muslim artisans using Islamic decorative motifs on reflective luster glaze ceramics created objects that patrons, including nobility and Christian royalty, clamored to collect. Initially, traditional Islamic decorative motifs dominated luster glazed ceramic production by Muslim artisans in Málaga; eventually, these artisans used combinations of Islamic and Christian motifs. As wars raged near Málaga, Muslim artisans migrated to Valencia—some converting to Christianity. Here, luster glazed ceramics evolved to include combinations of Islamic and Christian motifs, and, in one example, Islamic and Jewish motifs.

This investigation of Iberian luster glazed ceramics examines religious decorative motifs and their meaning by using a methodology that combines material culture studies and art history. Material culture studies seeks: (1) To find value and meaning in everyday objects; and (2) To introduce the understanding that visual motifs communicate in a different way than texts. Additions from art historians augment the conceptual framework: (1) Alois Riegl’s concept of Kunstwollen—that every artistic expression and artifact that is produced is a distillation of the entirety of creator’s worldview; and (2) Oleg Grabar’s definition of Islamic art as one that overpowers and transforms ethnic or geographical traditions. In this dissertation, religious decorative elements on Iberian luster glazed ceramics are categorized as: (1) Floral and vegetative motifs; (2) Geometric symbols; (3) Figurative images; (4) Christian family coats of arms; and (5) Calligraphic inscriptions.

This dissertation will demonstrate how Muslim, Christian, and Jewish artisans used and combined the visual expressions of their respective faith traditions in motifs that appear on luster glazed ceramics created in the Iberian Peninsula under both Islamic and Christian ruled territories. Investigation of objects previously deemed not worthy of scholarly attention provides a more nuanced understanding of how religious co-existence (convivencia in Spanish) was negotiated in daily life.

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Tesi sul tema "Civilzation, Medieval, in art"

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