Mary of Guelders’ richly illuminated prayer book, written by Helmich die Lewe and completed in 1415, is extraordinary for several reasons: it originally consisted of more than 600 folia, it is richly illuminated, it was written in the Lower Rhine vernacular, and it contains an unusual compilation of prayers, hours and components of a breviary. These past few years the book has been the focus of a research project spearheaded by the Staatsbibliothek zu Berlin and Radboud University in Nijmegen. Their hard work has yielded enough noteworthy results to deserve its own exhibition which will open in Museum Het Valkhof on 13 October 2018 and will run until 6 January 2019. It will feature the research’s findings on the comprehensive and complex prayer book, the life of Mary, Duchess of Jülich and Guelders, and cultural developments in the duchies of Guelders, Jülich and Berg. To mark the occasion of the exhibition entitled ‘I, Mary of Guelders. The duchess and her extraordinary prayer book’ Radboud University is organising a two-day conference in Nijmegen together with Museum Het Valkhof and the Staatsbibliothek zu Berlin.
A new book on the theme of Angevin Art in Southern Italy has just been published.
In San Michele in Monte Laureto a Putignano. La grotta dell’Angelo e la cultura pittorica angioina nel meridione barese, Marcello Mignozzi reconstructs the history of the rupestrian church of Saint Michael in Monte Laureto in Putignano (Apulia), Italy, investigating its historiographical, historical, and artistic aspects. The cross analysis of archival and artistic data allows the author to understand the value of an almost forgotten Medieval Sanctuary. The magnificent fourteenth-century fresco with the Crucifixion, made by two artists from Apulia influenced by Neapolitan art, is finally included in the pictorial context of the Angevin region. In this regard a lot of space is dedicated not only to examine the theme of the Crucifixion in the painting of the entire region, but also to frescoes, many of them unpublished, in Polignano, Mola di Bari, Monopoli, Noci, Conversano, Rutigliano, Capurso, Triggiano. Part of the work is then dedicated to the events of the rock church in the Modern Age, to the sculptures of Stefano da Putignano, and to the Contemporary Age. Finally, the study of road networks during the Middle Ages allows the reconstruction of the complex system of pilgrimages, but also of political and artistic relations between Putignano and the Angevin Principality of Taranto.
For more information on this publication, see https://www.ibs.it/san-michele-in-monte-laureto-libro-marcello-mignozzi/e/9788899224301.
A century separates us from the “rupture of history” and the historical ambiguities that the early heroic modernism introduced in the urban space, and eighty years from the destruction of the European monumental deposit from the bombings of WWII, a defining moment for the introduction of new kinds of monumentality alongside the old ones. Yet, monumentality still emerges as a major spatial, aesthetic, symbolic, architectural and archaeological phenomenon. In a climate of pessimism in present day western cities, which are dealing with an increasingly precarious present, due to economic and other forms of instability, the durability of monumentality as “urban permanence” (the famous Aldo Rossi concept), appears to be among the few remaining symbolic and spatial rocks and as such is needed, maintained, enhanced, landscaped and even invented.
The international conference “On Monumentality”, organised by the Module Art-Architecture-Urban Planning, Hellenic Open University, to be held in the Acropolis Museum, Athens, 4-6 of April, 2019, will explore the following relevant dimensions of monumentality and the monumental both in the European urban and peripheral space and also of cities/countries globally: Continue reading
PhD FUNDING OPPORTUNITY: AHRC CHASE Collaborative Doctoral Award
GLASS, CERAMICS, LEATHER, AND METALWORK IN MEDIEVAL LONDON
Is a broken artwork useless?
What can only a fragment of something tell us about the past?
The University of East Anglia, in partnership with the Museum of London, invites applications from suitably qualified UK/EU candidates for a full-time or part-time Collaborative Doctoral Award, funded by the UK Arts and Humanities Research Council through the CHASE doctoral training partnership, to conduct research as part of the Beautiful Fragments Project.
This Collaborative Doctoral Award will support PhD research into the role played by fragmentary objects in understanding the art and visual culture of the later Middle Ages (c.1000-1500).
Gothic Arts: An Interdisciplinary Symposium
Class of 1978 Orrery Pavilion
Van Pelt Library
University of Pennsylvania
March 23rd-24th, 2018
Mary Caldwell, Department of Music
Sarah M. Guérin, Department of the History of Art
Ada Kuskowski, Department of History
In a passage from Thomas Aquinas’s treatise on good governance, a text written for the Cypriot king around 1267, the angelic doctor wrote: “Art is the imitation of nature. Works of art are successful to the extent that they achieve a likeness of nature.” This passage would seem to be the perfect explanation for the exceptionally life-like Adam sculpted for the south transept at the Parisian Notre-Dame, completed a handful of years earlier and possibly seen by Thomas before he left Paris for his Italian sojourn. However, by “ars” Aquinas meant not our “fine arts,” but technique and, even more broadly, human endeavor. The passage comes not from a discussion of the visual arts, but from a justification of benign kingship as opposed to democracy—the former being more akin to nature.
Eine Veranstaltung der Staatsgalerie Stuttgart und des Instituts für Kunstgeschichte der Universität Stuttgart:
Zwei Hauptwerke unserer Sammlung waren in den letzten Monaten Gegenstand eines interdisziplinären Forschungsprojekts: die »Stuttgarter Apokalypse-Tafeln«, die um 1332/34 in Neapel geschaffen wurden. Detailreich und originell schildern sie die Visionen der Endzeit aus dem biblischen Buch der Offenbarung.
Erstmals haben nun Kunsthistoriker, Restauratoren und Naturwissenschaftler gemeinsam zu den Tafeln geforscht. Ihre Ergebnisse präsentieren sie in dem Band »Die Stuttgarter Apokalypse-Tafeln«, der im März 2018 erscheint (80 Seiten, 69 farbige Abbildungen, Sandstein Verlag, Dresden, 19,90 € im Museumsshop). Mit großformatigen Farbtafeln und Detailaufnahmen zeigt das Buch, wie der Künstler zu seinen Bilderfindungen gelangte und durch seine raffinierte Maltechnik, verbunden mit kostbaren Materialien, die Wirkung der Gemälde steigerte. Neue Erkenntnisse zu Auftraggeber und Funktion verorten die Tafeln in der Hofkultur des Königs Robert von Anjou in Neapel.
Am 20.4.2018, 10.00–17.00 Uhr, veranstalten die Staatsgalerie und das Institut für Kunstgeschichte der Universität Stuttgart einen internationalen Studientag mit Beiträgen renommierter Wissenschaftlerinnen und Wissenschaftler aus dem In- und Ausland.
Manuscripts in the Making
Art and Science, vol. 1
Edited by Stella Panayotova & Paola Ricciardi
More Info: http://bit.ly/2ywI3Si
This ground-breaking publication presents the papers delivered at the international Conference held in Cambridge in December 2016 to mark the end of the Fitzwilliam Museum’s acclaimed bicentenary exhibition “Colour: The Art and Science of Illuminated Manuscripts”. It is the first of two volumes in which medievalists and scientists share the results of their research, and combine here to elucidate both the materials and techniques of production of illuminated manuscripts, as well as the artists’ collaboration and their aesthetic objectives. Of the 34 papers given at the proceedings, 17 are included in the present volume covering scientific analyses of West European, Byzantine and Islamic manuscripts, Colour and Pigment Studies, Painting Techniques and Workshop Practices, as well as details of the latest scientific techniques and instruments employed for these non-invasive and non-destructive investigations into the delicate manuscripts. The texts are accompanied by over 200 illustrations as well as explanatory tables and diagrams.
Table of Contents