On display in Rooms 51 and 51B in the Museo del Prado’s Villanueva Building is an exhibition on Master Mateo and his work for the cathedral in Santiago de Compostela, co-organised with the Real Academia Gallega de Bellas Artes, and the Fundación Catedral de Santiago. The exhibition brings together an exceptional group of fourteen works that were removed in the past from their original location (the west façade and choir) and are now housed in the cathedral museum and in different institutions and private collections. Notable among them are the recently restored sculptures of David and Solomon, and a Statue-column of a male figure holding a cartouche that was found last October inside the cathedral’s south tower, a discovery that represents an enormous advance in our knowledge of Master Mateo’s activities in the cathedral of Santiago de Compostela. The exhibition also offers visitors the chance to access material that provides a context for the works on display through the tablets made available thanks to sponsorship by Samsung as a technological collaborator of the Museum.
|October 16, 2016 through January 8, 2017|
Walters Presents A Feast for the Senses: Art and Experience in Medieval Europe
Features more than 100 objects from world-renowned collections
Baltimore, MD – The Walters Art Museum presents A Feast for the Senses: Art and Experience in Medieval Europe, a major international loan exhibition that brings together more than 100 works including stained glass, precious metals, ivories, tapestries, paintings, prints, and illuminated manuscripts from 25 public and private collections in the U.S. and abroad, including the Walters’ extraordinary medieval collection. On view from October 16, 2016 through January 8, 2017, A Feast for the Senses explores how medieval works of art spoke to all the senses. Luminous stained glass windows, tapestries depicting fragrant gardens, chalices used in the Eucharist—these objects were not only seen, but were also, and at the same time, touched, smelled, tasted, and heard. The Walters is first of only two venues to host this extraordinary exhibition. Admission is free.
During the late medieval period—roughly the 12th to 15th centuries—religious and secular life mingled to the point that the boundaries between them become hard to distinguish: the delights of life and anticipation of heavenly reward were closely intertwined. The arts of the time reflect a new interest in human experience, the enjoyment of nature, and the pursuit of pleasure by evoking and celebrating beauty through all of the senses. While such pleasures were not directed exclusively toward spiritual enlightenment, religious practices were also defined by rich sensory experiences.
The exhibition evokes these not only through the works of art on view but also through specially designed sensory experiences, ranging from smells of roses and incense to the sounds of church bells and gardens, and the tactility of rosary beads.
“In many museums today, visitors experience the artworks by viewing them from afar in silent galleries. A Feast for the Senses will push the boundaries of the art museum by inviting visitors to encounter art with more than just their eyes,” says exhibition curator Martina Bagnoli (former Walters’ curator of medieval art, who is now executive director of the Gallerie Estensi in Modena, Italy).
Loans and Support
More than 25 museums and collections in the United States and abroad are lending works to the exhibition, including the British Museum, London; the Musée du Louvre, Paris; the Bibliothèque nationale de France, Paris; the Rijksmuseum, Amsterdam; the Victoria and Albert Museum, London; the Metropolitan Museum of Art, New York; and the J. Paul Getty Museum, Los Angeles. The exhibition also includes masterpieces from the Walters’ renowned collection of medieval art, one of the most important in the United States
A Feast for the Senses has been organized by the Walters Art Museum, Baltimore, in partnership with the John and Mable Ringling Museum of Art, Sarasota, and will be on view at the Ringling February 4 through April 20, 2017.
The exhibition received major funding from the National Endowment for the Humanities: Exploring the human endeavor; the Institute of Museum and Library Services; the National Endowment for the Arts; and anonymous donors, with additional support from the Gary Vikan Exhibition Fund, Nanci and Ned Feltham, and the Helen Hughes Trust. The accompanying catalogue was made possible by an anonymous donor. Any views, findings, conclusions, or recommendations expressed do not necessarily represent those of the National Endowment for the Humanities, the Institute of Museum and Library Services, or the National Endowment for the Arts.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
A generously illustrated catalogue presents new research in the developing field of sensory perception within art history. It includes essays by leading scholars exploring the themes of the exhibition through representations of religious practices, royal rituals, feasts and celebrations, and music and literature. Edited by exhibition curator Martina Bagnoli, the catalogue is published by the Walters Art Museum and distributed by Yale University Press. It is available for sale in the Walters Art Museum Store and online ($65, hardcover) beginning in mid-October.
Opening Day Event
A public opening day talk Symposium on the Senses in Medieval Culture will be held Sunday, October 16 at 1:30 p.m. Exhibition curator Martina Bagnoli, Walters’ in-house curator Joaneath Spicer, and other scholars will explore aspects of the role played by sensory perception in medieval culture that are both surprising and completely familiar to us today. A reception and book signing follow. Tickets are $10, and free for Walters members.
New Exhibition: Opus Anglicanum: Masterpieces of English Medieval Embroidery, Victoria and Albert Museum, 1 October 2016 – 5 February 2017
From the 12th to the 15th centuries, England enjoyed an international reputation for the quality of its luxury embroideries, and were frequently referred to as ‘Opus Anglicanum’ (English work). Often featuring complex imagery, and ambitious in their scale and intricacy, they were sought after by kings, queens, popes and cardinals across Europe. This exhibition is the first opportunity in over half a century to see an outstanding range of surviving examples in one place. Paintings, illuminated manuscripts, metalwork and stained glass will be shown alongside, to explore the world within which these exquisite works were created.
Luxury embroideries were made by professional craftsmen and women living in the City of London, some of whom we can still identify by name. London was a hub for commerce, and the embroiderers formed part of an international mercantile network. The rare survivals of this extraordinary period of English art are today scattered across Europe and North America. Some of the embroideries have not been seen in Britain since they were produced.
Book now: vam.ac.uk/opus
English Medieval Embroidery Unpicked, day course, The Lydia & Manfred Gorvy Lecture Theatre @V&A Museum, Saturday 12 November 2016
STUDY DAY: This study day explores the world of England’s Medieval luxury embroideries, known as Opus Anglicanum. We will examine their materials, techniques and design; the patrons and artists involved; and the extraordinary images depicted on them.
During the later Middle Ages, England enjoyed an international reputation for its luxury embroideries, produced for Europe’s greatest patrons including kings, queens, cardinals and popes. This study day will put embroideries in the exhibition Opus Anglicanum: Masters of Medieval Embroidery under the microscope, examining their materials, techniques and design; the patrons and artists involved; and exploring the extraordinary images depicted on them. Leading experts in the field will discuss these questions in what promises to be a fascinating afternoon.
With exhibition curators Glyn Davies and Sally Dormer.
14.00 – 16.30, Saturday 12 November 2016
£35 full, £30 concessions, £15 students
Opus Anglicanum: An Introduction to Silk & Gold Embroidery, Workshop, Art Studio @V&A Museum, Saturday 12 November, 10.30 – 16.30
WORKSHOP: Learn the secrets behind the beautiful embroidery techniques of Opus Anglicanum as seen in this exhibition. Sarah will guide you step by step through split stitch fillings, surface couching and underside couching with gold threads on an Opus Anglicanum inspired piece of your own, in this one day introduction to medieval embroidery. All materials included.
Saturday 12 November, 10.30 – 16.30
£92.00, £73.60 concessions
(Lead Image: The Steeple Aston Cope 1330-40 (detail). The Rector and Churchwardens of St Peter and St Paul, Steeple Aston, Oxfordshire. On long term loan to the Victoria and Albert Museum, London.)
Les Enluminures is pleased to present Visions of Jerusalem: Medieval Christendom Imagines the City on a Hill. The exhibition explores the representation of the Holy City in the images and imaginations of the Latin West and the rich diversity of its representation in both word and picture. It is conceived to coincide with the major inter-
national exhibition at The Metropolitan Museum of Art, Jerusalem 1000-1400, Every People Under Heaven, which scrutinizes through a much broader lens the impact Jerusalem had on the many cultural traditions that hold it dear: Eastern, Western, African, Jewish, Muslim, Christian, each with multiple identities and denominations.
Far from inspiring a consistent Christian conception of the Holy City, we show how Jerusalem prompted a vast range of depictions by Western authors and artists. In a time before cameras, images of Jerusalem were less concerned with veracity than with the power of their associations. The versatility of the Holy Land allowed it to act not only as the mise en scène for the Church’s rich biblical-mystical tradition, but also as a virtual destination for spiritual pilgrims and a touchstone in medieval apocalyptic traditions, among others. These varying visions of Jerusalem exemplify the fascinating complexity of the city. In the medieval mind, Jerusalem was both heavenly and earthly. It was a physical location and a mental construction that offered a link to the past and a harbinger of the future.
Highlights of the exhibition include a miniature depicting the Agony in the Garden from the Holy Land Choir Book, the long lost first volume of the Bible of Louis de Harcourt, Patriarch of Jerusalem and Bishop of Bayeux, a beautifully illustrated early gothic copy of Peter of Poitiers’ geneological scroll, and a deluxe book of hours with miniatures attributed to the Workshop of the Master François.
23 East 73rd Street, 7th Floor, Penthouse, New York, NY 10021
September 16th through November 12th, 2016
Tuesday to Saturday, 10am – 6pm
Adrienne Albright / +1 212 717 7273 / firstname.lastname@example.org
On Thurs 12 May Jane Geddes has kindly offered to lead a tour of the V&A’s unparalleled collection of medieval ironwork. Prof Geddes is the world expert on medieval ironwork and this promises to be a wonderful opportunity to learn about an often neglected aspect of medieval material culture. We will meet at the information desk at the main entrance to the V&A at 10am on the 12th, and will finish by 12.
Spaces are limited so please email Margaret.Crosland@courtauld.ac.uk if you would like to come.
‘The Matter of Objects’: Medieval and Renaissance Materiality in Contemporary Conversation
Queen Mary University of London 26th May 2016
Deadline for Proposals: 15th February 2016.
Following the ‘Material Turn(s)’ of the last few decades the place of objects and their materiality has received invigorated attention within humanities research. Yet, approaches to the material often remain stifled by the abstract ways in which they are approached. In the words of social anthropologist Tim Ingold, the engagement of historians with the material is ‘not with the tangible stuff of craftsmen and manufacturers but with the abstract ruminations of philosophers and theorists.’
This project, culminating in a temporary exhibition, aims to juxtapose Medieval and Renaissance objects with contemporary artistic responses in order to challenge traditional narratives of the role of objects in academic research. Taking current humanities research as the launch pad for investigation the event aims to create an open space for conversation between researcher and practitioner. Proposed Medieval and Renaissance objects, and their narratives, will serve as inspiration for artists to create a response piece. The contemporary response will be displayed during an exhibition at Queen Mary, University of London, where a launch event will encourage artists and researchers to come together to discuss their processes of deconstruction, interpretation and creation.
The exhibition will be accompanied by short but critical introductions to each piece, from historian and artist, with room for questions and thought. By creating a space for dialogue with practitioners who approach and experience their knowledge of the material from a different angle, we might open the way for reinvigorated readings of objects from the past. To allow a greater reach and extend the life of the project the temporary exhibition will be supported by an online exhibition that will serve as an on going discussion space.
We are seeking proposals from doctoral or early career researchers in history/art history/literary studies who work on Medieval, Renaissance or Early Modern period and would be prepared to write a synopsis of their research project (accessible to a general audience) and select an object that can serve as a gateway into their research. If your research does not generally use objects (but you have an object in mind) we would still like to hear from you, as we are keen to hear about less traditional integration of objects into histories of the period.
Please contact us if you have further questions and send proposals of 250 words, including an image of your chosen object, its location, dimensions, and material (as far as they are known) and a brief biography to: email@example.com by 15th February 2016.
The event is supported by the Centre for Renaissance and Early Modern Studies at Queen Mary University of London.
The John Rylands Library is an extraordinary neo-Gothic building to which no tourist visit to Manchester is complete without. The architectural experience is supplemented by many fine exhibitions making use of its special collections, although due to their small, studious nature, they can often be overlooked. Communities in Communication is one such exhibition taking place in its cloistral vaulted corridors. Drawing on the Rylands’ large collection of books from the late medieval Netherlands, this small show forms part of a larger AHRC-funded project to understand the interplay of literary cultures in the late medieval Low Countries.
Guided by the excellent little exhibition booklet, the cases are grouped by themes that elucidate how the objects represent a window into the intellectual and linguistic cultures of their age. Trilingual phrase books show that individuals from urban burghers to the nobility were keen to improve their vocabularies. The new technology of printing had begun make written culture more accessible to a world burgeoning with literacy and an appetite for the word, and the majority of books here are printed rather than manuscripts written by hand. The books are beautifully displayed in shallow cases that allow you to appreciate the clarity of the printed text by actually reading the words, appreciating them as works of art and craft in themselves rather than simply vehicles for illumination. Perhaps the most significant object on show here is William Caxton’s Recuyell of the historyes of Troye, the first book printed in English.
I was fortunate enough to visit the exhibition on the occasion of a study day led by the exhibition curator, Adrian Armstrong. Our group was assigned a wonderful copy of Caxton’s English translation of the Golden Legend. First we studied the book as a physical object: assessing how the paper had been folded into bifolios and bound into quires. A copy that appears mint at first belies a fascinating object history: on close inspection showed how pages had been bookmarked by a neat reader. After a short break we looked at the book in a different way: how we might consider transcribing the text for a modern critical edition. Does one insert modern punctuation and expand contractions, or go the whole way and modernise the often archaic spelling? These are no doubt issues Caxton himself faced when sitting down with English, Latin and French versions of the Legenda Aurea back in Westminster in the 1480s.
These dual themes of material codicology and the linguistics of the text helped illuminate the texts on display outside, be it historical writing, poetry or phrasebooks. All these texts are material artefacts that can make manifest the essentially ephemeral speech of daily life in the late medieval Northern Europe: be it in diplomacy, trade, or leisure. This is certainly an exhibition to see if you are interested in the future aims of the project to unravel the interplay of literary cultures in this dynamic environment: both the autumn of the Middle Ages and the springtime of the Northern Renaissance.
Communities in the Communication: Languages and Cultures in the Late Medieval Low Countries is on at the John Rylands Library, Deansgate, Manchester until 21 December 2014. Admission is free.