Tag Archives: European painting

New publications: L’arte medievale nel contesto 300-1300. Funzioni, iconografia, tecniche AND L’arte di Francesco. Capolavori d’arte italiana e terre d’Asia dal XIII al XV secolo

PAOLO PIVA (ed.). L’arte medievale nel contesto 300-1300. Funzioni, iconografia, tecniche, Jacamedievale-contesto-240x330 Book, 2015, 450 p.
ISBN: 978-8816371255

El amplio abanico configurado por las contribuciones que conforman este volumen, donde se analizan funciones, temas y técnicas, incluyendo discusiones sobre personalidades artísticas, cronología y estilo, pone de manifiesto los fuertes raíces históricas del arte medieval, en su contexto.

Sin un carácter estrictamente sistemático, el volumen -que no está dirigida a una tipología de lector en particular, sino a estudiantes, académicos y expertos en la materia- constituye la mirada científica más amplia y actualizada disponible sobre el milenio medieval en occidente.

Premessa

PAOLO PIVA: L’arte medievale e il suo contesto

Introduzione

FULVIO ZULIANI: La percezione del Medioevo

Architettura, scultura monumentale, vetrata

HARMEN H. THIES: Progressi’ tecnici ed evoluzione dei sistemi strutturali negli edifici di culto (secoli VI-XVI)
WOLFGANG SCHENKLUHN: Iconografia e iconologia dell’architettura medievale
FRANCESCO GANDOLFO: La facciata scolpita
ANTONIO CADEI: Le cattedrali all’origine del Gotico

Spazio liturgico, oggetti, soggetti

PAOLO PIVA: Lo “spazio liturgico”: architettura, arredo, iconografia (secoli IV-XII)
JEAN-PIERRE CAILLET: L’arredo dell’altare
VICTOR M. SCHMIDT: Tavole dipinte: tipologie, destinazione e funzioni (secoli XII-XIV)
GIUSEPPA Z. ZANICHELLI: I “soggetti” dei libri liturgici miniati (VI-XIII secolo)
YVES CHRISTE: L’iconografia e il ruolo dell’esegesi

Pittura, iconografia, contesto

SILVIA BIANCA TOSATTI: Le tecniche della pittura medievale
HERBERT L. KESSLER: Storie sacre e spazi consacrati: la pittura narrativa nelle chiese medievali fra IV e XII secolo
ANTONIO IACOBINI: Il mosaico in Italia dall’XI all’inizio del XIII secolo: spazio, immagini, ideologia
LUDOVICO GEYMONAT, PAOLO PIVA, FABIO SCIREA: Pittura murale, contesto strutturale, pianificazione iconografica (esempi del XIII secolo)

Conclusione

SERENA ROMANO: Il nuovo racconto. Assisi e la svolta della pittura narrativa

arte-francesco-268x330ANGELO TARTUFERI; FRANCESCO D’ARELLI. L’arte di Francesco. Capolavori d’arte italiana e terre d’Asia dal XIII al XV secolo, Giunti, 2015, 480 p.
ISBN: 978-8809808010

Catálogo de la exposición llevada a cabo en la Galleria dell’Accademia de Florencia, donde se reúnen por primera vez las obras de arte realizadas a partir de la promoción franciscana medieval, las cuales son confrontadas con obras de arte asiático pertenecientes al mismo período.

De este modo, se destacan y al mismo tiempo se analizan los estrechos vínculos que se entrecruzan entre la Orden Franciscana en los siglos XIV y XV y las tierras de evangelización oriental, de Egipto a China, desde Jerusalén a Mongolia.

Los estudios incluidos en el catálogo y la selección de obras (que comprenden pinturas y esculturas de Giunta di Capitino, Taddeo Gaddi, Carlo Crivelli, Nicola Pisano y Andrea della Robbia, miniaturas, artes aplicadas de temática franciscana y documentos) dan testimonio de la obra de evangelización de personajes como Odorico da Pordenone, Giovanni da Pian del Carpine y Giovanni da Montecorvino.

Call for Papers: Beguiling Structures Architecture in European Painting 1300-1550

Screen Shot 2014-05-04 at 21.33.43Beguiling Structures
Architecture in European Painting 1300-1550
19th September 2014, National Gallery, London

“Is it not true that painting is the mistress of all the arts or their principal ornament? If I am not mistaken, the architect took from the painter architraves, capitals, bases, columns and pediments, and all the other fine features of buildings. The stonemason, the sculptor and all the workshops and crafts of artificers are guided by the rule and art of the painter. So I would venture to assert that whatever beauty there is in things has been derived from painting.”

Leon Battista Alberti – De Pictura, Book II, Chapter XXVI.

So runs Leon Battista Alberti’s famous claim for architectsindebtedness to the creativity of painters. His words draw attention to the close relationship between illusionistic representations of architecture and its actual three-dimensional forms. Indeed, the prominence given to architecture within painting before and after Alberti’s lifetime has long been noted, though its presence is easily overlooked and its precise meaning often elusive. This conference for graduate students and early-career scholars will explore this relationship in all its multifaceted complexity. Conceived to complement The National Gallery’s exhibition Building the Picture: Architecture in Italian Renaissance Painting, this event will look afresh at architecture’s place within European painting and reassess established interpretations. Why were buildings included in pictorial representations? What is their purpose and what do they do for the picture? The answers to these and other questions may well uncover a far more complex interchange between painting and architecture than Alberti’s straightforward assertion would suggest.

Students and scholars working in the visual arts of the late-Mediaeval and Renaissance periods are therefore warmly invited to submit proposals for twenty-minute papers. Interdisciplinary approaches to these subjects and discoveries of current research are particularly welcome. Potential topics for consideration may include:

-The use of architecture to demonstrate perspectival devices and to structure pictorial composition.
-The adoption of elaboration, ornamentation and the ‘fantastic’ in depicted architecture.
-The use of architectural forms to visualise historical time and specific topographies within narratives.
-The theoretical discourse of perspective and its terminology within contemporaneous accounts.
-The creation of dialogues between the architecture of the painting and that of its original location.
-The use and significance of architectural frames both within paintings and surrounding them.

Whilst papers on these themes are encouraged, submissions for proposals on topics across the broader spectrum of artistic media, chronological periods and geographical locations are also welcome. Proposed papers’ titles and abstracts of 250 words, and any additional enquiries, should be forwarded to beguiling.structures@gmail.com by Monday 16TH June 2014. This conference, organised by Alasdair Flint, James Jago and Livia Lupi, forms part of the Galleries & Museums Research Partnerships Programme between The National Gallery, London and the Department of History of Art, The University of York.