Using altarpieces by the famed medieval artist Tilman Riemenschneider as touchstones for her argument, Boivin explores how artwork in Germany’s preeminent medieval city, Rothenburg ob der Tauber, deliberately propagated civic ideals.
With over 180 color images, this major reference book will appeal to students and scholars of French, comparative literature, art history, history of the book, and translation studies.
The ten diverse essays contained within this open-access volume explore the art and architecture of parish churches through a variety of lenses, methodologies, and perspectives, ranging from (re)considerations of the very definition of the parish church to phenomenological explorations of their component parts, as well as case studies of their decorative schemes.
Elina Gertsman argues that Gothic art, in its attempts to grapple with the unrepresentability of the invisible, actively engages emptiness, voids, gaps, holes, and erasures.
Jeffrey F. Hamburger is the Kuno Francke Professor of German Art & Culture at Harvard University and an internationally renowned expert on sacred art of the high and late Middle Ages, in particular on the function of images in theology, mysticism and piety, as well as for manuscript illumination.
This collection provides students and scholars with carefully selected, introduced, and annotated materials from non-Islamic sources dating to the early years of Islam. These can be read alone or alongside the Qur’an and later Islamic materials.
Heretofore largely unnoticed or ignored, the pre-eminence of the right and lapses or intentional departures from that norm in medieval imagery are relevant to such major themes as iconography, visuality, reception, narrative, form, gender, production, and patronage.
This groundbreaking collection of texts, translated from sources in a dozen languages from the seventh to the eighteenth centuries, presents the historical process of conversion to Islam in all its variety and unruly detail, through the eyes of both Muslim and non-Muslim observers.
Dumbarton Oaks houses the largest collection of Byzantine lead seals in the world, with approximately 17,000 specimens. Volume 7 of the ongoing series of Dumbarton Oaks catalogues presents a distinct part of the collection: 572 anonymous seals bearing sacred images on both sides.
The collection of essays gathered in this volume investigates the interaction between art and relics as a distinct historical relevance for devotional art of Early Modernity and the Renaissance.