Tag Archives: Romanesque Art

Books Roundup: New Titles on Medieval Art

 

We would like to draw your attention to three new books on medieval art that came out in 2017: on architecture, metalwork and the iconography of St. John’s head.

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CRSBI – Annual lecture – Tuesday 25th April 2017 – 5.30pm

Ouroboros, single and in pairs at Kilpeck, England

Ouroboros, single and in pairs at Kilpeck, England

North and South of the Loire: The Culture of Copying and the Rebirth of Sculpture
by Professor Deborah Kahn
Tuesday 25th April 2017 at 5.30pm at the Courtauld Institute of Art, London.
 
Abstract
 
From his thesis of 1950 on “Regional Schools of English Sculpture” to his later writings, Professor George Zarnecki, deputy director of the Courtauld Institute of Art from 1961 – 74, showed himself to be a master of visual comparison.  In one of his last articles (written in 1992), he surveyed the iconographic kinship between the earliest Romanesque sculptures at Saint-Benoit-sur-Loîre, Bayeux and Toulouse.  These far-flung similarities revealed a culture of copying that led to what may be regarded as a rebirth of architectural sculpture in these regions.  The article still serves as the basis for further exploration of the visual relationships between the earliest monumental architectural sculpture and the role of copybooks and loose sketches in the transmission of motifs and iconography.   George speculated that the likely source of all these relationships was the monastery and library at Saint-Benoit-sur-Loîre — as indeed has turned out to be the case.   Moreover, the emergent taste for monumental architectural sculpture on the great new ashlar buildings of the first half of the 11th century appears to reflect not only the preoccupations of the abbot of Saint-Benoit, Gauzlin (1004-1030), but also those of his half brother Robert II (972-1031), whose foundations at Saint-Germain-des-Prés and Saint-Aignan at Orléans were richly carved in the 1020s as well.   The rebirth of monumental architectural sculpture in the early eleventh century thus turns out to have been given impetus by the ascendant Capetian dynasty.  These connections amplify the links set forth by George and confirm not only his extraordinary ability to trace previously unnoticed formal lineages but also his role in laying the ground for future studies in the field of Romanesque art.
Invitation is attached.  Seating is unreserved and booking is not necessary but please RSVP to this e-mail address: crsbiconnect@gmail.com

BAA Conference, Barcelona: Romanesque Art: Patrons and Processes

BAA Barcelona

Romanesque Art: Patrons and Processes

7-9 April 2014, Museu Nacional d’Art de Catalunya, Barcelona

Following earlier conferences on Romanesque and the Past (London, 2010), and Romanesque and the Mediterranean (Palermo, 2012), the British Archaeological Association is collaborating with the Museu Nacional d’Art de Catalunya and the Research project Magistri Cataloniae to stage the third in a biennial series of international conferences concerned with Romanesque art and architecture. This conference, Romanesque: Patrons and Processes, is concerned with patronage – and agency – in their broadest senses during the Romanesque period. Thus, in addition to more traditional prosopographical approaches, and examinations of individual patrons, there will be papers on various forms of institutional patronage. The conference will also address the processes involved in commissioning buildings or works of art – the mechanics of design – authorship – intermediaries and agents – and the extent to which patrons are designers. Are there limits to patronal influence?

Speakers include: Claude Andrault-Schmitt (Centre d’Etudes supérieures de Civilisation Médiévale CNRS/Université de Poitiers), Maria Bonet (Universitat Rovira i Virgili, Tarragona), Eduardo Carrero (Universitat Autònoma de Barcelona), Manuel Castiñeiras (Universitat Autònoma de Barcelona – Magistri Cataloniae), Hugh Doherty (Jesus College, Oxford), Eric Fernie (Courtauld Institute of Art), Alexandra Gajewski and Stephanie Seeberg

The conference will open at 9:30 on Monday, 7 April with lectures at the Museu Nacional d’Art de Catalunya (Parc de Montjuïc, 08038 Barcelona). Teas, coffees and lunch will be provided on all three days, in addition to dinners on two evenings and a drinks reception on the third. The conference will also include a late afternoon visit to the Romanesque collections at Museu Nacional, and a visit to the complex of early medieval and Romanesque churches at Terrassa. More information will be provided on the website.