Tag Archives: Sculpture

ANN: Summer Course: Study of the Arts in Flanders (Leuven, 18-29 June 2017)


campagne_sc3bis_0Leuven, Belgium, June 18 – 28, 2017

Deadline: Nov 30, 2016



Several Flemish research centres, universities and art museums
collaboratively organise the third edition of the Summer Course for the
Study of the Arts in Flanders in the summer of 2017. After the success
of the two previous editions with a focus on Jan van Eyck and Peter
Paul Rubens, this edition zooms in on Late Medieval and Early
Renaissance Sculpture. The target group for the course are master and
PhD-students in (art) history and junior curators from all over the

The aim of the Summer Course is to bring to Flanders, annually, a group
of 18 select national and international, highly qualified young
researchers and to present them with an intensive 11-day program of
lectures, discussions, and on-site visits. The theme varies annually
and focuses each year on a different art-historical period. The aim is
to provide the participants with a clear insight into the Flemish art
collections from the period at hand, as well as into the available and
most suited research methods, the state of the research and the
research needs. After the course the students will be ambassadors for
the Flemish arts abroad.

The third edition of the summer course is titled Medieval and
Renaissance Sculpture in the Low Countries and will take place from
June 18 through June 28, 2017. It is coordinated by Museum M – Leuven
and the Flemish Art Collection. Excursions will be made to Leuven,
Mechelen, Bruges, Antwerp, Amsterdam, Utrecht, Maastricht, Aachen,
Liège, Zoutleeuw and Brussels. The language of the Summer Course will
be English.

Candidates have earned an MA or are enrolled in a PhD programme, with a
focus on Late Medieval and Early Renaissance Sculpture. Candidates are
at the start of their professional career.
Thanks to the generous support of the Flemish Government the
participation fee of the Summer Course is now set at €900 per person.
The fee includes the full 11-day programme, 10 overnight hotel stays in
a single-occupancy room, all transportation within the programme, all
entry tickets, 2 receptions, 5 lunches and 5 dinners. Not included in
the participation fee is the transportation to and from Belgium.

Four grants in total will be awarded. Thanks to the generous support of
the Samuel H. Kress Foundation’s History of Art Grants Program 2 US
students and citizens are offered a grant that will fully cover the
programme fee and round trip flights between Belgium and the US.

The organisers of the Summer Course together with the Flemish
Government have made available 2 grants of €450 each. The recipients of
the grant will pay a reduced participation fee of €450 instead of the
regular fee.

Apply now through November 30, 2016. Mail to

The Summer Course is a joint initiative of Museum M – Leuven, the Royal
Museum of Fine Arts Antwerp, the Groeninge Museum Bruges, the Museum of
Fine Arts Ghent, the University of Ghent, the Catholic University of
Leuven, the Flemish Research Centre for the Arts in the Burgundian
Netherlands, the Rubenianum and the Flemish Art Collection. The
structural content partner for this edition is the Royal Institute for
Cultural Heritage.

Contact: Matthias.Depoorter@vlaamsekunstcollectie.be
Website: http://summercourse.eu
Facebook: http://on.fb.me/1VSivk4
Youtube: https://youtu.be/p95n769iVI0

CFP: AAH Session, Ritual and Sensory Experience in Medieval Sculpture

AAH 2017
43rd Annual Conference & Art Book Fair
Loughborough University
6th to 8th April 2017

Call for Papers: Ritual and Sensory Experience in Medieval Sculpture

Fixed to the facades of great buildings, or nestled within an elaborate architectural surround, medieval sculpture has a reputation as being static, immovable and durable. This session seeks to challenge these assumptions by examining the sensory environment of medieval sculpture and its relationship to ritual and performative practices.

Medieval rituals utilised a variety of objects and materials, and stimulated multiple senses through visual, musical and physical aspects of devotion. As incense burned and music filled the air, sculpture often provided a visual and tactile complement to these sensory experiences. The interactive role of sculpture is paramount for understanding the social qualities of medieval ritual and its bodily–kinaesthetic relationship to sacred space. Sculpture provides a tangible link to the study of ritual performance and a means of accessing the ephemeral activities central to medieval life. This session sets out to provide stimulating conversations on the study of medieval sculpture beyond the visible qualities of the medium.

Paper topics in this session might include examinations of the ritual context of funerary monuments, liturgical props, processional sculpture, reliquaries, cult statues and devotional objects, among others. We are also interested in papers that consider pedagogical approaches to ritual and offer new methodologies for their study. To supplement this session, we would like to propose a visit on the following day to Loughborough’s All Saints with Holy Trinity parish church to continue this conversation in a medieval space.

This session is facilitated by the Henry Moore Institute, a centre for the study of sculpture. It will incorporate the expertise of medieval sculpture scholars, including Dr Peter Dent (Bristol University and co-editor of Sculpture Journal) and Dr Stacy Boldrick (University of Leicester), who will serve as respondents to this session.

Session Convenors:
Elisa A Foster, Henry Moore Institute, elisa.foster@henry-moore.org
Jessica Barker, The Courtauld Institute of Art, jessica.barker@courtauld.ac.uk

Please email your paper proposals straight  to the session convenor(s). Provide a title and abstract for a 25 minute paper (max 250 words). Include your name, affiliation and email. Your paper title should be concise and accurately reflect what the paper is about (it should ‘say what it does on the tin’) because the title is what appears most first and foremost online, in social media and in the printed programme.

You should receive an acknowledgement of receipt of your submission within two weeksDo not send proposals to the Conference Administrator or the Conference Convenor.

Deadline for Paper Proposals: 7 November 2016


Edinburgh College of Art Trecento seminar, Artist and Authorship (6 May 2016)

Scultore, Firenze, Museo Bardini3 (1)6th May 2016
10:00 – 17:00
Hunter Lecture Theatre, Edinburgh College of Art, 74, Lauriston Place , Edinburgh

Convened by Claudia Bolgia and Luca Palozzi from the School of History of Art

This one-day international research seminar on ‘Artist and Authorship’ is designed to take stock of the field, showcase award-winning, original research and discuss different methodologies, thus charting new avenues for future research. While the research seminar’s main focus of attention is the Italian Trecento, contributions reach well beyond it to investigate different geographical areas – both East and West (Portugal, France, Spain, Byzantium) – across a broader timespan, including contemporary perspectives on the topic.




10.00 – 10.15 Luca Palozzi (Edinburgh College of Art), Introduction

Session 1: Visual Networks and Artistic Flows

Chair: Luca Palozzi (Edinburgh College of Art)

10.15 – 10.40 Emanuele Lugli (University of York), ‘Inventing the Network: Linking Figures and Connecting Knowledge in Trecento Italy’

10.40 – 11.05 Carla Varela Fernandes (Universidade Nova de Lisboa, Portugal), ‘France-Catalonia-Portugal: artistic flows in the Trecento. Some examples from the Digital Index of Magistri Cataloniae’

11.05 – 11.20 Q&A

11.20 – 11.40 Coffee break

Session 2: Authorship and Self-Representation: East and West

Chair: Claudia Bolgia (Edinburgh College of Art)

11.40 – 12.05 Maria Lidova (British Museum, University of Oxford), ‘Manifestations of Authorship: Artists’ Signatures in Byzantium’

12.05 – 12.30 Giampaolo Ermini (Scuola Normale Superiore, Italy), ‘The Opere firmate nell’arte italiana / Medioevo Project : some notes on Sienese metalworkers’ signatures: goldsmiths, locksmiths, bell makers’

12.30 – 12.55 Donal Cooper (University of Cambridge), ‘The Authorship and Audience of the Meditations of the Life of Christ’

12.55 – 13.10 Q&A

13.10 – 14.00 Lunch

Session 3: Self-awareness and Reception

Chair: Claudia Bolgia (Edinburgh College of Art)

14.00 – 14.25 Luca Palozzi (Edinburgh College of Art), ‘Before the Paragone: Trecento Visual Intelligence and the Critical Misfortune of Sculptors’

14.25 – 14.50 Corin Sworn (Artist and Lecturer, Ruskin School of Art, Oxford), ‘The Mobile Screen and the Early Modern Stage: A contemporary artist’s take on borrowing from the past’

14.50 – 15.00 Q&A

15.00 – 15.20 Coffee break

Session 4: Postgraduate Research Showcase, Discussion and Conclusions

Chairs: Claudia Bolgia (Edinburgh College of Art), Robert Gibbs (University of Glasgow), John Richards (University of Glasgow), Luca Palozzi (Edinburgh College of Art)

15.20 – 15.50 Research Showcase with History of Art PhD candidates at the University of Edinburgh

Maria Gordusenko, ‘Magester Ursus and his self-representation in the church of Santi Pietro e Paolo in Ferentillo’
Amelia Hope-Jones, ‘The Elusive Artist: A Thirteenth-Century Tabernacle in the National Gallery of Scotland’
Fabian Bojkovsky, ‘A Jewish Convert as Artist: The Shrine of San Vicente, Sabina and Cristeta at the Intersection between Legend, Historicity and Propaganda’
15.50 – 16.20 Discussion

16.20 Claudia Bolgia (Edinburgh College of Art), Conclusions

For all enquiries, please email: luca.palozzi@ed.ac.uk.

Conference: Medieval Tombs and their Spatial Contexts. Strategies of Commemoration in Christianity and Islam, University of Tubingen (18-20 February 2016)

Leeds 2015 CFP - voices from the grave-1Medieval Tombs and their Spatial Contexts. Strategies of Commemoration in Christianity and Islam

University of Tubingen, Kunsthistorisches Institut, Alte Burse, Bursagasse 1, Raum X, 72070 Tübingen, Germany,

Conference: February 18 – 20, 2016. Registration deadline: Feb 15, 2016

The idea that the shaping of tombs and funeral places goes beyond aspects of personal welfare and mirrors social functions and meanings of commemoration up to political claims is very popular in medieval research and leaves its mark on examples from Christian and Islamic contexts likewise. Beside an enhanced interest in ritual integration, recent investigations show a wider perspective on concrete location and spatial situation as main factor for the understanding of tombs and their function. As a result, space is interpreted beyond physical boundaries and frames as a relational definition based on social construct in the sense of collective perception, use and appropriation. The conference will give the opportunity to discuss these approaches within comparative perspectives on medieval objects, buildings and places of commemoration in Christianity and Islam. The focus lies on the relevance and the integration of tombs as places and spaces of formative and constitutive character in both religious cultures.

Registration now open:


Kunsthistorisches Institut der Universität Tübingen, Alte Burse, Bursagasse 1, Raum X, 72070 Tübingen

Thursday, 18.02.2016

13.45 Opening remarks

Francine Giese, Zürich / Kristina Seizinger, Jens Brückner, Markus Thome, Tübingen

Section I – Workshop des Graduiertenkollegs „Religiöses Wissen im vormodernen Europa“ Grabmaltopographien: Konstruktion und Wahrnehmung sakraler Orte und sozialer Distinktion

14.00 Jens Brückner, Tübingen

„Deus in cuius miseratione animae fidelium requiescunt…“ – die
liturgische Inszenierung von Grabmälern in Dom und Stadt Augsburg

14.45 Sebastian Scholz, Zürich

Totengedenken, Selbstdarstellung und Frömmigkeitspraxis im Spiegel der Inschriften vom 6. bis zum 15. Jahrhundert

15.30 Coffee break

16.00 Kristina Seizinger, Tübingen

Wer erhielt ein Denkmal in der Kirche? Standortwahl und Visualisierungsstrategien sozialer Gruppen zwischen Tradition und Wandel

16.45 Markus Hörsch, Leipzig

Die Zisterzienserabteikirche Heilsbronn – Hohenzollern-Grablege und Abbild höfischer Hierarchie
18.15 Keynote Lecture

Tanja Michalsky, Rom

“Napoli (…) che é pietosissima verso li suoi passati, ali quali ogn’hora edifica sepolcri, fabrica sepolture, inalza marmi, statue et colossi …“.Die historiographische Erfassung der Grabmalstopographie im Neapel der Frühen Neuzeit

19.30 Apéro

20.45 Night visit: Die Tübinger Stiftskirche als Begräbnisort

Friday, 19.02.2016
Section II
Location of the sepulchral monument: appropriaton and construction of commemoration places

09.00 Xenia Stolzenburg, Marburg

Sieben Kirchen für ein Stiftergrab. Santo Sepolcro in Mailand im
Spiegel des Stiftungsdokumentes um 1030

09.30 Richard McClary, Edinburgh

On a Holy Mountain? Remote and Elevated Funerary Monuments in Medieval

10.00 Patricia Blessing, Stanford

Urban Space Beyond the Walls: Siting Islamic Funerary Complexes in Konya

Coffee break

11.00 Susanna Blaser, Zürich

Die programmatische Einbindung der Königinnen-Grabmäler in die
dynastische Nekropole in Saint-Denis bis zur Mitte des 15. Jahrhunderts

11.30 Eva Leistenschneider, Ulm

Aux piez et au plus près de la sepulture de nostre corps… – Die Gräber
von Familienmitgliedern und Höflingen des Königs in der
Herrschergrablege Saint-Denis

12.00 Fozia Parveen, Harrogate

Mythmaking, Symbols and Topography: The Ottoman Tombs of Selim I,
Suleiman I and Selim II

Lunch break

Section III
Shaping concepts: construction of meaning through formal, spatial and ritual reference frames

14.00 Francine Giese, Zürich

The Capilla Real in Córdoba. Transcultural Exchange in Medieval Spain

14.30 Antje Fehrmann, Berlin

Das Grabmal als Prozess: Form, Raum, Liturgie und Rezeption am englischen Königs- und Königinnengrabmal

Coffee break

15.30 Jessica Barker, London

Voices from the Grave: Tomb Monuments and Sound in Late-Medieval England

16.00 Sami L. De Giosa, London

The crosses of the Sultan: Sultan Qaytbay’s complex (1472-1474) and the mystery of two decorative elements carved in stone

16.30 Stefan Bürger, Würzburg

Zu den lokalen, liturgischen, historischen, genealogischen, baukulturellen und bautechnischen Kontexten der Grablege Bischof Thilo von Throtas im Merseburger Dom

18.15 Keynote lecture

Doris Behrens-Abouseif, London

Between written and unwritten testimonies: The Christian influences on
the mausoleum of Sultan Qalawun in Cairo

19.30 Conference dinner

Saturday, 20.02.2016

09.00 Markus Thome, Tübingen

Kathedralen als Gedächtnisräume. Das Bischofsgrabmal und die Visualisierung liturgischer Gemeinschaft im Spätmittelalter

09.30 Jörg Richter, Hannover

Eine Kathedrale ohne Bischöfe? Memorialtopographie und Memorialkalender am Halberstädter Dom im 15. Jahrhundert

Coffee break

Section IV
Political strategies: Power issues and sepulchral monuments as means of formation of identity

10.30 Barbara Franzé, Lausanne

Das Grabmosaik der Abtei von Saint-Bertin in Saint Omer (1109): Der Ausdruck der gräflichen Autorität zur Zeit der gregorianischen Reform

11.00 Christina Vossler-Wolf, Tübingen

Von Stiftern und Mönchen – Grablegen und monastische Raumkonzepte am Beispiel des ehemaligen Zisterzienserklosters Bebenhausen

11.30 Claudia Jentzsch, Berlin

„Florentiner Bescheidenheit“? Raumordnungen und Regulierungen der Begräbniskultur in spätmittelalterlichen Florentiner Sakralräumen

Lunch break

13.30 Sara Mondini, Venedig

A widespread ‘taste for the macabre’, apotropaic or political marks? Urbanism, landscapes and funerary architecture in the Indian Sultanates

14.00 Anna Pawlik, Köln

Ort des Gedenkens, Ort der Repräsentation. Das patrizische Grabmal im Spätmittelalter

14.30 Peyman Eshaghi, Karaj

From a Familial Grave to a National Shrine: Fundamental Changings in the Position of Safi-ad-din Ardabili’s tomb during the Safavid Dynasty in Iran

15.00 Final discussion


Registration deadline: Feb 15, 2016

Book round up: L’aventure des cathédrales, Le cloître de Saint-Génis-des-Fontaines, La scultura in Valnerina tra i secoli XIV e XVI: Scoperte e nuove proposte, Cisterciensi: Arte e storia & Byzantine Art and Italian Panel Painting: The Virgin and Child Hodegetria and the Art of Chrysography

Five recent publications that may be of interest to our readers:


GÉRARD DENIZEAU.  L’aventure des cathédrales, Larousse, 2015, 128 p. ISBN: 978-2035923455

The story of cathedral construction, told through the involvement of the artisans (carpenters, blacksmiths, masons, masters of stained glass and more).




scultura-valnerina-239x330DIEGO MATTEI. La scultura in Valnerina tra i secoli XIV e XVI: Scoperte e nuove proposte. Dal Formichiere, 2015, 103 p. ISBN: 978-8898428564

New research into the sculptural traditions of the Valnerina region,  containing  many hitherto little known or unpublished works.




cloitre-genis-184x330GÉRALDINE MALLET. Le cloître de Saint-Génis-des-Fontaines, Trabucaire, 2015, 80 p.ISBN: 978-2849742167

A study of the medieval cloister of Saint-Génis-des-Fontaines, often described as a “jewel” of the Romanesque.





cisterciensi-arte-253x330TERRYL N. KINDER; ROBERTO CASSANELLI (ed.). Cisterciensi. Arte e storia, Jaca Book, 2015, 432 p. ISBN: 978-8816604414

An analysis of Cistercian art, culture, contribution and life from the twelfth century to the present, with 40 contributions from international scholars.




byzantine-hodegetria-238x330JAROSLAV FOLDA. Byzantine Art and Italian Panel Painting: The Virgin and Child Hodegetria and the Art of Chrysography, Cambridge University Press, 2015, 424 p. ISBN: 978-1107010239

Tracing the transformation of the Hodegetria, from the Byzantine virgin as human mother of God, to the Italian Madonna enthroned as Queen of Heaven.

Late Romanesque Sculpture in European Cathedrals: Stages, Narratives and Materiality (18-20 Nov 2015, Tarragona)

Girona 3The TEMPLA research group has convened a conference to discuss the usefulness of traditional stylistic terminology, and consider the questions posed by the categorisation of medieval European artistic production, specifically as this affects our understanding of work from the second half of the 12th century. Nowadays it is still difficult to grasp with any subtlety how late Romanesque sculpture was used across Latin Europe, and how it interacted with other media and other styles. Our purpose is to analyse the role of sculpture as both programme and scenery – foreground and background – specifically with regard to the solutions adopted in cathedrals.

Cambra de Comer• (Av. Pau Casals, 17, 43003 Tarragona)

Price (attendance to the sessions and cafe-break): standard €50
students and unemployed €30
(conference proceedings included)

For more information on joining email dir.irh@udg.edu, stating the name of the conference.

Wednesday: 18 November

09h00-09h05. Reception and opening

09h05-09h45 Opening lecture: Xavier Barral i Altet (Universtà Ca Foscari – Venezia)

Què és l’anomenada escultura romànica tardana?

Session I: Late Romanesque sculpture in the cathedrals of Europe I

Chair: Emma Liaño Martínez (Universitat Rovira I Virgili)

09h45-10h30. Marcello Angheben (CESCM – Université dePoitiers)

Programas iconográficos y experiencias plásticas en Avallon y Chartres en las décadas centrales del siglo XII

10h30-11h00. Discussion

11h00-11h30. Cafe-Break

11h30-12h15. Quitterie Cazes (Université Toulouse Jean Jaurès):

La escultura monumental en las catedrales y su entorno en el país tolosano alrededor de 1200

12h15-13h00. Free papers

13h00-13h.30. Discussion

13:45-15:45. Lunch

Session II: Late Romanesque sculpture in the cathedrals of Europe II

Chair: Jaime Nuño González (Fundación Santa María La Real para el Patrimonio Histórico – Centro de Estudios del Románico. Aguilar de Campoo)

15h45-16h30. Claudia Rückert (Adolph Goldschmidt Zentrum, Humboldt Universität Berlin)

Alrededor de 1200. La escultura monumental en Alemania. Viejas y nuevas concepciones

16h30-17h15. Elisabetta Scirocco (Kunsthistorisches Institut in Florenz-Biblioteca Herziana di Roma)

La scultura nello spazio liturgico in Italia meridionale, XI-XIII secc.

17h15-18h00. John McNeill (University of Oxford Continuing Education)

Late Romanesque Sculpture in English Cathedrals: How far can the evidence take us?

18h00-18h30. Discussion

18h30. Visit to Santa Maria del Miracle


Session III. The Cathedral of Tarragona: visit to the church and cloister

09.30-13.30 Emma Liaño (Universitat Rovira i Virgili), Antonio Martínez Subías (Arxiepiscopat de Tarragona), Marta Serrano (URV-TEMPLA), Gerardo Boto

13.45-15.45 Lunch


Session IV: Sculptural Programs in the Cathedrals of the Iberian Kingdoms I

Chair: Marc Sureda i Jubany (Museu Episcopal de Vic)

15h45-16h30. Marta Poza Yagüe (Universidad Complutense deMadrid)

La recepción de esquemas borgoñones a finales del siglo XII, ¿canto del cisne de la escultura románica en Castilla?

16h30-17h15. José Carlos Valle Pérez (Museo de Pontevedra).

La escultura tardorrománica en las catedrales de Orense y Lugo

17h15-17h45. Discussion

17h45-18h15. Cafe-Break

18h15-19h00. Francisco Prado-Vilar (Real Colegio Complutense – Harvard University)

‘Aula siderea’: el esplendor de la Catedral de Santiago en los albores del siglo XIII / ‘Aula siderea’: The Splendor of the Cathedral of Santiago at the Dawn of the 13th Century

19h00-19h20. Free papers

19h20-19h45. Discussion

20 NOV. 2015

Session V: Sculptural Programs in the Cathedrals of the Iberian Kingdoms II

Chair: Javier Martínez de Aguirre (Universidad Complutense de Madrid)

09h00-09h45. José Luis Hernando Garrido (UNED Zamora- TEMPLA) – Antonio Ledesma (Universidad de Salamanca).

‘De la Eglesia de Sancta María de la Sey de Salamanca’¿Prolongación o final de la escultura tardorrománica en los viejos reinos de León y de Castilla?

09h45-10h30. Free papers

10h30-10h00. Discussion

11h00-11h30. Cafe-Break

11h30-12h15. César García de Castro Valdés (Museo Arqueológico de Asturias-TEMPLA).

La renovación escultórica de la Cámara Santa de la catedral de Oviedo en el contexto del tardorrománico del occidente peninsular

12h15-13h00. Esther Lozano López (UNED Tarragona-TEMPLA)

Imágenes que transforman espacios en las catedrales del Ebro: montaje y puesta en escena

13h00-13h30. Discussion

13h30. End of conference. Summary of contributions and conclusion.

Optional visit: 16h30. La presència romana a la Tarragona medieval (guided visit directed by Joan Menchón).

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.


PAOLO PIVA: L’arte medievale e il suo contesto


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)


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.