As horas de Margarida de Cleves


Book Description

This volume reproduces for the first time the full complement of miniatures and a selection of text pages from The Book of Hours of Margaret of Cleves. Produced in Holland probably in the closing years of the 14th century, the manuscript is one of the founding documents of a sustained, indigenous tradition of Dutch book illumination. Its painter gave new visual form to the imagery of prayer in this manuscript and fashioned a series of illustrations of the Passion which is among the most inventive and powerful treatments of this subject produced anywhere in Europe. Chapters consider the patron and her world, the contents and form of the manuscript, the oeuvre of the Master of Margaret of Cleves, the place of the painter in the artistic traditions of his time, and his possible identity.




Only the Best


Book Description

This volume and the exhibition it accompanies bring together eighty of the finest masterpieces in the collection of the Calouste Gulbenkian Museum, Lisbon. All of the works of art are richly illustrated in color and described in authoritative texts by the curators of the Gulbenkian Museum. These magnificent pieces, which reflect the renowned art collector Calouste Gulbenkian's eclectic taste, include paintings by Rubens, Fragonard, Gainsborough, Turner, and Manet; silver from services created for the nobility of Russia and Western Europe; Roman medallions; Ottoman ceramics; Japanese lacquerware; jewelry by Lalique; and books and textiles from both East and West. These works of art offer dazzling testimony to Gulbenkian's devotion to the quality of the individual object and to his refined connoisseurship. The Calouste Gulbenkian Museum was created under the terms of Gulbenkian's will in order to preserve under one roof the artworks in his collection--one of the preeminent art assemblages of the first half of the twentieth century. Gulbenkian, a successful businessman who was born in 1869 in Ottoman Turkey to an Armenian family, made his fortune in the oil industry. In April 1942, in the midst of World War II, he arrived in Lisbon seeking a peaceful place to live. Portugal had remained neutral in the conflict that was engulfing the world. Gulbenkian spent the rest of his life in Lisbon, where he died in 1955. As a collector--whether of ancient Egyptian art, Islamic art, or European painting and decorative arts--Gulbenkian acquired "only the best."




Vision, Devotion, and Self-Representation in Late Medieval Art


Book Description

Focuses on one of the most attractive features of late medieval manuscript illumination: the portrait of the book owner at prayer within the pages of her prayer-book.




Thresholds and Boundaries


Book Description

Although liminality has been studied by scholars of medieval and seventeenth-century art, the role of the threshold motif in Netherlandish art of the late fourteenth, fifteenth and early sixteenth centuries -- this late medieval/early ‘early modern’ period -- has been much less fully investigated. Thresholds and Boundaries: Liminality in Netherlandish Art (1385-1550) addresses this issue through a focus on key case studies (Sluter's portal of the Chartreuse de Champmol and the calendar pages of the Limbourg Brothers' Très Riches Heures), and on important formats (altarpieces and illuminated manuscripts). Lynn F. Jacobs examines how the visual thresholds established within Netherlandish paintings, sculptures, and manuscript illuminations become sites where artists could address relations between life and death, aristocrat and peasant, holy and profane, and man and God—and where artists could exploit the "betwixt and between" nature of the threshold to communicate, paradoxically, both connections and divisions between these different states and different worlds. Building on literary and anthropological interpretations of liminality, this book demonstrates how the exploration of boundaries in Netherlandish art infused the works with greater meaning. The book's probing of the -- often ignored --meanings of the threshold motif casts new light on key works of Netherlandish art.




New Medieval Literatures 20


Book Description

Cutting-edge and fresh new outlooks on medieval literature, emphasising the vibrancy of the field.




Touching Parchment: How Medieval Users Rubbed, Handled, and Kissed Their Manuscripts


Book Description

In the late middle ages (ca. 1200-1520), both religious and secular people used manuscripts, was regarded as a most precious item. The traces of their use through touching and handling during different rituals such as oath-taking, public reading, and memorializing the dead, is the subject of Kathryn Rudy’s research in Touching Parchment. This second volume, Social Encounters with the Book, delves into the physical interaction with books in various social settings, including education, courtly assemblies, and confraternal gatherings. Looking at acts such as pointing, scratching, and ‘wet-touching’, the author zooms in on smudges and abrasions on medieval manuscripts as testimonials of readers’ interaction with the book and its contents. In so doing, she dissects the function of books in oaths, confraternal groups, education, and courtly settings, illuminating how books were used as teaching aids and tools for conveying political messages. The narrative paints a vivid picture of medieval reading, emphasizing bodily engagement, from page-turning to the intimate act of kissing pages. Overall, this text offers a captivating exploration of the tactile and social dimensions of book use in late medieval Europe broadening our perspective on the role of objects in rituals during the middle ages. Social Encounters with the Book provides a fundamental resource to anybody interested in medieval history and book materiality more widely.




The Oxford Handbook of Women and Gender in Medieval Europe


Book Description

The Oxford Handbook of Women and Gender in Medieval Europe provides a comprehensive overview of the gender rules encountered in Europe in the period between approximately 500 and 1500 C.E. The essays collected in this volume speak to interpretative challenges common to all fields of women's and gender history - that is, how best to uncover the experiences of ordinary people from archives formed mainly by and about elite males, and how to combine social histories of lived experiences with cultural histories of gendered discourses and identities. The collection focuses on Western Europe in the Middle Ages but offers some consideration of medieval Islam and Byzantium. The Handbook is structured into seven sections: Christian, Jewish, and Muslim thought; law in theory and practice; domestic life and material culture; labour, land, and economy; bodies and sexualities; gender and holiness; and the interplay of continuity and change throughout the medieval period. It contains material from some of the foremost scholars in this field, and it not only serves as the major reference text in medieval and gender studies, but also provides an agenda for future new research.




Parabola


Book Description




1995


Book Description

Annually published since 1930, the International bibliography of Historical Sciences (IBOHS) is an international bibliography of the most important historical monographs and periodical articles published throughout the world, which deal with history from the earliest to the most recent times. The works are arranged systematically according to period, region or historical discipline, and within this classification alphabetically. The bibliography contains a geographical index and indexes of persons and authors.




Pre-Eyckian Panel Painting in the Low Countries


Book Description

Surviving pre-Eyckian panel painting of around 1400 is in short supply, but more remains than was thought. At present the list of works to be studied includes some thirty objects in collections in Belgium and elsewhere. In the first volume ten objects, which in fact constitute the majority of pre-Eyckian works in Belgian collections, are documented as thoroughly as possible. Their interpretation is underpinned not only by classic art historical analysis but also by macro-photography, X-radiography, infrared photography and reflectography, dendrochronological data and, in so far as was feasible or justifiable, laboratory analysis of pigments and binding media. The research has benefited to the full from the expertise of the many specialists of the IRPA/KIK. In volume two of this publication are a number of individual contributions by 'guest authors'. They cover diverse topics, ranging from specific technical observations regarding one noteworthy feature or group of works, to historical context, peripheral iconographic phenomena, aspects of restoration, and the exploration of Ghent's archives by way of a case study.