Five ornaments adapted from the Belles heures of Jean are reproduced in this book. They are designed to be removed and hung. After the holidays the ornaments are pressed back into the book to save them.
KADOC Artes 8The art of illumination, usually associated with the Middle Ages, experienced a spectacular revival in nineteenth-century Western Europe. This completely different context gave the illuminations another import. The output of the lay and religious workshops reveals a great artistic, stylistic, technical, and thematic diversity. The works illuminated go far beyond the world of exceptional and precious manuscripts and include many occasional documents and devotional images.Richly illustrated with unpublished masterworks, The Revival of Medieval Illumination is an overview of the form by fifteen authors who do not limit their approach to the traditional questions of art history. Rather, they explore the historical, sociocultural, ideological and religious components of the revival, which changed according to time and country, in order to understand the evolution and success of the art of illumination in the long nineteenth century.
The twenty-eight essays in this collection showcase cutting-edge research in manuscript studies, encompassing material from late antiquity to the Renaissance. The volume celebrates the exceptional contribution of John Lowden to the study of medieval books. The authors explore some of the themes and questions raised in John’s work, tackling issues of meaning, making, patronage, the book as an object, relationships between text and image, and the transmission of ideas. They combine John’s commitment to the close scrutiny of manuscripts with an interrogation of what the books meant in their own time and what they mean to us now.
"Illuminated manuscripts are perhaps the most beautiful treasures to survive from the middle ages. This authoritative volume provides a comprehensive introduction to the medieval world of books, their production and their consumption. The text divides this world into different groups of readers and writers: missionaries, emperors, monks, students, aristocrats, priests, collectors and the general public. De Hamel is both informative and immensely readable, and the sumptuous illustrations render this book too good to be missed."--From Amazon.com
Who were the medieval illuminators? How were their hand-produced books illustrated and decorated? In this beautiful book Jonathan Alexander presents a survey of manuscript illumination throughout Europe from the fourth to the sixteenth century. He discusses the social and historical context of the illuminators' lives, considers their methods of work, and presents a series of case studies to show the range and nature of the visual sources and the ways in which they were adapted, copied, or created anew. Alexander explains that in the early period, Christian monasteries and churches were the main centers for the copying of manuscripts, and so the majority of illuminators were monks working in and for their own monasteries. From the eleventh century, lay scribes and illuminators became increasingly numerous, and by the thirteenth century, professional illuminators dominated the field. During this later period, illuminators were able to travel in search of work and to acquire new ideas, they joined guilds with scribes or with artists in the cities, and their ranks included nuns and secular women. Work was regularly collaborative, and the craft was learned through an apprenticeship system. Alexander carefully analyzes surviving manuscripts and medieval treatises in order to explain the complex and time-consuming technical processes of illumination - its materials, methods, tools, choice of illustration, and execution. From rare surviving contracts, he deduces the preoccupation of patrons with materials and schedules. Illustrating his discussion with examples chosen from religious and secular manuscripts made all over Europe, Alexander recreates the astonishing variety and creativity ofmedieval illumination. His book will be a standard reference for years to come.
What is a historiated initial? What are canon tables? What is a drollery? This revised edition of Understanding Illuminated Manuscripts: A Guide to Technical Terms offers definitions of the key elements of illuminated manuscripts, demystifying the techniques, processes, materials, nomenclature, and styles used in the making of these precious books. Updated to reflect current research and technologies, this beautifully illustrated guide includes images of important manuscript illuminations from the collection of the J. Paul Getty Museum and beyond. Concise, readable explanations of the technical terms most frequently encountered in manuscript studies make this portable volume an essential resource for students, scholars, and readers who wish a deeper understanding and enjoyment of illuminated manuscripts and medieval book production.
When one thinks of women in the Middle Ages, the images that often come to mind are those of damsels in distress, mystics in convents, female laborers in the field, and even women of ill repute. In reality, however, medieval conceptions of womanhood were multifaceted, and women’s roles were varied and nuanced. Female stereotypes existed in the medieval world, but so too did women of power and influence. The pages of illuminated manuscripts reveal to us the many facets of medieval womanhood and slices of medieval life—from preoccupations with biblical heroines and saints to courtship, childbirth, and motherhood. While men dominated artistic production, this volume demonstrates the ways in which female artists, authors, and patrons were instrumental in the creation of illuminated manuscripts. Featuring over one hundred illuminations depicting medieval women from England to Ethiopia, this book provides a lively and accessible introduction to the lives of women in the medieval world.
26 papers delivered at the Conference held in Cambridge in December 2005 by a distinguished group of art historians and medievalists are presented here, each with illustrations.