In the renaissance also architecture from c. 800–1200 was regarded as a useful source of inspiration for contemporary building, sometimes by misinterpreting these medieval architecture as roman structures, sometimes because that era was also regarded as a glorious ‘ancient’ past.
A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art.
Professor Conant's detailed studies of Santiago de Compostela and of the abbey church at Cluny fit him for this account of building in the period of the round arch which preceeded Gothic. In this volume he shows how, at the instigation of the monasteries during the little renaissance of Charlemagne, Roman methods of construction were revived and fused with local traditions to produce a distinctive Carolingian manner; and how such monuments as the Palatine Chapel at Aachen already contained hints of the nobler and more mature Romanesque style which was to become international. professor Conant extends his survey to cover the regions of medieval France, Spain, Portugal, the Holy Land, Italy, Germany, Northern Europe, and Britain.
Meyer Schapiro (1904-96), renowned for his critical essays on 19th and 20th century painting, also played a decisive role as a young scholar in defining the style of art and architecture known as Romanesque. This is a transcribed and edited version of his Charles Eliot Norton Lectures.
Mann examines how the financial patronage of newly empowered local rulers allowed Romanesque architecture and sculptural decoration to significantly redefine the cultural identities of those who lived in the frontier kingdoms of Christian Spain.
Reaching its peak in the 11th and 12th centuries, the Romanesque movement was marked by a peculiar, vivid, and often monumental expressiveness in architecture and fine arts. Exploring the first universal style of the European Middle Ages, this book looks at some of the most important works of the epoch.
Framed by evocative inscriptions, tumultuous historical events, and the ambiguities of Christian death, Romanesque tomb effigies were the first large-scale figural monuments for the departed in European art. In this book, Shirin Fozi explores these provocative markers of life and death, establishing early tomb figures as a coherent genre that hinged upon histories of failure and frustrated ambition. In sharp contrast to later recumbent funerary figures, none of the known European tomb effigies made before circa 1180 were commissioned by the people they represented, and all of the identifiable examples of these tombs were dedicated to individuals whose legacies were fraught rather than triumphant. Fozi draws on this evidence to argue that Romanesque effigies were created to address social rather than individual anxieties: they compensated for defeat by converting local losses into an expectation of eternal victory, comforting the embarrassed heirs of those whose histories were marked by misfortune and offering compensation for the disappointments of the world. Featuring numerous examples and engaging the visual, historical, and theological contexts that inform them, this groundbreaking work adds a fresh dimension to the study of monumental sculpture and the idea of the individual in the northern European Middle Ages. It will appeal to scholars of art history and medieval studies.