Tapestry Conservation: Principles and Practice explores current practice and recent research in tapestry conservation, promoting awareness of recent developments among conservators and custodians of tapestries. The book facilitates more informed conservation practice and decision-making, and helps custodians to select the most appropriate method of intervention.
The contributions to this volume were written by historians, legal historians and art historians, each using his or her own methods and sources, but all concentrating on topics from the broad subject of historical legal iconography. How have the concepts of law and justice been represented in (public) art from the Late Middle Ages onwards? Justices and rulers had their courtrooms, but also churches, decorated with inspiring images. At first, the religious influence was enormous, but starting with the Early Modern Era, new symbols and allegories began appearing. Throughout history, art has been used to legitimise the act of judging, but artists have also satirised the law and the lawyers; architects and artisans have engaged in juridical and judicial projects and, in some criminal cases, convicts have even been sentenced to produce works of art. The book illustrates and contextualises the various interactions between law and justice on the one hand, and their artistic representations in paintings, statues, drawings, tapestries, prints and books on the other.
Tapestries--the art form of kings--were a principal tool used by powerful Renaissance rulers to convey their wealth and might. From 1460 to 1560, courts and churches lavished vast sums on costly weavings in silk and gold thread from designs by leading artists. In this lavishly illustrated book, the first major survey of tapestry production of this period, contributors analyze some of these & beautiful tapestries, examine the stylistic and technical development of tapestry production in the Low Countries, France, and Italy during the Renaissance, and discuss the contribution that the medium made to art, liturgy, and propaganda of the day.
First English translation of a late fifteenth century manuscript containing instructions for designing a medieval tapestry - the only such to survive. The "Troyes Mémoire", a late fifteenth-century manuscript preserved in the archives of the town of Troyes, France, is the sole surviving example of the written instructions used in designing tapestries during the Middle Ages. It is unique in its presentation of detailed information on how patrons and church officials communicated complex iconographic material to the medieval artists commissioned to paint cartoons for tapestries. It is here translated intoEnglish for the first time, with full introduction and extensive notes. The volume also includes a translation of another richly informative document from medieval Troyes: the Account Books of the Church of Sainte-Madeleine, whichintroduces us to the actual people who worked together, between 1416 and 1430, to produce a set of tapestries for the town's oldest church. They shed important new light on an era when tapestry represented a supreme form of art. Tina Kane is Conservator, Metropolitan Museum of Art, Department of Textile Conservation.
Susan Bell recounts her thirty-year search for tapestries based on Christine de Pizan's City of Ladies (1405) that were listed as possessions of 16th C. European rulers, mostly women.
Taking National Trust properties as its central focus, this book examines three interlocking themes to examine the role of historic textiles. It looks at houses with preserved contents together with the reasons for individual families choosing this lifestyle, the role of the National Trust as both guardian and interpreter of these houses and their collections, and finally, the influence of textiles to contribute to the appearance of interiors, and their physical attributes that carry historical resonances of the past.
Tapestry making flourished in the major centers of western Europe from the fourteenth through the nineteenth centuries. Thousands of tapestries were woven as special commissions for church, crown, and nobility. This publication is a comprehensive catalogue of the Museum's collection of tapestries and allied works made after the Middle Ages.-- Metropolitan Museum of Art website.
A celebration of the visual contributions of the bestiary--one of the most popular types of illuminated books during the Middle Ages--and an exploration of its lasting legacy. Brimming with lively animals both real and fantastic, the bestiary was one of the great illuminated manuscript traditions of the Middle Ages. Encompassing imaginary creatures such as the unicorn, siren, and griffin; exotic beasts including the tiger, elephant, and ape; as well as animals native to Europe like the beaver, dog, and hedgehog, the bestiary is a vibrant testimony to the medieval understanding of animals and their role in the world. So iconic were the stories and images of the bestiary that its beasts essentially escaped from the pages, appearing in a wide variety of manuscripts and other objects, including tapestries, ivories, metalwork, and sculpture. With over 270 color illustrations and contributions by twenty-five leading scholars, this gorgeous volume explores the bestiary and its widespread influence on medieval art and culture as well as on modern and contemporary artists like Pablo Picasso and Damien Hirst. Published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center May 14 to August 18, 2019.