Overview

This interdisciplinary publication brings together new research on medieval and renaissance art, culture and the critical history by established scholars, early career academics and postgraduate students from the University of Glasgow, Queen's University Belfast, University College Cork, the University of Aberdeen and the University of Warwick. The majority of the articles featured are based on papers given at Gloss, a postgraduate conference on medieval and renaissance art and culture, held at the University of Glasgow, 29 June 2007, organised by Emily Jane Anderson with Sandra Cardarelli and Joanne Anderson; and/or at the International Medieval Congress, University of Leeds, 9–12 July 2007 (sessions 218, 318 and 518 organised by Emily Jane Anderson and Dr Jill Farquhar). Additional papers by John Richards (University of Glasgow) and Flavio Boggi (University College Cork), which were not given in Glasgow or Leeds, have been added. An introduction to the papers is provided by Robert Gibbs, Emeritus Professor of Pre-Humanist Art History and Codicology at the University of Glasgow, who moderated one of the Leeds sessions, as did John Richards.The papers are historical and art historical in focus and concern art production (wall and panel painting, sculpture, architecture, manuscript illumination and textiles), material and visual culture and literature in various European cities and locales in the 14th and 15th centuries and later criticism associated with these subject areas. There is an emphasis on the transmission and translation of workshop style, the traditional concept of artistic centres and peripheries, the consideration of art works in context, art production and the workshop system, the medieval city, notions of progression and transition pertaining to medieval and renaissance art production, Petrarch and Humanism, Panofsky and the critical history, art theory and practice, patronage, commerce, religion and politics.

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9781443839976

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Reviews

This collection of studies provides a rich sense of the visual culture of fourteenth and fifteenth century Europe, and is particularly innovative in the geographical range of artistic centres it introduces. Rather than focussing on the 'famous' art history of Florence and Rome, the contributors throw new light on key artistic programmes and issues of artistic production and influence in lesser known towns, cities and regions, including Rimini, Pistoia, the Maremma in Southern Tuscany, Orvieto and the Trentino-Alto Adige. Coverage is not confined to Italy. The contributions on Burgundian tapestries, the architecture of Munich and its environs, and on imagery relating to royal entries in fifteenth century France are equally successful in enriching our sense of artistic production in the period. The two essays at the beginning and end of the volume, on Petrarch and Giotto and on the humanism of Erwin Panofsky and the Renaissance, usefully bracket the collection as a whole in terms of its wider intellectual and interpretative histories. The essays make an important contribution to our understanding of a key aspect of the late medieval or early renaissance period, demonstrating the integral role that visual imagery played in the formation of social and cultural identity. - Tom Nichols, University of Aberdeen Visible Exports / Imports: New Research on Medieval and Renaissance European Art and Culture is a diverse collection of essays that fruitfully explore key aspects of both the production and reception of medieval and renaissance visual culture from stylistic, iconographical and political perspectives. Through a series of engaging case studies, the authors examine artistic practices as varied as humanist portraiture, civic architectural decoration and medieval devotional iconography to offer fresh perspectives on artistic traditions and exchanges in both Western and Eastern Europe. It is a volume that will be valuable to all students and specialists concerned with the functions and meanings of works of art and performance during one of the longest and most dynamic periods of their creation. - Debra Higgs Strickland, University of Glasgow

""This collection of studies provides a rich sense of the visual culture of fourteenth and fifteenth century Europe, and is particularly innovative in the geographical range of artistic centres it introduces. Rather than focussing on the 'famous' art history of Florence and Rome, the contributors throw new light on key artistic programmes and issues of artistic production and influence in lesser known towns, cities and regions, including Rimini, Pistoia, the Maremma in Southern Tuscany, Orvieto and the Trentino-Alto Adige. Coverage is not confined to Italy. The contributions on Burgundian tapestries, the architecture of Munich and its environs, and on imagery relating to royal entries in fifteenth century France are equally successful in enriching our sense of artistic production in the period. The two essays at the beginning and end of the volume, on Petrarch and Giotto and on the humanism of Erwin Panofsky and the Renaissance, usefully bracket the collection as a whole in terms of its wider intellectual and interpretative histories. The essays make an important contribution to our understanding of a key aspect of the late medieval or early renaissance period, demonstrating the integral role that visual imagery played in the formation of social and cultural identity.""– Tom Nichols, University of Aberdeen""Visible Exports / Imports: New Research on Medieval and Renaissance European Art and Culture is a diverse collection of essays that fruitfully explore key aspects of both the production and reception of medieval and renaissance visual culture from stylistic, iconographical and political perspectives. Through a series of engaging case studies, the authors examine artistic practices as varied as humanist portraiture, civic architectural decoration and medieval devotional iconography to offer fresh perspectives on artistic traditions and exchanges in both Western and Eastern Europe. It is a volume that will be valuable to all students and specialists concerned with the functions and meanings of works of art and performance during one of the longest and most dynamic periods of their creation.""– Debra Higgs Strickland, University of Glasgow

Author Information

Emily Jane Anderson is currently completing her doctoral research at the University of Glasgow on ""Vitale da Bologna and His Followers: The Eastern European Vitaleschi"". She is the recipient of scholarships and grants from the AHRC and the University of Glasgow. She has presented papers and published on Bolognese trecento art and New Kingdom Egyptian Sculpture.Dr Jill Farquhar is a specialist in the art of Trecento Marche and Romagna and, more recently, undertakes research into the place of women in medieval and renaissance visual culture. She completed her PhD on Riminese painting at Warwick University in 2005 under the supervision of Professor Julian Gardner. She held the post of Lecturer in Art History at Queen's University Belfast between 2002 and 2009 and was Head of the History of Art Department at Queen's from 2006 until 2009. She has also worked for the Open University in Ireland. Jill is currently an independent art historian.Dr John Richards is Senior Lecturer in History of Art and Head of Subject at the University of Glasgow, where he teaches both undergraduate and postgraduate courses on aspects of medieval and renaissance art. He is also Deputy Director of the Institute of Art History, and fulfils a number of academic and administrative duties. He has published widely on Trecento Italian art, particularly on Padua and Verona, as well as on the influence of Humanist thought on Italian art. He was convenor of the AAH Annual Conference that was held in Glasgow in April 2010, and he has presented papers at national and international conferences and seminars, including most recently, the Edinburgh Seminar in Medieval and Renaissance Studies.

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