By Conrad Rudolph
Эта книга представляет собой сборник из 30-ти очерков, в которых авторы дают аналитический обзор художественного творчества, наверное, в важнейшей области распространения Западного искусства. Внимание уделено историографии периода; теории образа и видения; художественным приемам и архитектурному дизайну со ссылками на широкий ряд примеров специфических образцов Северной Европы.
Вместе с тем, не забыто романское и готическое искусство на Востоке: в Византии и в государствах крестоносцев.Образцы сканов:
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Extra resources for A Companion to Medieval Art: Romanesque and Gothic in Northern Europe
A Royalist who had at one time been commissioned to make a record of the monuments of the leading churches of England in anticipation of the Civil War – an action not so different from the removal of stained glass from the great churches during World Wars I and II – Dugdale’s book both employed the work of Leland and went beyond it in setting new standards for documentation and quality of illustration, even being called “the first illustrated architectural history of a mediaeval style” (figs. 12 Roger North took the differentiation between the two forms further, characterizing rounded-arch structures as “elder Gothick” (1698; apparently following Félibien) and associating what is now called English Romanesque with Roman architecture for the first time in print, this connection ACTC01 10 26/01/2006, 03:47PM INTRODUCTION: HISTORIOGRAPHY 11 Figure 1-2 Canterbury Cathedral, engraving by Thomas Johnson and Wenceslaus Hollar from William Dugdale’s Monasticon Anglicanum (1682 edition).
It was, however, in Germany that the most profound changes were taking place in the early and mid-nineteenth century. 18 The first was historically based. Art history had long been used as a vehicle of patronal, regional, and national identity, and would continue to be in varying degrees. But with the French Revolution, historicism began to be seen as a means of a broader cultural understanding, though often in very different ways – something that allowed art history to break free of earlier paradigms.
Feelings were still very bitter on the part of many in France in regard to the ancien régime, and French Romanticism took a course different from that in England or Germany. Some French Romanticists were Catholic revivalists, such as the highly influential Chateaubriand, who saw Christian art in general and medieval art in particular as not just equal to Classical art, but superior (esp. 1802). Others, such as Nicolas Chapuy (1824 –30) and the team of Charles Nodier, J. Taylor, and Alphonse de Cailleux (1820–78), produced important illustrated studies of the regions and cathedrals of France that were heavily influenced by the Picturesque movement and that took advantage of the new technology of lithography.