A Companion to Medieval Art: Romanesque and Gothic in by Conrad Rudolph

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:

Show description

Read Online or Download A Companion to Medieval Art: Romanesque and Gothic in Northern Europe PDF

Similar art history books

Auguste Rodin

Tout à l. a. fois influencé par les maîtres de l'Antiquité, le génie de Michel-Ange et l. a. sculpture baroque, Auguste Rodin est l'un des artistes les plus reconnus de l'histoire. Bien qu'il soit considéré comme l'un des fondateurs de los angeles sculpture moderne, Rodin n'a jamais critiqué los angeles culture classique.

The Origins of the Greek Architectural Orders

A lot of our figuring out of the origins and early improvement of the Greek architectural order is predicated at the writings of historic authors, corresponding to Virtruvius, and people of recent interpreters. characteristically, the archaeological facts has been considered secondarily and sometimes made to slot inside of a literary context, regardless of contradictions that happen.

James Coleman (October Files)

James Coleman has emerged in recent times as probably the most very important artists of visible postmodernism. His paintings has remodeled severe debates in regards to the prestige of the picture in modern tradition and inspired a complete new release of more youthful artists in ways in which haven't but been absolutely said.

Social and Political Life in Late Antiquity (Late Antique Archaeology, Volume 3.1)

This choice of papers, coming up from the convention sequence past due old Archaeology, examines the social and political buildings of the past due vintage interval and the ways that they're manifested within the archaeological and textual checklist.

Extra resources for A Companion to Medieval Art: Romanesque and Gothic in Northern Europe

Sample text

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.

Download PDF sample

Rated 4.23 of 5 – based on 41 votes