No description available.

Thesis (doctoral)--Vereinigte Friedrichs-Universität, Halle-Wittenberg, 1875. / "Textprobe": p. 50-55. "Sententiae" included at end. Vita. Includes bibliographical references.

Thesis--Münster (Westf.). / Vita. Includes bibliographical references (p. 5-12).

Thesis (M.A.)--Carleton University, 2008. / Includes bibliographical references (p. 120-124). Also available in electronic format on the Internet.

Orientador: Ivanir Cozeniosque Silva / Acompanha 15 gravuras em metal, aquarela, tempera e trechos literarios escritos sobre imagens, coloridas e em preto em branco, acondicionadas em caixa / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / O exemplar da BCCL contém os documentos originais / Made available in DSpace on 2018-08-07T11:22:34Z (GMT). No. of bitstreams: 1 Garcia_ClaudioLuiz_M.pdf: 769827 bytes, checksum: bbd05ce9879f6a0b54c7844533682a57 (MD5) Previous issue date: 2006 / Resumo: A dissertação trata de uma exposição dos trabalhos práticos, de um memorial justificativo sobre o processo de criação de meus Livros de Horas. A exposição é uma instalação de uma pequena biblioteca, denominada de ¿GABINETE real DE LEITURA¿, onde o visitante poderá ler os livros que desejar. Os livros são encadernações artesanais, e tratam dos seguintes assuntos: linguagem híbrida, gravura em metal, aquarela, têmpera e de trechos literários escritos sobre as imagens / Abstract: The dissertation is about the exhibition, the description memorial and justifiable of the creation process of the litle library, with the name ¿CABINET real OF READING: books of hours¿, the visiting could to read anybooks. The books are craft binding, and is about: hybrid lunguage, to make of image of engraving, watercolour, pieces of literary text writing upon the images / Mestrado / Artes Visuais / Mestre em Artes

Created in France during the late fifteenth century, the illuminations, text, and family genealogy (added by one of many owners) found in De Villers Book of Hours make it an excellent example among other French books of hours from this period. In addition to acting as a repository of the style and iconography of French fifteenth-century illumination, the book's rich decorative program and varied textual content provide a remarkable document of contemporary devotional piety. This thesis provides the first detailed description and analysis of the De Villers Book of Hours. Following a description of books of hours in general, the overall makeup of the De Villers Hours is addressed, including the decorative program with a suggested method and example for description, a sample of textual transcription, comments on the provenance, a brief discussion of the family genealogy, and a concluding section with a sample collection register and worksheet for cataloging.

No description available.

Actif de ca. 1420 à ca. 1450-1460, le Maître de la « Légende dorée » de Munich est, comme le Maître de Dunois, une personnalité issue de l'atelier de Bedford. Miniaturiste ayant surtout exercé à Paris, son œuvre témoigne aussi d'ancrages provinciaux, normands et ligériens notamment. Ce travail s'appuie sur un catalogue de 48 manuscrits, dont 41 livres d'heures. L'étude vise à dégager des spécificités iconographiques et stylistiques du Maître. Parmi les premières se notent l'intérêt marqué pour l'ornementation et le souci du détail, ainsi des auréoles ouvragées, voûtes aux nervures festonnées, livres et meubles. Trait iconographique saillant de l'œuvre tant par sa fréquence que par sa nouveauté, les épis de blé aux crèches font l'objet d'une étude attentive, du fait du sens dont ils sont porteurs et du possible lien entre ce motif et la spiritualité contemporaine, notamment la Dévotion Moderne. Stylistiquement, le Maître de la « Légende dorée » de Munich se caractérise par des lèvres aux commissures tombantes, des arcades sourcilières marquées au trait, dont il use aussi abondamment pour souligner carnations et contours d'objets, et par une palette riche et contrastée. Calendriers et décors marginaux ont également servi à des rapprochements pour aboutir à des regroupements chronologiques au sein du corpus. Inspiré, directement ou via des modèles puisés au sein de l'atelier Bedford, par les Limbourg, le Maître d'Egerton et la peinture septentrionale, le Maître de la « Légende dorée » de Munich a collaboré, comme maître d’œuvre ou peintre de quelques miniatures, avec d'autres artistes, documentés ou non. Il a pu travailler pour des commanditaires aussi bien anglais que français. / As the Dunois Master, the Munich « Golden Legend » Master, fl. from ca. 1420 to ca. 1450-1460, is one artistic figure originating from the Bedford workshop. This miniaturist was active mostly in Paris, but his work also shows connections with provinces like Normandy and the Loire valley. This paper is based on a 48-manuscript catalogue, among which are 41 books of hours. The study aims at bringing out the iconographic and stylistic Master's salient features. Among the first, one notes a deep interest in details and ornaments, which is to be found in finely wrought haloes, vaults with festooned ribs, books and furniture. Within the corpus, ears of wheat in cribs are noteworthy due to both their frequency and novelty. They are subject to deep insight due to the meaning they bear, and to the possible relationship between this motif and the contemporary spirituality, especially the Modern Devotion. Stylistically, typical of the Munich « Golden Legend » Master are falling lip-corners, eyebrow arches marked with line, which he also largely uses to underline flesh tones and object outlines. His range of colours is varied and full of contrasts. Calendars and marginal decoration have also been used to compare manuscripts, in order to build chronological groupings within the corpus. The Munich « Golden Legend » Master has been, either directly or via models available inside the Bedford workshop, influenced by the Limbourgs, the Egerton Master and northern painting. He cooperated, being the chief illuminator or simply helping by painting a few miniatures, with other artists, whether documented or not, and may have worked for both English and French patrons.

L'étude de livre d'heures et de prières d'un ensemble familial précis, sous la facette de dépôts de la mémoire et de l'identité personnelle et lignagère est le but de cette thèse. Celle-ci se base sur l'analyse de trente livres à caractère religieux (livres d'heures et de prières principalement) qui appartinrent aux membres d'un même groupe familial étendu dans le temps (du XIVe au XVe siècle), à savoir l'entourage familial de Catherine de Clèves, duchesse de Gueldre (1417-1476). Ce groupe familial constitue, d'une part, une communauté lignagère, soutenue par de forts liens de parenté et d'autre part, une communauté dévotionnelle. Ces liens articulent l'identité ainsi que la culture de l'individu, s'insèrent et se projettent dans les livres d'heures, instruments privilégiés de la dévotion privée, qui en deviennent de véritables dépôts et véhicules de l'identité et de la mémoire de leur propriétaire. Notre étude s'organise en trois parties, cherchant d'abord la définition et la caractérisation de l'ensemble familial, auquel appartenait Catherine de Clèves, particulièrement marqué par l'influence de la maison de Bourgogne, passant, ensuite, par la définition du corpus de manuscrits, pour entrer, finalement, dans l'analyse des formes qui permettent de considérer le livre d'heures comme un locus d'identité et de mémoire (locus memoriae). / The possibility to study Books of Hours and Prayer Books of a determined family group like deposits of memory and personal and lineage identity is the main goal of this thesis which is centered in the analisys of thirty books of religious carácter, being them mainly books of hours and prayer books, that belonged to members of the same family group extended through time (XIVth and XVth Centuries), that is to say, the family entourage of Catherine of Cleves, Duchess of Guelders (1417-1476). This family group is articulated as an ancestral community held by strong bonds of kinship as well as a devotional community. These bonds, that articulate the identity and the culture of the individual, are by different ways projected in the books of hours, a privileged instrument of private devotion. In this way, these ones, are constituted in actual deposits and vehicles of identity and the memory of their possessor. The present study is organized in three parts which progressively advance towards the definition and characterization of the family group to which belonged Catherine of Cleves, particularly marked by the influence of the House of Burgundy, passing through the definition of the corpus of manuscripts to enter, finally, in the analysis of the differents ways that permits to consider book of hours as a locus of identity and memory (locus memoriæ).

This study examines the illustrations that appear at the Office of the Dead in English Books of Hours, and seeks to understand how text and image work together in this thriving culture of commemoration to say something about how the English understood and thought about death in the fourteenth and fifteenth centuries. The Office of the Dead would have been one of the most familiar liturgical rituals in the medieval period, and was recited almost without ceasing at family funerals, gild commemorations, yearly minds, and chantry chapel services. The Placebo and Dirige were texts that many people knew through this constant exposure, and would have been more widely known than other 'death' texts such as the Ars Moriendi. The images that are found in these books reflect wider trends in the piety and devotional practice of the time. The first half of the study discusses the images that appear in these horae, and the relationship between the text and image is explored. The funeral or vigil scene, as the most commonly occurring, is discussed with reference to contemporary funeral practices, and ways of reading a Book of Hours. Other iconographic themes that appear in the Office of the Dead, such as the Roman de Renart, the Pety Job, the Legend of the Three Living and the Three Dead, the story of Lazarus, and the life of Job, are also discussed. The second part of the thesis investigates the musical elaborations of the Office of the Dead as found in English prayer books. The Office of the Dead had a close relationship with music, which is demonstrated through an examination of the popularity of musical funerals and obits, as well as in the occurrence of musical notation for the Office in a book often used by the musically illiterate. The development of the Office of the Dead in conjunction with the development of the Books of Hours is also considered, and places the traditions and ideas that were part of the funeral process in medieval England in a larger historical context.