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1	Lorenzo Monaco's Man of sorrows Emery, Beth A. January 2000 (has links) This thesis examines Lorenzo Monaco's altarpiece the Man of Sorrows with the Virgin, St. John the Evangelist, with the Emblems and Episodes of the Passion, (c. 1404) under historical, religious, political, and liturgical rubrics. While comparing various depictions of the Man of Sorrows, this project places Lorenzo Monaco's unique interpretation within the context of events surrounding the painting's conception and realization. With particular attention to Lorenzo's distinctive composition, techniques and juxtaposition of imagery, this study shows that his Man of Sorrows in fact conveys a complex message about Florentine society in Late Gothic times. Jesus Christ -- Art
2	Lorenzo Monaco's Man of sorrows Emery, Beth A. January 2000 (has links) No description available. Jesus Christ -- Art
3	Imago Clipeata, the Liturgy, and Giovanni Pisano's Man of Sorrows Lectern: A Classical Reappropriation in the Gothic Era Ableman, Joslyn Elise 17 April 2021 (has links) The monumental sculpture, especially the pulpits, of the father and son duo, Nicola and Giovanni Pisano, have often been compared to ancient Roman and early Christian sarcophagi. Giovanni produced a pulpit with two accompanying lecterns for the Pisa Cathedral, which is just a few steps away from the Camposanto, a “holy field”, or cemetery, built around sacred soil from Golgotha which serves to house a huge collection of sarcophagi. Iconography, composition, relief style, and even the materiality of Giovanni’s Pisa pulpit is in part governed by, and connected to, these sarcophagi. This influence is especially highlighted by the Epistles lectern, which depicts a half-length Christ as the Man of Sorrows encircled about and raised aloft by two angels. This unusual depiction of the Man of Sorrows seems to be appropriating a long tradition of the imago clipeata, or visual apotheosis. Giovanni borrows this classical imagery and updates it to reflect contemporary Christianity. The presence of the classical clipeata on the lectern underlines the two natures of Christ, which is a main characteristic of the iconography of the Man of Sorrows. The lectern’s clipeata and the reference to sarcophagi establishes a connection to ritual, but in this case Christian ritual, namely the sermon and the Eucharist. The imagery embodies an affective focus on the love and humanity of Christ as the crux of salvation, a characteristic of thirteenth- and fourteenth-century preaching. The drapery and textile, which act as the frame of the clipeata on the lectern, allude to the tramezzo, or choir screen, and liturgical cloths found at the high altar—both are liturgical accessories that aid the viewer during the consecration of the Eucharist. Giovanni Pisano adopts this antique imagery and recontextualizes it in an early-fourteenth century Christian setting as it becomes a creative commentary on the liturgy, devotion, and significance of place at the cathedral of Pisa. Giovanni Pisano Man of Sorrows Pisa Cathedral Camposanto pulpit lectern epistles lectern epistles clipeus clipeata imago clipeata apotheosis liturgy preaching eucharist sarcophagi sarcophagus textiles tramezzo angels genii materiality stone cornerstone Arts and Humanities
4	Imago Clipeata, the Liturgy, and Giovanni Pisano's Man of Sorrows Lectern: A Classical Reappropriation in the Gothic Era Ableman, Joslyn Elise 17 April 2021 (has links) The monumental sculpture, especially the pulpits, of the father and son duo, Nicola and Giovanni Pisano, have often been compared to ancient Roman and early Christian sarcophagi. Giovanni produced a pulpit with two accompanying lecterns for the Pisa Cathedral, which is just a few steps away from the Camposanto, a "holy field", or cemetery, built around sacred soil from Golgotha which serves to house a huge collection of sarcophagi. Iconography, composition, relief style, and even the materiality of Giovanni's Pisa pulpit is in part governed by, and connected to, these sarcophagi. This influence is especially highlighted by the Epistles lectern, which depicts a half-length Christ as the Man of Sorrows encircled about and raised aloft by two angels. This unusual depiction of the Man of Sorrows seems to be appropriating a long tradition of the imago clipeata, or visual apotheosis. Giovanni borrows this classical imagery and updates it to reflect contemporary Christianity. The presence of the classical clipeata on the lectern underlines the two natures of Christ, which is a main characteristic of the iconography of the Man of Sorrows. The lectern's clipeata and the reference to sarcophagi establishes a connection to ritual, but in this case Christian ritual, namely the sermon and the Eucharist. The imagery embodies an affective focus on the love and humanity of Christ as the crux of salvation, a characteristic of thirteenth- and fourteenth-century preaching. The drapery and textile, which act as the frame of the clipeata on the lectern, allude to the tramezzo, or choir screen, and liturgical cloths found at the high altar--both are liturgical accessories that aid the viewer during the consecration of the Eucharist. Giovanni Pisano adopts this antique imagery and recontextualizes it in an early-fourteenth century Christian setting as it becomes a creative commentary on the liturgy, devotion, and significance of place at the cathedral of Pisa. Giovanni Pisano Man of Sorrows Pisa Cathedral Camposanto pulpit lectern epistles lectern epistles clipeus clipeata imago clipeata apotheosis liturgy preaching eucharist sarcophagi sarcophagus textiles tramezzo angels genii materiality stone cornerstone Arts and Humanities
5	Blood, Tears, and Wounded Eyes: Holy Effluvia and the Compassion of the Virgin in Early Modern Flemish Visual and Devotional Culture Bekker, Katharine Grace Davidson 15 April 2022 (has links) Images of the Mater dolorosa, the weeping Mother of God mourning over her dead son, are plentiful art of Northern Europe during the fifteenth and sixteenth centuries and often foreground the shedding of effluvia—blood, sweat, and tears—in their depictions of the holy pair. This paper explores the visual themes of tears, blood, eyes, and wounds as vital actors in images that require close, meditative, and affective looking and engagement. Such image formats include small-scale pairings of the Man of Sorrows and Mater dolorosa as well as books of hours. In these contexts, the holy fluids and their bodily sources expand the images' narratives and allow for greater exegesis of their devotional prompts. This phenomenon of expansion via effluvia occurs throughout Flemish devotional culture of this period; this paper uses Albrecht Bouts's diptych panels of the Mater dolorosa and Man of Sorrows, produced between 1490 and 1525, as the chief case study to encapsulate and ground those ideas while still acknowledging that they also apply beyond this image. Considering the widespread commonalities between blood and tears in visual and textual representations of the early modern Flemish devotional culture and the visual similarities between weeping eyes and bleeding wounds, this paper argues that Mary's eyes act as the external manifestations of her internal wounds and become locus of her Compassion for Christ. Furthermore, pictorial blood and tears function as metonymic devices that, like the Man of Sorrows type, invoke the entirety of the Passion and Compassion. The multivalent functions of the blood and tears in Bouts's diptych expand it beyond just a representation of Mary and her son and allow it to become a window and mirror into which viewers could look to engage in penance and communion with Mary and Christ. Mater dolorosa Man of Sorrows Albrecht Bouts Boussu Hours Compassion of the Virgin effluvia blood tears eyes wounds weeping bleeding gendered devotion soul formation penitence weeping pictoriality materiality diptychs book of hours affective piety vision marginalia devotional touch Arts and Humanities
6	The Leprous Christ and the Christ-like Leper: The Leprous Body as an Intermediary to the Body of Christ in Late Medieval Art and Society Ogden, Jenna Noelle 26 May 2011 (has links) No description available. Art Criticism Art History European History European Studies Fine Arts History Medieval History Medieval Literature Middle Ages Religious History Spirituality leper leprosy Christ Saint Francis Virgin Mary compassion Man of Sorrows stigmata wounds Crucifixion flagellation stigmatization deposition of Christ Pieta blood
7	Sochařství krásného slohu ve Vratislavi / Sculpture of beautiful style in Wroclaw Šleichrtová, Andrea January 2019 (has links) This thesis is divided into two main parts. The First cultural-historical part is dedicated to introduction of cultural-historical context between Bohemian kingdom and Silesia. Historical development of Silesia and its joining into the union of Lands of Bohemian crown is also shortly discussed. The second art-historical chapter in first part brings the resume of literature dedicated to phenomenon of beautiful style. The second part brings resume of literature dedicated particularly to the Silesian centre of beautiful style. And the last part of this chapter consists of a catalogue of chosen works of beautiful style from Wroclaw. Those are Pietà of St. Elisabeth in Wroclaw, Pietà of Virgin Mary on Sand church in Wroclaw, Man of sorrows from Goldsmith's altar, Pietà from St. Stanislaw and Wenzel church in Sweidnitz, Pietà from St. Matthew church. For each of these works a detailed formal analysis is made and existing research outputs are summarized. As a conclusion of researches mentioned above an attempt is made to improve accuracy of dating and to answer some questions related to those works of art.

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