L’architecture romane de Bretagne figure parmi les grands oubliés de la recherche. Déconsidérée au XIXe siècle car n’obéissant pas aux canons prescris par la théorie des Ecoles Régionales, elle ne sera étudiée que localement, pièce par pièce, sans réelle étude d’envergure avant 1958. Un demi-siècle après la publication du travail de Roger Grand (L’art roman en Bretagne, Picard), un nouvel éclairage se devait d’être donné, à l’aune des nouvelles découvertes et des évolutions méthodologiques. Un recensement des édifices considérés majeurs est présenté sous la forme d’un catalogue de notices, servant de base à l’analyse et à la définition de ce qu’est la création architecturale en Bretagne aux XIe et XIIe siècles. L’art roman développe en Bretagne, comme ailleurs, des formes originales, adaptées aux matériaux locaux mais abreuvées de références parfois lointaines. Il apparait que la méconnaissance de ce patrimoine tient plus de phénomènes historiques récents que d’une mauvaise qualité de celui-ci. Si la période romane a été écartée des études historiques régionales c’est par un phénomène de réécriture de l’histoire bretonne, d’un roman régional, entamée dans les années 1830 et, pour une part, encore en marche. / The Romanesque architecture of Brittany is one of the great forgotten of research. Disrepute in the nineteenth centuryfor not obeying the models prescribe by the theory of Regional Schools, it will be investigated locally, piece by piece, with noreal major study before 1958. Half a century after the publication of the work of Roger Grand (Romanesque art in Brittany, Picard), a new perspective had to be given, in the light of new discoveries and methodological developments. An inventory of major buildings is presented in a catalog of notes, as a basis for the analysis and definition of the architectural design in Brittany in the eleventh and twelfth centuries. Romanesque art developed in Brittany, as elsewhere, original forms, adaptedto local materials but sometimes watered by remote references. It appears that the lack of knowledge of this heritage is more an effect of recent historical phenomena than of the poor quality of it. If the Romanesque period was dismissed in regional historical studies this is a phenomenon of rewriting Breton history, a regional novel, begun in the 1830s and, in part,still running

abstract: Many religious textual accounts describe provocative women: The Great Whore from the Apocalypse, Saint Mary Magdalene from the New Testament, and the Daughters of Mara from the Buddhist tradition are all accused of fornication or the seduction of men. However, when artists have depicted these subjects, the women are rarely shown transgressing in the ways the texts describe. The Great Whore is often masculinized and shown as the equal of kings, Mary Magdalene assumes divergent attitudes about prostitution in early Renaissance Europe, and the Daughters of Mara are comparable to other Buddhist deities, recognizable only from the surrounding narrative. Therefore, in this inquiry, I seek out the ways that artists have manipulated misogynistic religious narratives and introduced their own fears, concerns, and interpretations. Artistic deviations from the text indicate a sensitivity to cultural values beyond the substance of their roles within the narrative. Both the Great Whore and her virtuous counterpart, the Woman Clothed in the Sun, have agency, and the ways they are shown to use their agency determines their moral status. Mary Magdalene, the patron saint of prostitutes and a reformed sinner, is shown with iconographical markers beyond just prostitution, and reveals the ways in which Renaissance artists conceptualized prostitution. In the last case study, the comparison between the Daughters and the Buddhist savioresses, the Taras, demonstrates that Himalayan artists did not completely subscribe to the textual formulations of women as inherently iniquitous. Ultimately, these works of art divulge not just interpretations of the religious traditions, but attitudes about women in general, and the power they wielded in their respective contexts. / Dissertation/Thesis / Masters Thesis Art History 2020

Abstrack Jagellonian goldmongery The theme of Jagellonian goldmongery opens the subject issue of the second half of the 15th century to the first half of the 16th century, still overlapping deep into the Renaissance times. It is an art that, in many respects, was inspired by the pre-images from the Luxebourgish times, which had deeply influenced cultural happening in the country. Modern tendencies were adopted creating together with the earlier traditions a distinctive blend of transient art. Jagellonian jewels are mainly reliquiary busts of St. Vitus, St. Wenceslas and St. Adalbert. They are considered the preserved presciousness of the dome's treasure. On these a precious metal is carved and modelled according to a sculptural method. The notional peak is not represented by these works alone yet it is a collection of works from which we can compile an evolutionary line that enables us to view the period of the Jagellonian reign in our country. Keywords Jagellonian goldmongery, dome's treasure, reliquiary bust, Jagellonian Po et znak (v etn mezer): 116 940

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Materiality and considerations of color in medieval art have been the subject of a growing number of studies in recent years, but have tended to address architecture, monumental works of art such as mosaics, or metalworking. Scholars working on western medieval manuscripts have shown how much can be done with technical art history in this arena, but to date, the study of manuscript materials and their meanings with respect to the Byzantine world have been lacking. This dissertation resituates the understanding of Middle Byzantine (East Medieval Roman) manuscript production from the eleventh and twelfth centuries CE, employing a cross-disciplinary approach that synthesizes traditional codicological analysis with new technologies that identify precise materials and techniques. In particular, this work explores Middle Byzantine manuscript materiality along two perspectives. First, it investigates modes of manufacture, identifying materials and techniques of Middle Byzantine manuscripts themselves, especially in the Lectionary of Katherine Komnena and the Dumbarton Oaks Lectionary. Secondly, it analyzes the meanings and understandings of those materials along liturgical, monastic, and scientific-intellectual contexts in the manuscripts’ specific use in Middle Byzantine milieus. In each case, the focus is Middle Byzantine, Greek-language Gospel Lectionaries traceable to the Rite of Constantinople. These lavishly illuminated books played important roles in Christian liturgical contexts, and provide an opportunity to explore what Byzantines thought about the natural world.This study revises both the methodological approaches of earlier manuscript scholars and interpretations that assign place of production and meaning of materials as solely iconographic or stylistic problems. Byzantine manuscripts — in part due to twentieth-century historiographic traditions — have rarely been considered in terms of their material production, in contrast to their counterparts in western Medieval Europe, which have been explored with modern technology in exciting new ways in recent decades. As a result, this void in Byzantine studies provides a great opportunity for considering the specific contexts of these objects in their production and significance. As this dissertation attends to the material contexts of Byzantine Gospel Lectionaries, it analyzes the manuscripts in terms of their materials and methods of production, and consider the relationships between materials, Byzantine understandings of matter through the field of alchemy, and the production of knowledge about artmaking in Byzantium. This strategy seeks to account for both the interest in Byzantine intellectual works on the nature of matter and the manner in which knowledge about codex creation was passed on. Although this dissertation follows art historical methodologies and not those of the hard sciences, it incorporates scientific data that identifies precise pigments on manuscript pages into my study. In this work, the materials used by the manuscript makers of the studied objects are identified. This involves performing non-destructive analysis, collaborating with conservators, through close observation and the use of x-ray reflectography, which allows for the non-invasive, in situ study of manuscript materials. / Art History

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No description available.

O claustro do mosteiro beneditino de Sant Benet de Bages, na Catalunha espanhola, é caracterizado pela grande quantidade e diversidade de elementos ornamentais esculpidos em seus capitéis, o que é um importante indício de como a ornamentação se constituía em tanto que instância fundamental para a estética medieval. No entanto, até hoje poucas pesquisas foram realizadas sobre este claustro, o que é revelador da pouca atenção dada pela historiografia da arte tradicional ao tema da ornamentação. De modo geral, as imagens medievais mais valorizadas enquanto objeto de estudo são as historiadas. Isso em muito se deve à supervalorização da ideia de Bíblia dos iletrados, em detrimento de uma análise mais profunda sobre a presença estrutural e da complexidade dos diversos elementos que compõem as imagens, dentre os quais, os elementos ornamentais. Os trabalhos existentes sobre o tema da ornamentação e sua presença nas imagens medievais são, com poucas exceções, superficiais, procurando categorizações estilísticas e raízes filológicas. Uma das exceções é a obra do medievalista e teórico da arte francês Jean-Claude Bonne, principal marco teórico de nossa pesquisa, e que cunhou os conceitos de ornamental e ornamentalidade. A partir destas noções é que nos dedicamos ao estudo do claustro de Sant Benet de Bages, considerando os papéis estruturantes da ornamentação na economia imagética medieval e a diversidade de funções que ela pode adquirir, relacionando-a ao contexto sócio-histórico onde foi produzida. / The cloister of the Benedictine monastery of Sant Benet de Bages, in the Spanish Catalonia, has a large number and diversity of ornamental elements in its capitals, what sets us a fertile field of study. The few studies on this cloister indicate little attention by art historians to ornamentation, generally engaged in studying the historiated images. This is greatly due to the overemphasis of the idea of images as a \"Bible of the illiterate\", at the expense of a deeper analysis on the structural presence and complexity of the various elements that compose the images, among which, the ornamental elements. The existing papers on the subject of ornamentation and its presence in medieval images are generally superficial, limited to studies for stylistic categorizations, occupying a marginal place because they are supposed to be additional and unnecessary elements. At Sant Benet de Bages, like some other Romanesque cloisters, the amount of ornamental capitals exceeds that of historiated, which reveals the possibility of ornamentation to constitute a critical field to the aesthetic functioning of medieval art. This research aims to study such elements present in the cloister considering their structuring aspects in medieval imagetic economy, and the diversity of functions that can carry the concepts of \"ornemental\" and \"ornementalité\", proposed by the medievalist and French art theorist Jean-Claude Bonne, opening new possibilities for their study.

A Basílica de Santa Maria Assunta, localizada em Torcello, uma das ilhas que compõem a Laguna de Veneza, abriga um programa iconográfico de três painéis em mosaico, caracterizados como bizantinos. Em um deles, na contrafachada, está figurado o painel do Juízo Final, nosso objeto de estudo. Produzido na segunda metade do século XI, ele inaugura (juntamente com o afresco de SantAngelo in Formis, na cidade de Cápua) a tradição de representação monumental desse tema iconográfico na Itália, aproximando-se do chamado modelo bizantino clássico, encontrado em Constantinopla a partir do século XI. Há, porém, algumas diferenças em relação aos exemplares conhecidos desse modelo bizantino, como o suporte e a localização em uma contrafachada de uma igreja. Assim, nossa preocupação nesta dissertação foi dupla: por um lado, analisar tais diferenças e, por outro, discutir o que levou à escolha deste tema ainda pouquíssimo comum para ornamentar uma igreja, buscando entender seus modos de funcionamento e as funções que desempenhava, tanto na igreja e em seu programa iconográfico quanto na própria sociedade veneziana da época de sua confecção. / The Basilica of Santa Maria Assunta, located in Torcello, one of the islands in the Venetian Lagoon, houses an iconographic program of three mosaic panels, characterized as Byzantine. In one of them, on the counter-façade, is figured the panel of the Last Judgment, our object of study. Produced on the second half of the eleventh century, it inaugurates (together with the fresco of Sant\'Angelo in Formis, in the city of Capua) the tradition of monumental representation of this iconographic theme in Italy, approaching the so-called \"classical Byzantine model\", found in Constantinople from the 11th century. There are, however, some differences from the known examples of this Byzantine model, such as the support and the location on a churchs counter-façade. Thus, our concern in this dissertation was twofold: on the one hand, to analyze such differences and, on the other hand, to discuss what led to the choice of this very uncommon subject to decorate a church, trying to understand its modes of functioning and the functions it performed, both in the church and in its iconographic program, as well as in Venetian society itself at the time of its confection.

O presente trabalho constitui uma dissertação de mestrado na área de história do vestuário medieval. Dentro do contexto da Baixa Idade Média (séculos X ao XV), visa identificar e analisar os aspectos mais relevantes na indumentária dos séculos XIV e XV. O recorte temporal foi escolhido por constituir um cenário de importantes mudanças políticas, econômicas e sociais, manifestas em um vestuário rico em nuances criativas. São analisados aspectos estéticos, funcionais, materiais e produtivos deste vestuário. O modelo de pesquisa é qualitativo, de modalidade histórica. As principais fontes de dados são a literatura das áreas de História, História do Vestuário, História da Arte e Arqueologia. As principais técnicas de coleta de dados empregadas são revisão da bibliografia, pesquisa em bancos de monografias e de imagens, acervo virtual de museus e registros em fotografia. O trabalho resultou em um detalhado panorama do vestuário dos séculos XIV e XV. Foi confeccionado um protótipo de forma a exemplificar uma reconstrução a partir das soluções de confecção propostas por autores do campo. A pesquisa constitui uma ferramenta para criação e confecção de figurinos ambientados ou inspirados na Baixa Idade Média, bem como reproduções e restaurações de peças históricas de museus / The present work of research constitutes a thesis on the history of medieval clothing field. Within the context of Late Middle Ages (10th to 15th centuries), it aims to identify and analyze the most relevant aspects in costume, particularly in the 14th and 15th centuries. The time frame was chosen for being the scenario of important political, economic and social changes. Said changes are manifest in a way of dressing that is full of creative nuances. Aesthetical, functional, material and productive aspects of said costume are analyzed. The research model is qualitative, of historical mode. The main data sources are literature in the areas of History, Art History and Archaeology. The main data collection techniques are literature review, research in monograph and image banks, online museum collections and photography records. The present work of research has resulted in a detailed overview of dress in the 14th and 15th centuries. A prototype was made in order to demonstrate a reproduction case, based on constructive solutions presented by authors of the field. This research provides a tool for creation and making of costume set or inspired in the Middle Ages, as well as replicas and restoration of historical museum clothing