This thesis emphasizes the senses of the audience in reception of Jan van Eyck’s heroic Ghent Altarpiece. This pivotal work may have demanded the viewer engage in a hierarchy of devotion ranging from intimate and private to public and liturgical. Jan van Eyck engages in a strategy of representation that focus and specify various aspects of vision to create a multivalent devotional experiences for the viewer. This thesis compares some of the visual uses of frames in miniatures and how they relate to altarpiece formats and hierarchies of vision. Reception of the Ghent Altarpiece is also discussed in relation to Augustine of Hippo’s theory of tri-partite vision as well as his theory of cross-modal uses of the sense in dialogues of spiritual truth. Sound is also a vital component of the devotional experience of the Ghent Altarpiece. Issues of music and speech acts are discussed to underscore the multivalent devotional uses of the Ghent Altarpiece. / text

No description available.

Rogier van der Weyden's Miraflores Altarpiece (c. 1440) was installed in the Carthusian Monastery of Miraflores, Castile, during a period when early rosary meditation cycles were gaining popularity, particularly amongst Carthusians. This previously unexplored historical context offers a rationale for the innovative iconographic content and structure of the work, as well as for the ways in which it had meaning for its viewers. Like early rosary meditations, the Miraflores Altarpiece combines diverse meditational cycles including life of Christ and the Virgin narratives with the tripartite division of the Marian Psalter. The altarpiece has much in common with the later standardized form of the rosary, which indicates that this format had much earlier roots than had been thought previously. The Miraflores Altarpiece contributes to our understanding of the way visual media participated in the rosary tradition, and of the ways that tradition developed and changed over the fifteenth and sixteenth centuries. / Art History

The Master of the Budnany Altarpiece (in other circumstances also called Master of the Vejprnice Altarpiece) appears to be a painting workshop operating in the 1590s, probably in Prague or hypothetically in Cheb (Eger). It is a construct created by art historians on the basis of a group of surviving works that show significant stylistic similarities. It includes three torsionally preserved painted altarpieces. These are the Budňany altarpiece, the Pruhonice altarpiece and the altarpiece of the Knights of the Cross monastery. Mostly these are works of lower quality, which, according to current interpretation, illustrate the average production of Prague workshops at the end of the 15th century. Stylistically, they are strongly derived from the production of the Nuremberg Painting Centre, but also, allegedly, from the problematically defined contemporary "court" painting in Prague. The so-called "Vejprnice panel", originally the main part of another painted altarpiece, was also included in the group for a time because of its stylistic affinity, which transformed the naming of the anonymous workshop master. The author of this conception was Jaroslav Pešina, who was by far the most active on the subject, most recently in 1978, and this thesis thus partly polemics with his conclusions. The content of this thesis...

acase@tulane.edu / 1 / Ariel Tusa

While little is known concerning the events surrounding the commission of the Isenheim Altarpiece or of the artist known to us as Master Matthias Grünewald, much can be ascertained about the message of the Altarpiece through careful study of the socio-historical-religious context from which the work was commissioned and iconographic analysis of the images portrayed by Master Matthias. This thesis explores iconographic metaphors for birth and sacrifice, metaphors which work to create a theological dialogue about Christian redemption within the nine painted panels and the underlying sculpture that makes up the Isenheim Altarpiece. First, we will address the panels in the middle position of the Isenheim Altarpiece, which reveals events from the life of Mary. Since the Madonna is a prominent figure in the Altarpiece panels, understanding her role in sixteenth century Christian theology as birth mother of the Savior and as an especial example of bringing forth good fruit by virtue of obedience and humility is crucial to understanding the Marian iconography of the panels. In the center of the triptych, immediately following the Annunciation panel in the middle position, we see a celebration of Christ's birth in the Concert of Angels panel. When replaced by the folded wings depicting the Crucifixion, the Concert of Angels panel creates a discussion of rebirth through the sacrifice and death of the Savior which is symbolized by the Resurrection displayed in the final panel of the middle position. Through the use of iconographic devices which reference different panels within the Altarpiece, Grünewald creates a dialogue of redemption and rebirth through Jesus' mortal birth mother, the Virgin Mary. This dialogue extends to images of saints and disciples who find spiritual rebirth through conversation and help to build the kingdom of God on earth through their exemplary lives. Even the faithful followers of Christ numbered in the audience of the Isenheim Altarpiece are given a role in the dialogue of rebirth through conversion by bearing virtue, rather than vice, in the attitude of Mary and the saints.

Work is devided into theory and practical part. Theoretical part with the title ``Sacral plastic Arts in Czech painting of 20th century{\crqq} is dealing with chosen particular appearances and forms of plastic arts in the surroundings of Bohemian churches and chapels. The artistic and social limits and possibilities are dealt here in the form of essay. The practical part is made up from six paintings of size 75 x 109 cm. The inspiration was taken with the apocalyptical part of Bible {--} ``St. John{\crq}s Appiration``.

Keywords The Znojmo altarpiece, Znojmo, Church of St. Michael, Dutch realism, Jakob Kaschauer Abstract This diploma thesis deals with the Znojmo Altarpiece, dated from 1430-1440 and now being exhibited in the Austrian Gallery Belvedere. Thesis is intentionally devided into two topics. The first one is the critical evaluation of the present literature, the second topic interprets the Znojmo Altarpiece itself. This evaluation is based on a specific fine art and visual value of the altarpiece connected to its sociocultural environment for which it was made for: the Church of St. Nicolas in Znojmo city. The complexity of the theologial program of the piece is also analysed, as well as its connection to a supposed donor, Duke Albrecht II. of Germany of the House of Habsurg. Thesis deals with the motives of duke's order including the choice of the carving workshop originated in the artistic environment of Bavaria, which was completed by the domestic Viennese painting workshop. In terms of its artistic style, both the painting and carving style of the alterpiece are putting into context of the Bavarian and Viennese contemporary production. The relationship between the origins of the Znojmo Altarpiece and the painting work of the Master of the Fridrich Altarpiece and the sculptural work of Jakob Kaschauer are also...

This thesis explores the relationship of the Sermo Angelicus of St. Birgitta of Sweden, written in the fourteenth century, with the Nativity/Concert of Angels panel of the Isenheim Altarpiece, painted by Matthias Grunewald in 1514 for a hospital and monastery run by the Antonite Order. Taking into consideration the context of the altarpiece, this thesis analyzes its iconography in relation to specific passages from the Sermo Angelicus, suggesting that the text was a possible source used by the Antonites in the Nativity/Concert of Angels panel. By doing so, parallel themes of salvation in both the text and the panel are discovered that in turn relate to the altarpiece in its entirety and present a message fashioned specifically for those patients at the hospital at Isenheim that viewed the altarpiece.

A presente tese toma por base o contexto internacional em nível cognitivo, no qual se desenvolveu a História da Arte Brasileira nos primeiros séculos, com a intermediação lusitana. Procura identificar o processo interativo deslocado territorialmente, mas que, por isso mesmo, dadas as contingências locais, tornou possível novas interpretações e adaptações. A prática artística progressivamente se estabilizou no Brasil-Colônia a partir do século XVI, cumprindo o itinerário que encontra na mentalidade e no conhecimento do homem pós-renascentista a base que viria a orientar os séculos imediatamente subseqüentes. Portanto, a Reforma Católica refletiu a capacitação do sistema, conforme se tornara indispensável à organização social que, partindo do vínculo com a cultura preexistente do medievo ao Renascimento, instituísse os parâmetros que os renovados fatores requeriam. Estabeleceu-se um modelo de sociedade de conotação metafísicoteológica, e por conseqüência hierárquica, onde o culto religioso aglutinava os vários aspectos da sua estrutura. Distinguimos aí a íntima relação entre a \"ecclesia\" e a \"civitas\" pois a igreja e a cidade coordenavam de modo substancialmente unitário os diversos polos de interesse que por essa razão se tornam indissociáveis. A fundação da Cidade do Salvador, cabeça do Brasil, se configura como uma oportunidade única a serviço da compreensão de um contexto projetado e realizado como ponte interligando terras até então completamente desconhecidas entre si. Os primeiros capítulos buscam conseqüentemente traçar as diretrizes do vínculo existente entre a \"ecclesia\" e a \"civitas\" no qual se situa e se expressa o amadurecimento técnico VIII das formas de fazer, sempre no âmbito ao qual a pesquisa se direciona: o dos fatores determinantes do retábulo - produto de uma religiosidade já delineada no tempo. A Igreja, em direta conexão com o Estado português, assume ao lado deste a função de elemento dinamizador, concentrando em si, com maior relevo e as sucessivas construções realizadas, a concretização do esquema urbanístico previamente traçado. Torna-se, assim, principal incentivadora da formação profissionalizante com a importância especial que assume a construção e decoração dos templos. O pensamento teórico- prático e religioso formava um corpus unitário desde a capacitação advinda da metrópole. A execução do projeto de fundação da Cidade do Salvador evidencia na problemática construtiva a conexão com os vários aspectos do caráter rudimentar dos meios à disposição. A arquitetura, a concepção urbana e os retábulos das igrejas são constitutivos da atuação de conceitos transferidos e adaptados, porém, interligados pela necessidade de fixar no novo território d\'além mar a sede de um programa só realizável com o aperfeiçoamento técnico, quando não com a transferência do próprio material como a pedra lavrada a compor fachadas e portadas. Numerosos artesãos portugueses se transferiram para o Brasil. No ambiente franciscano instituiu-se uma verdadeira escola de realizadores, inclusive itinerante, para atender à demanda da Ordem particularmente no Nordeste. Entre os jesuítas, muitos dos artistas responsáveis pela igreja do Colégio, em Salvador, aprenderam o ofício na Companhia. Aprendizado este que teve porém como ponto de partida, necessariamente, a mão-de-obra importada e a contribuição fundamental de especialistas vindos do reino. No campo de atuação laica conclui-se que na Península Ibérica se reflete a valorização do artista pré-anunciada por Cennino Cennini e depois teorizada nos tratados de Leon Battista Alberti e Leonardo da Vinci, IX ganhando ulterior impulso na disputa sobre o \"Primado\" das artes. Mas, o artista fazendo parte de uma elite, nunca pôde prescindir dos \"oficiais mecânicos\" quando do \"conceito\" se passa à fase executiva. Permanece- lhes vinculado o universo da execução técnica. Os preceitos estabelecidos pela Contra-Reforma, tornam-se determinantes na mentalidade que orienta a criação artística; têm continuidade nos seus exegetas e encontram aplicação rigorosa nas \"Constituições Primeiras do Arcebispado da Bahia\". Enquanto que toda a formação da consciência construtiva tem por referência direta as concepções teóricas dos tratadistas cuja incidência revela-se determinante em todo o longo período analisado, justificando muitos dos aspectos da arquitetura e da talha barroca. A partir de indicações bibliográficas contidas na \"Literatura Artística\", obra de Julius von Schlosser Magnino, buscamos fornecer um quadro da repercussão a partir do século XVI das \"Medidas do Romano\" de Diego de Sagredo. O qual com uma série de normas não encontradas nos textos em geral e nem evidenciadas pelas ruínas, quer na Itália quer na Península Ibérica, organizou um tratado de grande difusão sobretudo entre os oficiais mecânicos. Publicada em sua primeira edição em Toledo, 1526, a obra que, conforme o seu título completo já o indica, pretende ser útil \"aos que querem acompanhar as formações das bases, colunas, capitéis e outras peças dos edifícios antigos\" - o tratado de Sagredo seria, conforme concluímos, produto da vontade de vir em socorro a um mundo artesanal perplexo, necessitando-se daquele vínculo com a arquitetura clássica que agora se articulava diversamente, inovando o vocabulário. Os altares do ambiente barroco, muitas vezes, são altares de transição, portanto, a explicação morfológica a eles referente não se enquadra em um esquema formal pré-determinado na sucessão dos estilos, conforme procuramos demonstrar. Escolhemos nos ocupar em primeiro lugar dos retábulos da atual Catedral da Sé, antiga igreja do Colégio dos Jesuítas, que documentam a evolução acontecida no referido contexto. Assim como os principais retábulos da igreja conventual de São Francisco nos indicam a contribuição franciscana e a Basílica da Conceição da Praia por ser uma igreja paroquial, representa o ambiente laico das irmandades religiosas. Destacando alguns tópicos da morfologia do retábulo em Salvador, podemos referir: - o conhecimento dos percursos evolutivos formais e dos trâmites de adesão a novo estilo; - os jesuítas e a evolução da arte da talha luso-brasileira; - os exemplares do maneirismo, ressaltando traços diferenciadores que assinalam a autonomia do retábulo; - o maneirismo de decoração geométrica e o de decoração naturalística; - o altar-mor de transição ao barroco e a passagem ao estilo nacional português nos altares laterais; - a estrutura arquitetônica contrareformista de espaço unitário e a inserção de altares barrocos; - o altar joanino e a influência do barroco italiano; - a \"igreja toda de ouro\" e a conciliação das diferentes fases do barroco; - a demonstração do estilo joanino e do retábulo joanino baiano. / This thesis is based on the international context at a cognitive level, in which the History of the Brazilian Art was developed in the first centuries, under the influence of the Portugueses. It tries to identify the displaced interactive territorial process, but, due to the local contingency arrangements, new interpretations and adaptations became feasible. Starting from the 16th century, the artistic practice became increasingly stable in Colonial-Brazil, following the itinerary that found in the mentality and in the post-Renaissance man\'s knowledge the basis that would guide the centuries immediately on. Therefore, the Catholic Reform reflected the system ability, as it had become essential to social organization that, beginning from the link with the preexistent culture from the medieval period to the Renaissance, instituted the parameters that the renewed factors asked for. A model of society of Metaphysical-theological connotation was established, because of its hierarchic consequence, where the religious cult combined several aspects of its structure. In that respect we characterize the close relation between the \"ecclesia\" and the \"civitas\" due to the fact that the church and the city coordinated in substantially unitary way the diverse opposed regions of interest that by this reason become inseparable. The foundation of the City of Salvador, head of Brazil, represents a unique opportunity towards the understanding of a planned, accomplished context as a bridge connecting lands entirely strange to each other at that time. Thus, the first chapters look at the guidelines of the existing links between the \"ecclesia\" and the \"civitas\", in which technical matureness situates and reveals its means of to make something, always considering XII the sphere that this research aims: the determining factors of the altarpiece - the product of a religiousness already outlined in the time. In connection with the Portuguese State, the Church takes over besides that one the function of driving force element, concentrating on itself, with great magnitude and successive accomplished constructions, the materialization of the urban outline already conceived. Thus, it set an incentive scheme for professionalizing formation with the outstanding importance that the construction and decoration of the temples assumes. The theoretical-practical and religious thought formed an unitary corpus from the capacity resulting from the metropolis. The execution of the foundation project of the City of Salvador substantiates in the constructive problem the connection with the several aspects of the rudimentary character of the available means. The architecture, the urban conception and the altarpieces of the churches are constitutive of absorbed and adapted ideas, but they are linked together by the necessity to establish in the new overseas territory the headquarters of a scheme only achievable with the help of technical improvement, or with the transference of materials, like the wrought stone that would compound facades and portals. Many Portuguese artisans were transferred to Brazil. In the Franciscan ambience a real achiever school was created, also itinerant, to assist to the demand of the Order, particularly in the Northeast. Among the Jesuits, many of the artists in charge of the church of the School, in Salvador, learned their skillfulness in the Company. However, this learning had as starting point the imported workmanship and the fundamental contribution of specialists coming from the kingdom. In the sphere of the secular performance, we conclude that in the Iberian Peninsula highlights the valuation of the artist, later theorized in treatises by Leon Battista Alberti and Leonardo da Vinci, acquiring further impetus in the subject concerning the \"pre-eminence\" of the arts. But, XIII the artist being part of an elite, could never to do their work without the \"operative officials\" when one goes from the \"concept\" to the executive phase. The universe of the technical execution remains the same. The commandments stated by the Counter-Reformation became crucial in the mentality that guides the artistic creation; they have been continued with the exegetists and find out strict application in the \"First Constitutions of the Archbishopric of Bahia\". While all the formation of the constructive conscience has for direct reference the theoretical conceptions of the authors whose incidence it is decisive in the whole long analyzed period, justifying many of the aspects of the architecture and of the Baroque carving. Starting from bibliographical entries contained in \"Artistic Literature\", by Julius von Schlosser Magnino, we have been trying to provide a picture of the repercussion, from the XVI century, of the \"Measures of the Roman\", by Diego de Sagredo. With a series of norms not found in general in the texts nor evidenced by the ruins, in Italy as well as in the Iberian Peninsula, he arranged an outstanding treatise particularly among the mechanical officials. First published in Toledo, 1526, the work, as its full title already indicates, intends to be useful \"to anyone who wants to follow the formations of the bases, columns, capitels and other pieces of the old buildings\" - the norms of Sagredo would be, as we deduced, a help to the perplexed handmade world, that needs a link with the classic architecture that now diversely was articulated, innovating the vocabulary. Frequently the altars of the Baroque ambience are transition altars, therefore the morphologic explanation for such thing can not be fitted in a formal, predetermined outline in the succession of styles, as we tried to demonstrate. First, we chose deal with the altarpieces of the current Cathedral of the Sé, the old church of the School of the Jesuits, that documents the XIV evolution happened in the referred context. Thus, as the main altarpieces of the conventual church of San Francisco indicates, the Franciscan contribution and the Conceição of the Beach Church, for being a parochial church, represent the secular atmosphere of the religious fraternities. Here are some topics of the morphology of the altarpiece in Salvador: o the knowledge of the formal evolutionary courses and the adhesion procedures to new style; o the Jesuits and the evolution of the Portuguese-Brazilian carving art; o the mannerism pieces, standing out differentiating lines that mark the autonomy of the altarpiece; o the mannerism of geometric decoration and the one of naturaristic decoration; o the high altar of transition to the Baroque and the passage to the Portuguese national style in the lateral altars; o the counter-reformist architectural structure of unitary space and the inset of Baroque altars; o the King John altar and the influence of the Italian Baroque; o the \"whole gold church \" and the conciliation of the different phases of the Baroque; o the demonstration of the King John style and the King John altarpiece of Bahia.