A group of oil paintings completed in partial requirement of my MFA degree is discussed. The paintings are on wood panels and are the result of a combination of old master techniques of under-painting and glazing and more contemporary approaches to the painting process. Each painting represents a particular concept or event from Mormon theology; whereas, the pictorial structure is inspired by Medieval manuscript painting. Thus, this body of work is a synthesis between two worldviews existing centuries apart, yet sharing certain core values and beliefs.

This thesis focuses on the complex of medieval mural paintings in the church of St. James the Greater in Libis. It concerns the extant paintings, which are described, explained and compared to analogical works. The thesis turns its attention also to fragments of original paintings for the first time. It deeply touches the uncertain datation of some scenes and considers relevance of the sources, which have served for the datation until today. Powered by TCPDF (www.tcpdf.org)

Cette thèse étudie, à partir d’un corpus d’environ 950 images, l’iconographie du Procès du Christ dans la culture italienne de la fin du Moyen Âge. Elle est le fruit d’une double ambition : celle de retracer l’évolution iconographique des scènes (Comparutions devant les juges, Outrages, Couronnement d’épines, Flagellation) et du cycle dans son ensemble, et ce, dès les premiers siècles de l’art chrétien, mais au-delà, celle de replacer ces images d’injustice dans le champ spirituel, culturel, judiciaire et politique d’une société profondément imprégné d’une pluralité de discours sur la justice. La première partie remonte aux sources, textuelles et visuelles, afin de mieux comprendre l’élaboration progressive du cycle visuel et de mieux cerner l’inventivité des solutions italiennes à partir de la seconde moitié du XIIIe siècle. La deuxième partie est une exploration d’un corpus de 950 images. L’analyse des évolutions iconographiques scène après scène est enrichie par une analyse sémantique. Il s’agit en effet de montrer comment sont figurés à la fois une justice dysfonctionnelle et le paradoxe du Christus iudicatus, en regard notamment des images contemporaines de la justice. La dernière partie est une réflexion sur les diverses modalités de mise en acte de ces images, selon les supports et les contextes, dévotionnels, judiciaires, mais également politique. Cet éclairage multiple confère à ce thème iconographique une profondeur et une résonance particulière. Dans une société pénétrée par le thème de la justice, à la fois institution en quête d’elle-même, vertu chrétienne et puissance divine, il fait office d’un repoussoir rhétorique efficace, tout en étant chargé d’une forte ambivalence propre à la culture médiévale.Mots clés : apparatus visuel, Arena, Aula épiscopales de Bergame, Ben Comune, Caïphe, Pietro Cavallini, Christ, Comune rubato, conforto, Couronnement d’épines, croix peinte, dévotion, Diligite iustitiam, discipline Duccio, fama, Flagellation, Florence, fresque, Giotto, Giustizia bendata, Hérode, imitatio Christi, infamia, injustice, Jugement dernier, juifs, justice, Lavement des mains, Pietro Lorenzetti, Maestà, Meditationes Vitae Christi, memento falliri, memoria, métalepse visuelle, Passion, Pilate, Présentation au peuple, procès, retable, Rhetorica ad Herennium, rituels, rituels judiciaires, Sienne, spiritualité mendiante, tavoletta, vertu, vice / This dissertation examines, from a corpus of about 950 images, the various scenes of the Trial of Christ in the late medieval Italian culture. It claims two aims. Firstly, it draws the iconographic evolution of each scene (Christ before his judges, Mocking, Crowning of Thorns, Flagellation) and of the entire sequence, from the first centuries of Christian art ; secondly, it inserts theses images of injustice in the spiritual, cultural, judicial and political context of a society which is profoundly pervaded by the theme of justice. The first section deals with the textual and visual sources in order to examine the elaboration of the sequence and the inventiveness of the Italian solutions since the second half of the XIIIth century. The second section is a survey of the corpus, lead by a geographico-historical analysis of the production of these images. This aspect is extended by a semantic approach of these scenes picturing the injustice and the infamia endured by the Son of God, notably through the light of the increasing corpus of images of institutional justice. The last section examines the question of the efficacity of these images in various contexts (devotion, judicial rituals, civic rhetoric, politics). Thanks to that diversity of approaches, the theme of the Trial of Jesus reveals profound resonances in the web of Italian societies, where justice is an institution in search of its own identity, a Christian virtue and the privilege of God at End Time. Its acts notably as a powerful but ambivalent rhetorical counterexample.Key words : agency of image, altarpiece, visual apparatus, Arena, episcopal aula of Bergamo, Ben Comune, Blind Justice, Caiaphas, Pietro Cavallini, Christ, Comune rubato, conforto, Crowning of Thorns, devotion, Diligite iustisiam, discipline, Duccio, Ecce Homo, efficace des images, fama, Flagellation, Florence, frescoes, Giotto, Herode, imitatio Christi, infamia, injustice, Jews, Last Judgment, justice, Pietro Lorenzetti, Maestà, Meditationes Vitae Christi, memento falliri, memoria, visual metalepsis, painted cross, Passion, Pilate, Pilate washing his hands, Rhetorica ad Herennium, rituals, judicial rituals, Siena, mendicant spirituality, tavoletta, trial, vice, virtue.

Contrastando com a raridade dos vestígios materiais de supostas maquetes de arquitetos medievais há uma profusão de representações artísticas (mosaicos, afrescos e esculturas) que retratam figuras (Papas, Reis, Príncipes e Santos) portando modelos de arquitetura, particularmente igrejas. Esta pesquisa, apoiada pela FAPESP, concentra-se sobre este motivo artístico da figura portando o modelo de arquitetura relacionando-o à arquitetura real, à representação tridimensional da arquitetura e ao imaginário medieval acerca da criação arquitetônica. Para tanto esta pesquisa identifica, descreve, analisa e interpreta um corpus iconográfico das representações mais significativas do motivo artístico em foco, produzidas entre o séc. VI e o séc. XV na Europa e na Ásia Menor. O estudo iconográfico deste motivo, considerando suas características plásticas, suas possíveis relações formais, e seus aspectos simbólicos, pretende contribuir assim para uma maior compreensão de suas relações com o pensamento acerca da criação do projeto, entre o mundo romano e a Renascença. / In contrast with the material vestiges scarcity of the supposed medieval architects three-dimensional models, there is a profusion of artistic representations (mosaics, frescos and sculptures) that show figures (Popes, Kings, Princes and Saints) holding architectural models, particularly churches. This research, supported by FAPESP, concentrates on the artistic motif of the figure holding the architectural model and its relations with real architecture, architectural three-dimensional representation and the medieval imaginary on architectural creation. Methodological procedure identifies, describes, analyzes and interpretates an iconographic corpus of the most significant representations of the artistic motif in focus produced in Europe and Asia Minor, between the fall of the Occidental Roman Empire (AD V) and the Italian Quatrocento. The iconographic study of this motif, considering its plastic characteristics, its possible formal relations, and its symbolic meanings, aims to contribute for a better understanding of its relations with the architectural design thought, between the Roman world and the Renaissance.

Univ., Diss.--Leiden, 2005.

This dissertation considers an unfamiliar but fundamental aspect of late-medieval art: the role of documentation. Documents played as critical a part in that society as they do in our own. In late-medieval consciousness, the charter loomed as large as the sacred image, and documentation mattered no less than devotion—while the two also had a profound and inextricable connection. Discussion begins with three principal arguments, explained in detail in the first chapter: 1. The materials of documentation are part of the history of art; and accordingly, art-historical methods render an important contribution to diplomatics. 2. Documents are an important subject of representation; and accordingly, works of art are important sources for the cultural reception of documentary practices. 3. Documents are an important model for representation; and, consequently, an understanding of the paradigmatic role of the document suggests an alternative dimension to the interpretation of late-medieval art. The chapters that follow pursue these arguments through the analysis of individual works of art—charters, seals, archival manuscripts, liturgical manuscripts, architecture, and sculpture. These chapters also include a study of one of the great monuments of English gothic art: the Sherborne Missal, produced c.1400 for the Benedictine abbey of Sherborne. Ideas of documentation constitute critical aspects both of the Missal’s subject matter and its modes of representation, and these “documentary” elements also relate closely to the larger ideological project of the Missal’s creators. As details of the manuscript’s patronage, illumination, liturgy, inscriptions, and codicology all demonstrate, its creators associated documentation with central religious ideas about devotional images and the eucharist—essentially, the nature of valid representation and effective action. In keeping with the regional and institutional context of this principal study, the other objects discussed come primarily from English religious institutions. That context, however, by no means implies that the importance of documentation is limited either to England or to the conventual sphere, although it manifests itself differently from place to place and from one estate to another. The studies in this thesis represent only one example of where its arguments might lead, and what its approach might reveal in other works of art. / History of Art and Architecture

Thesis (doctoral)--Katholieke Universiteit Nijmegen, 2001. / Includes bibliographical references (p. 269-284) and index.

Issued in part (xii, 47 p.)--as the author's inaugural dissertation, Basel. / "Literatur-abkürzungen": p. [x]-xvi.

abstract: The medieval bestiary is often simply described as a moralized "encyclopedia of animals," however, these so-called "books of beasts" were made for humans, by humans, about humans. It is therefore surprising that one common pictorial subject of the bestiary has been left unexamined: humans. By viewing bestiary images through this lens, one may easily see man's underlying and unresolved struggle to maintain dominance over the beasts, and the Others projected onto them, thereby ensuring that "the (hu)man" remains a discrete definition. This study begins as the bestiary does, with the Naming of the Animals. Illustrations of Adam as a king, bestowing names of his choosing upon tame beasts express a kind of nostalgia for a now-lost time when humanity was secure in their identity as non-animal. This security no longer exists in the postlapsarian world, nor in the bestiary images following these scenes. In an attempt to maintain the illusion of dominion, many bestiary illuminations forego simple descriptive images in favor of gory hunting scenes. However, these conspicuous declarations of dominion only serve to highlight the fragility of the physical form, and even demonstrate the frailty of the human (male, Christian) identity. One such example is MS Bodley 764's boar illumination, in which the animal is killed at the hands of male hunters. This thesis unpacks this image of dominion in order to reveal the associated insecurities regarding race, gender, and species that lie beneath the surface. Subsequently, the study turns to the many bestiary images depicting human bodies brutally fragmented within the jaws of an animal. Anthropophagous bestiary animals often carry fears of the gender and ethnic Other; despite the bestiary's posturing of order and hierarchy, both the human body and identity are easily consumed and subsumed into the ever-present animal/Other. Just as in life, the human figures in the bestiary struggle to establish unquestioned dominion, only to be constantly undercut by the abject. By using a psychoanalytic approach to the human bodies of the bestiary, this study will explore how this imagery reflects the ambiguous position and definition of the human. / Dissertation/Thesis / M.A. Art History 2014

Contrastando com a raridade dos vestígios materiais de supostas maquetes de arquitetos medievais há uma profusão de representações artísticas (mosaicos, afrescos e esculturas) que retratam figuras (Papas, Reis, Príncipes e Santos) portando modelos de arquitetura, particularmente igrejas. Esta pesquisa, apoiada pela FAPESP, concentra-se sobre este motivo artístico da figura portando o modelo de arquitetura relacionando-o à arquitetura real, à representação tridimensional da arquitetura e ao imaginário medieval acerca da criação arquitetônica. Para tanto esta pesquisa identifica, descreve, analisa e interpreta um corpus iconográfico das representações mais significativas do motivo artístico em foco, produzidas entre o séc. VI e o séc. XV na Europa e na Ásia Menor. O estudo iconográfico deste motivo, considerando suas características plásticas, suas possíveis relações formais, e seus aspectos simbólicos, pretende contribuir assim para uma maior compreensão de suas relações com o pensamento acerca da criação do projeto, entre o mundo romano e a Renascença. / In contrast with the material vestiges scarcity of the supposed medieval architects three-dimensional models, there is a profusion of artistic representations (mosaics, frescos and sculptures) that show figures (Popes, Kings, Princes and Saints) holding architectural models, particularly churches. This research, supported by FAPESP, concentrates on the artistic motif of the figure holding the architectural model and its relations with real architecture, architectural three-dimensional representation and the medieval imaginary on architectural creation. Methodological procedure identifies, describes, analyzes and interpretates an iconographic corpus of the most significant representations of the artistic motif in focus produced in Europe and Asia Minor, between the fall of the Occidental Roman Empire (AD V) and the Italian Quatrocento. The iconographic study of this motif, considering its plastic characteristics, its possible formal relations, and its symbolic meanings, aims to contribute for a better understanding of its relations with the architectural design thought, between the Roman world and the Renaissance.