- London, London, City of, United Kingdom
Michael A . Michael
University of Glasgow, School of Culture and Creative Arts, Department Member
- History of Art; English Art; Medieval English Embroidery; Illuminated manuscripts; Stained Glassedit
This second volume in the series Studies in English Medieval Embroidery is dedicated to the Opus Anglicanum Cope of St Domenico, Bologna now housed in the Museo Civico Medievale. Essays are by the Director, curators and conservation staff... more
This second volume in the series Studies in English Medieval Embroidery is dedicated to the Opus Anglicanum Cope of St Domenico, Bologna now housed in the Museo Civico Medievale. Essays are by the Director, curators and conservation staff of the Museo Civico in collaboration with new archival research by leading scholars in the field of textiles and the production of medieval liturgical vestments. It is edited by Dr. M.A. Michael, head of the Opus Anglicanum Project at the University of Glasgow.
This volume presents the first detailed investigation of the iconographical cycle depicted on the cope and provides new evidence for dating which places the Bologna Cope within the short-lived patronage of Pope Benedict XI before 1304. A comprehensive investigation of the archival materials relating to the Cope and its rediscovery in the 19th century is also accompanied by a detailed historiography of the literature and exhibition history of the cope and an account of the challenges faced during its recent conservation.
This volume presents the first detailed investigation of the iconographical cycle depicted on the cope and provides new evidence for dating which places the Bologna Cope within the short-lived patronage of Pope Benedict XI before 1304. A comprehensive investigation of the archival materials relating to the Cope and its rediscovery in the 19th century is also accompanied by a detailed historiography of the literature and exhibition history of the cope and an account of the challenges faced during its recent conservation.
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St Albans contains one of the most extensive sets of medieval wall paintings to survive in any of the great English churches, ranging in date from the early 12th century to the Tudor period. These provide a unique picture of how the... more
St Albans contains one of the most extensive sets of medieval wall paintings to survive in any of the great English churches, ranging in date from the early 12th century to the Tudor period. These provide a unique picture of how the decoration of an abbey church would have functioned in the Middle Ages, as a material expression of a deeply Christian culture where the spaces in the church acted as sites for prayer and devotion. This authoritative and accessible study of the full range of paintings, written by art historian Dr M. A. Michael and illustrated with specially commissioned new photography, offers a detailed discussion of the individual images and sets them in their wider artistic context.
https://issuu.com/accpublishinggroup/docs/st_albans_cathedral_wall_paintings_blad
https://issuu.com/accpublishinggroup/docs/st_albans_cathedral_wall_paintings_blad
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In medieval Europe, embroidered textiles were indispensable symbols of wealth and power. Owing to their quality, complexity, and magnificence, English embroideries enjoyed international demand and can be traced in Continental sources as... more
In medieval Europe, embroidered textiles were indispensable symbols of wealth and power. Owing to their quality, complexity, and magnificence, English embroideries enjoyed international demand and can be traced in Continental sources as opus anglicanum (English work). This sumptuously illustrated book draws on new research and detailed photography to offer an introduction to their design, production, and use. Essays by leading experts explore the embroideries' artistic and social context, while catalogue entries examine individual masterpieces. Medieval embroiderers lived in a tightly knit community in London, and many were women who can be identified by name today. Comparisons between their work and contemporary painting challenge modern assumptions about the hierarchy of artistic media. Contributors consider an outstanding range of surviving examples, highlighting their exquisite craftsmanship and exploring the world in which they were created.
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This volume, the first to appear in a series of Studies in English Medieval Embroidery, contains the papers delivered at a Symposium held at the Victoria and Albert Museum in London in February 2013, which was designed to re-vitalize... more
This volume, the first to appear in a series of Studies in English Medieval Embroidery, contains the papers delivered at a Symposium held at the Victoria and Albert Museum in London in February 2013, which was designed to re-vitalize research and public awareness of a significant medium of medieval art.
During the period which has become known as the great age of Opus Anglicanum between c.1200 and 1400, kings, popes and high ranking prelates all over Europe vied with each other in their desire to own English medieval embroidery. Such vestments were first mentioned as ‘English Work’ (Opus Anglicanum) in the papal archives because of their distinctive style rather than their technique – although most also display skilful use of gold embroidery in what is known as ‘underside couching’, a method of embroidering silver-gilt thread so that it is both pliable and displays the maximum amount of thread on the surface of the garment. The imagery achieved in this special medium is comparable with the luxurious illuminated manuscripts produced in England during the Middle Ages and forms a repository of some unique iconography.
The essays included here break new ground in the understanding of both liturgical and secular embroidery, covering topics such as interesting iconographic aspects found in Opus Anglicanum; hitherto unpublished data from the royal accounts of Edward III related to commissions and payments to embroiderers and embroideresses; and a detailed study of late medieval English palls accompanied by a Handlist of the major extant examples. Of particular importance is the inclusion of the Evelyn Thomas Collection of pre-digital images of Opus Anglicanum work, now digitized in its entirety at the Princeton Index of Christian Art
During the period which has become known as the great age of Opus Anglicanum between c.1200 and 1400, kings, popes and high ranking prelates all over Europe vied with each other in their desire to own English medieval embroidery. Such vestments were first mentioned as ‘English Work’ (Opus Anglicanum) in the papal archives because of their distinctive style rather than their technique – although most also display skilful use of gold embroidery in what is known as ‘underside couching’, a method of embroidering silver-gilt thread so that it is both pliable and displays the maximum amount of thread on the surface of the garment. The imagery achieved in this special medium is comparable with the luxurious illuminated manuscripts produced in England during the Middle Ages and forms a repository of some unique iconography.
The essays included here break new ground in the understanding of both liturgical and secular embroidery, covering topics such as interesting iconographic aspects found in Opus Anglicanum; hitherto unpublished data from the royal accounts of Edward III related to commissions and payments to embroiderers and embroideresses; and a detailed study of late medieval English palls accompanied by a Handlist of the major extant examples. Of particular importance is the inclusion of the Evelyn Thomas Collection of pre-digital images of Opus Anglicanum work, now digitized in its entirety at the Princeton Index of Christian Art
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This volume is published in honour of Nigel Morgan, whose meticulous scholarship and inspiring teaching have contributed so richly to the study of medieval art. The thematic and material variety of its essays reflect the range of Nigel... more
This volume is published in honour of Nigel Morgan, whose meticulous scholarship and inspiring teaching have contributed so richly to the study of medieval art. The thematic and material variety of its essays reflect the range of Nigel Morgan's interests, while the backgrounds of the various contributors suggest the truly international flavour of a long and influential career.
Table of Contents
J.J.G. Alexander, ‘An English Twelfth-Century Manuscript of Hugh of St. Victor and Examples of Italian Fitfteenth-Century Illumination in the Lilly Library, Bloomington, Indiana’; J. Barclay-Lloyd, ‘Creating a Medieval Interior in Melbourne: the Stained Glass Windows of St. Patrick’s Cathedral’; A. Bennett, ‘A French Cleric’s Handbook of Devotions of the Early Thirteenth Century’; P. Binski, ‘The Ante-Reliquary Chapel Paintings in Norwich Cathedral: The Holy Blood, St. Richard and All Saints’; M. Campbell, ‘An English Medieval Jug’; L. Dennison, ‘A Unique Monument: the Brass of Philippe de Mézières’; E. Duffy, ‘The Four Latin Doctors in Late Medieval England’; R. Gibbs, ‘Dreams of Salvation: Vitale da Bologna’s Mezzaratta Nativity and its Progeny’; G. Henderson, ‘The Idiosyncrasies of a Thirteenth-Century Illustrator: The Old Testament Cycle in St. John’s College Cambridge, Ms.K.26 Revisited’; T.A. Heslop, ‘Attending at Calvary: an Early Fifteenth-Century English Panel Painting’; M. Kauffmann, ‘The Alheide Psalter, a Thuringian Manuscript Recording Three Hundred Years of Private Devotion’; D. King, ‘John de Warenne, Emund Gonville and the Thetford Dominican Altar Paintings’; P. Klein, ‘The Meaning of Fables in the Bayeux Tapestry’; S. Lewis, ‘‘Apocalypses’ in Text and Image: From Translation to Transformation in Fourteenth-Century Vernacular Apocalypses’; J. Luxford, ‘The Monumental Epitaph of Edmund Crouchback’; M. Manion, ‘Illuminating a Liturgical Text for Lay Use: The Late Medieval Breviary’; R. Marks, ‘The Dean and the Transsexual; Or Why Did John Colet Desire Burial Before the Image of St. Uncumber’; M. Michael, ‘Transnationality: The Wilton Dyptich as Text’; R. Pfaff, ‘The Glastonbury Collectar’; K.-G. Pfändtner, ‘The Last Knight’s Search for his Schoolbooks: Emperor Maximilian I and Early Book Conservation Strategies’; U. Plahter, ‘Norwegian Frontals and Early Medieval Oil Painting’; N. Rogers, ‘The Frenze Palimpsest’; L. Sandler, ‘Mary de Bohun’s Libellus of Devotional Readings on the Virgin Mary, St. Mary Magdalene and St. Margaret’; J. Stratford, ‘Clerks, Forfeiture and Books’; R. Thomson, ‘The Bury Bible – Further Thoughts’; P. Tudor-Craig, ‘St. Francis and the Psalter of Alphonso BL Addition 24686’
Table of Contents
J.J.G. Alexander, ‘An English Twelfth-Century Manuscript of Hugh of St. Victor and Examples of Italian Fitfteenth-Century Illumination in the Lilly Library, Bloomington, Indiana’; J. Barclay-Lloyd, ‘Creating a Medieval Interior in Melbourne: the Stained Glass Windows of St. Patrick’s Cathedral’; A. Bennett, ‘A French Cleric’s Handbook of Devotions of the Early Thirteenth Century’; P. Binski, ‘The Ante-Reliquary Chapel Paintings in Norwich Cathedral: The Holy Blood, St. Richard and All Saints’; M. Campbell, ‘An English Medieval Jug’; L. Dennison, ‘A Unique Monument: the Brass of Philippe de Mézières’; E. Duffy, ‘The Four Latin Doctors in Late Medieval England’; R. Gibbs, ‘Dreams of Salvation: Vitale da Bologna’s Mezzaratta Nativity and its Progeny’; G. Henderson, ‘The Idiosyncrasies of a Thirteenth-Century Illustrator: The Old Testament Cycle in St. John’s College Cambridge, Ms.K.26 Revisited’; T.A. Heslop, ‘Attending at Calvary: an Early Fifteenth-Century English Panel Painting’; M. Kauffmann, ‘The Alheide Psalter, a Thuringian Manuscript Recording Three Hundred Years of Private Devotion’; D. King, ‘John de Warenne, Emund Gonville and the Thetford Dominican Altar Paintings’; P. Klein, ‘The Meaning of Fables in the Bayeux Tapestry’; S. Lewis, ‘‘Apocalypses’ in Text and Image: From Translation to Transformation in Fourteenth-Century Vernacular Apocalypses’; J. Luxford, ‘The Monumental Epitaph of Edmund Crouchback’; M. Manion, ‘Illuminating a Liturgical Text for Lay Use: The Late Medieval Breviary’; R. Marks, ‘The Dean and the Transsexual; Or Why Did John Colet Desire Burial Before the Image of St. Uncumber’; M. Michael, ‘Transnationality: The Wilton Dyptich as Text’; R. Pfaff, ‘The Glastonbury Collectar’; K.-G. Pfändtner, ‘The Last Knight’s Search for his Schoolbooks: Emperor Maximilian I and Early Book Conservation Strategies’; U. Plahter, ‘Norwegian Frontals and Early Medieval Oil Painting’; N. Rogers, ‘The Frenze Palimpsest’; L. Sandler, ‘Mary de Bohun’s Libellus of Devotional Readings on the Virgin Mary, St. Mary Magdalene and St. Margaret’; J. Stratford, ‘Clerks, Forfeiture and Books’; R. Thomson, ‘The Bury Bible – Further Thoughts’; P. Tudor-Craig, ‘St. Francis and the Psalter of Alphonso BL Addition 24686’
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The newly-cleaned stained glass of Canterbury Cathedral in Kent, England is a revelation - the vibrant colour and breathtaking detail are newly visible to today's visitors. The finest of this glass will be reproduced within a lavishly... more
The newly-cleaned stained glass of Canterbury Cathedral in Kent, England is a revelation - the vibrant colour and breathtaking detail are newly visible to today's visitors. The finest of this glass will be reproduced within a lavishly designed book to be enjoyed by tourists and general readers alike. In this book, Michael Michael has the pleasure of selecting the most beautiful and important pieces of glass on display at the Cathedral. His text sets these within the context of the biblical stories they depict. Communicating his passion for the glass and his understanding of its art and historical context, this book will appeal to non-specialists who are interested in the meanings behind single images and narrative sequences of glass.
An additional chapter written by Sebastian Strobl outlines the fascinating history of changing methods of restoration and conservation, as well as the work carried out today by the Cathedral's expert team.
An additional chapter written by Sebastian Strobl outlines the fascinating history of changing methods of restoration and conservation, as well as the work carried out today by the Cathedral's expert team.
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The early stained glass of Canterbury Cathedral is one of the greatest achievements of medieval European art. Today, thanks to a sustained conservation programme, the true vibrancy of its colours and the breathtaking artistry of its... more
The early stained glass of Canterbury Cathedral is one of the greatest achievements of medieval European art. Today, thanks to a sustained conservation programme, the true vibrancy of its colours and the breathtaking artistry of its compositions can be appreciated again for the first time in centuries. In this new edition of M. A. Michael’s authoritative study, updated to include the latest commission unveiled in the Great Cloister in 2014, the finest of the medieval glass is reproduced along with notable examples of later work. A final chapter by Sebastian Strobl tells the story of early restoration and modern-day conservation at the cathedral.
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Exhibition, British Museum 1999-2000. Catalogue by Michael Michael and Jonathan Alexander with Martin Kauffmann. The end of the second millenium is an appropriate moment to evaluate the legacy of one of the most vivid and controversial... more
Exhibition, British Museum 1999-2000. Catalogue by Michael Michael and Jonathan Alexander with Martin Kauffmann.
The end of the second millenium is an appropriate moment to evaluate the legacy of one of the most vivid and controversial writings in the Christian canon, the Book of Revelation. The idea of an apocalypse that was both destructive and redemptive provided a rich vein of visual and literary imagery that remains a force in contemporary culture. This book examines the tradition as represented by illuminated manuscripts, books, prints, and drawings from the eleventh century up to the end of the Second World War, concentrating on particular episodes or apocalyptic phases, which have often occurred at the end of centuries and have always been rooted in historical and political circumstances.
The defining moment in the development of the pictorial tradition was Dürer's great Apocalypse cycle, published in 1498. Apocalyptic imagery was quickly appropriated as a vehicle for propaganda and satire, becoming secularised at the hands of artists such as the late eighteenth-century satirist James Gillray. Gillray's contemporary William Blake evolved a concept of Apocalypse and Judgement that responded to the millenarian currents and revolutionary upheavals of his time.
In our own century, apocalyptic metaphor has been a powerful vehicle for many writers, artists, and film directors to convey their visions of worldly and spiritual destruction and regeneration.
The end of the second millenium is an appropriate moment to evaluate the legacy of one of the most vivid and controversial writings in the Christian canon, the Book of Revelation. The idea of an apocalypse that was both destructive and redemptive provided a rich vein of visual and literary imagery that remains a force in contemporary culture. This book examines the tradition as represented by illuminated manuscripts, books, prints, and drawings from the eleventh century up to the end of the Second World War, concentrating on particular episodes or apocalyptic phases, which have often occurred at the end of centuries and have always been rooted in historical and political circumstances.
The defining moment in the development of the pictorial tradition was Dürer's great Apocalypse cycle, published in 1498. Apocalyptic imagery was quickly appropriated as a vehicle for propaganda and satire, becoming secularised at the hands of artists such as the late eighteenth-century satirist James Gillray. Gillray's contemporary William Blake evolved a concept of Apocalypse and Judgement that responded to the millenarian currents and revolutionary upheavals of his time.
In our own century, apocalyptic metaphor has been a powerful vehicle for many writers, artists, and film directors to convey their visions of worldly and spiritual destruction and regeneration.
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Beautiful and vast in scale, Piero della Francesca's fresco cycle in the church of San Francesco in Arezzo is a masterpiece of colour, light and perspective - a panorama of battle scene and landscape filled with hundreds of intricately... more
Beautiful and vast in scale, Piero della Francesca's fresco cycle in the church of San Francesco in Arezzo is a masterpiece of colour, light and perspective - a panorama of battle scene and landscape filled with hundreds of intricately painted figures and lavish ornamentation. This work provides a close-up view of the frescoes, with colour photographs of the chapel's interior, including magnified details. It also provides a brief background history and a descriptive interpretation of the fresco cycle.
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Considérées comme le chef-d'œuvre de Piero della Francesca, les fresques de l'église d'Arezzo témoignent du génie de l'un des artistes les plus importants de la Renaissance qui contribua au renouveau artistique du XVe siècle en imposant... more
Considérées comme le chef-d'œuvre de Piero della Francesca, les fresques de l'église d'Arezzo témoignent du génie de l'un des artistes les plus importants de la Renaissance qui contribua au renouveau artistique du XVe siècle en imposant une image parfaite de la réalité. Qualifiées de " spectacle sublime " par la critique, ces fresques magnifiques exaltent la beauté à travers la perspective.
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Uno de los artistas más importantes del Renacimiento, contribuyó a la renovación artística del siglo XV imponiendo una imagen perfecta de la realidad. Este libro permite comprender mejor la pintura de este artista universal. ...
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OI TOIXOΓPAΦIEΣ TOY ΠIEPO NTEΛΛA ΦPANTΣEΣKA ΣTON AΓIO ΦPAΓKIΣKO TOY APETΣO, ΠOY ΠAPAΓΓEΛΘHKAN TO 1452, MAPTYPOYN THN AΠAPAMIΛΛH IΔIOΦYIA ENOΣ AΠO TOYΣ ΠIO EΞEXONTEΣ KAΛΛITEXNEΣ THΣ ANAΓENNHΣHΣ. TO EPΓO EIKONIZEI TO ΘPYΛO TOY AΛHΘINOY... more
OI TOIXOΓPAΦIEΣ TOY ΠIEPO NTEΛΛA ΦPANTΣEΣKA ΣTON AΓIO ΦPAΓKIΣKO TOY APETΣO, ΠOY ΠAPAΓΓEΛΘHKAN TO 1452, MAPTYPOYN THN AΠAPAMIΛΛH IΔIOΦYIA ENOΣ AΠO TOYΣ ΠIO EΞEXONTEΣ KAΛΛITEXNEΣ THΣ ANAΓENNHΣHΣ. TO EPΓO EIKONIZEI TO ΘPYΛO TOY AΛHΘINOY ΣTAYPOY KAI AΠOTEΛEI AΛHΘINO APIΣTOYPΓHMA XPΩMATΩN, ΦΩTOΣ KAI ΠPOOΠTIKHΣ - ENA EKTETAMENO ΠANOPAMA MIAΣ ΣKHNHΣ MAXHΣ KAI TOΠIOY ΠOY EINAI ΓEMATO AΠO XIΛIAΔEΣ ΠEPITEXNA ZΩΓPAΦIΣMENEΣ ΦIΓOYPEΣ, ΠΛOYΣIA ΔIAKOΣMHΣH KAI PEAΛIΣTIKEΣ ΛEΠTOMEPEIEΣ. BΛEΠOYME AKOMA KAI ΣHMEPA ΣTHN EKKΛHΣIA TOY AΓIOY ΦPAΓKIΣKOY AYTEΣ TIΣ KATAΠΛHKTIKEΣ TOIXOΓPAΦIEΣ, ΠOY AΠEKTHΣAN NEA ΛAMΨH, META THN OΛOKΛHPΩΣH TΩN EPΓAΣIΩN AΠOKATAΣTAΣHΣ.TO ΠAPON BIBΛIO ΠAPEXEI MONAΔIKH EIKONA TΩN TOIXOΓPAΦIΩN ΣE KONTINO ΠΛANO, ME ΘAYMAΣIEΣ EΓXPΩMEΣ ΦΩTOΓPAΦIEΣ TOY ΠANEMOPΦOY EΣΩTEPIKOY THΣ EKKΛHΣIAΣ, ΣTIΣ OΠOIEΣ ΣYMΠEPIΛAMBANONTAI MEΓEΘYΣMENEΣ ΛEΠTOMEPEIEΣ. TO KEIMENO TOY M.A.Michael
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Retrospective Catalogue of the work of the Sculptor John Bridgeman
Research Interests: 19th-20th Century British Sculpture, British Sculpture of the Fifties, Refugees, Modern British sculpture, Henry Moore, and 9 more1951 Festival of Britain, Lost Wax Bronze Casting, Royal College of Art, 20th century British sculpture, Coventry Cathedral, Henry Moore Institute, British Garden Sculpture, Royal Birmingham Society of Artists, and Birmingham School of Art
Catalogue of paintings by Dennis de Caires
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https://www.vr-elibrary.de/doi/epdf/10.7767/9783205211938.51
Bild- und Buchkultur im 13. Jahrhundert, Edited by Christine Beier and Michaela Schuller-Juckes, (Vienna, 2020), pp. 51-72
Bild- und Buchkultur im 13. Jahrhundert, Edited by Christine Beier and Michaela Schuller-Juckes, (Vienna, 2020), pp. 51-72
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Survey of English illuminated manuscripts c. 1200-1500 Der Doppelband zur Buchkultur der Gotik ist der letzte der Reihe, in dessen Fokus das handgeschriebene Buch steht. Er behandelt die Jahrhunderte, in denen die Herstellung von... more
Survey of English illuminated manuscripts c. 1200-1500
Der Doppelband zur Buchkultur der Gotik ist der letzte der Reihe, in dessen Fokus das handgeschriebene Buch steht. Er behandelt die Jahrhunderte, in denen die Herstellung von Handschriften zunehmend kommerzialisiert wurde, ihren quantitativen Höhepunkt erreichte und schließlich durch den Buchdruck abgelöst wurde. Neben dem fast unüberschaubaren religiösen Schrifttum gewann in dieser Epoche die profane Literatur an Boden, und obwohl Latein weiterhin als Schriftsprache dominierte, spielten nun auch die Volkssprachen eine Rolle. Den klösterlichen Büchersammlungen traten bedeutende Adels-, Universitäts- und Stadtbibliotheken an die Seite, und bürgerlicher Buchbesitz ist ebenfalls nachweisbar - Zeugnis für die Ausbreitung von Schreib- und Lesefähigkeit, für steigendes Bildungsniveau. Die Veränderungen fanden ihren Niederschlag in der Buchmalerei, die der Buchkultur der Gotik ihren besonderen Glanz und Charakter verleiht.
Vielfalt und Komplexität des Buchwesens im späten Mittelalter werden anhand von zentralen Beispielen vorgestellt, die als Wegweiser durch die umfangreiche Überlieferung dienen können. Im ersten Band stehen die Leistungen des spätmittelalterlichen Buchwesens in gesamteuropäischer Perspektive im Mittelpunkt, der zweite Band ist den Entwicklungen im Rahmen bestimmter Regionen und Kulturen gewidmet, wobei die Buchmalerei Ausgangs- und Angelpunkt bildet.
Der Doppelband zur Buchkultur der Gotik ist der letzte der Reihe, in dessen Fokus das handgeschriebene Buch steht. Er behandelt die Jahrhunderte, in denen die Herstellung von Handschriften zunehmend kommerzialisiert wurde, ihren quantitativen Höhepunkt erreichte und schließlich durch den Buchdruck abgelöst wurde. Neben dem fast unüberschaubaren religiösen Schrifttum gewann in dieser Epoche die profane Literatur an Boden, und obwohl Latein weiterhin als Schriftsprache dominierte, spielten nun auch die Volkssprachen eine Rolle. Den klösterlichen Büchersammlungen traten bedeutende Adels-, Universitäts- und Stadtbibliotheken an die Seite, und bürgerlicher Buchbesitz ist ebenfalls nachweisbar - Zeugnis für die Ausbreitung von Schreib- und Lesefähigkeit, für steigendes Bildungsniveau. Die Veränderungen fanden ihren Niederschlag in der Buchmalerei, die der Buchkultur der Gotik ihren besonderen Glanz und Charakter verleiht.
Vielfalt und Komplexität des Buchwesens im späten Mittelalter werden anhand von zentralen Beispielen vorgestellt, die als Wegweiser durch die umfangreiche Überlieferung dienen können. Im ersten Band stehen die Leistungen des spätmittelalterlichen Buchwesens in gesamteuropäischer Perspektive im Mittelpunkt, der zweite Band ist den Entwicklungen im Rahmen bestimmter Regionen und Kulturen gewidmet, wobei die Buchmalerei Ausgangs- und Angelpunkt bildet.
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Chapter 32. Inventing Gothic Painting: Creating Fine Art
About Fine Art and the Middle Ages
About Fine Art and the Middle Ages
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Wall paintings of St Albans
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Essay exploring Wollheim's theory of 'Seeing-in' via medieval illuminated manuscripts
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About stained glass at Canterbury and the Wilton Diptych
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Cambridge History of the Book in Britain: Chapter 8 - Urban production of manuscript books and the role of the university towns By M. A. Michael Edited by Nigel J. Morgan, University of Cambridge, Rodney M. Thomson, University of Tasmania... more
Cambridge History of the Book in Britain: Chapter 8 - Urban production of manuscript books and the role of the university towns
By M. A. Michael
Edited by Nigel J. Morgan, University of Cambridge, Rodney M. Thomson, University of Tasmania
Book: The Cambridge History of the Book in Britain, 2008, pp 168-194
By M. A. Michael
Edited by Nigel J. Morgan, University of Cambridge, Rodney M. Thomson, University of Tasmania
Book: The Cambridge History of the Book in Britain, 2008, pp 168-194
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Grigoire Arbore Popescu (Foreword), Michael Kitson (Editor), M.A. Michael (Author), Bignamini (Author), David Blayney Brown (Author), Susan Foister (Author), Justine Hopkins (Author),Christopher New ll (Author), Sergio Perosa (Author),... more
Grigoire Arbore Popescu (Foreword), Michael Kitson (Editor), M.A. Michael (Author), Bignamini (Author), David Blayney Brown (Author), Susan Foister (Author), Justine Hopkins (Author),Christopher New ll (Author), Sergio Perosa (Author), Kim Sloan (Author).
Originalità e caratteristiche della produzione pittorica inglese dagli albori del medioevo agli sviluppi più recenti.
L’arte in Gran Bretagna, a differenza di quanto accade nella maggior parte dei paesi europei, non si presta molto alla abituale suddivisione per categorie storiche. La sua insularità ha avuto indubbiamente grande importanza nel determinare varianti e tradizioni locali del gusto occidentale, non tanto in forma di isolamento e di chiusura quanto piuttosto di scelta fra le diverse tendenze europee. Queste pervennero nell’isola a varie riprese fin dalla preistoria, con l’occupazione romana, con l’evangelizzazione, con le invasioni germaniche e la conquista normanna, e poi attraverso le complesse vicende politiche e religiose del medioevo e del Rinascimento, con le correnti culturali dell’illuminismo, del classicismo e del XIX secolo. Esse determinarono a loro volta elaborazioni locali che ebbero una notevole influenza sull’arte europea, giungendo talvolta a espressioni d’avanguardia rispetto al continente anche sul piano delle poetiche e del gusto figurativo.
Originalità e caratteristiche della produzione pittorica inglese dagli albori del medioevo agli sviluppi più recenti.
L’arte in Gran Bretagna, a differenza di quanto accade nella maggior parte dei paesi europei, non si presta molto alla abituale suddivisione per categorie storiche. La sua insularità ha avuto indubbiamente grande importanza nel determinare varianti e tradizioni locali del gusto occidentale, non tanto in forma di isolamento e di chiusura quanto piuttosto di scelta fra le diverse tendenze europee. Queste pervennero nell’isola a varie riprese fin dalla preistoria, con l’occupazione romana, con l’evangelizzazione, con le invasioni germaniche e la conquista normanna, e poi attraverso le complesse vicende politiche e religiose del medioevo e del Rinascimento, con le correnti culturali dell’illuminismo, del classicismo e del XIX secolo. Esse determinarono a loro volta elaborazioni locali che ebbero una notevole influenza sull’arte europea, giungendo talvolta a espressioni d’avanguardia rispetto al continente anche sul piano delle poetiche e del gusto figurativo.
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Primogenito di Edoardo II d'Inghilterra e di Isabella di Francia, E., nato a Windsor nel 1312, fu incoronato re nel 1327, in seguito all'abdicazione del padre. Assunto il potere nel 1330, dopo un periodo di reggenza della madre, avanzò... more
Primogenito di Edoardo II d'Inghilterra e di Isabella di Francia, E., nato a Windsor nel 1312, fu incoronato re nel 1327, in seguito all'abdicazione del padre. Assunto il potere nel 1330, dopo un periodo di reggenza della madre, avanzò pretese al trono di Francia, assumendone il titolo di re nel 1340; nel 1360, però, con il trattato di Calais, rinunciò a ogni pretesa al regno di Francia, pur annettendo all'Inghilterra Calais, il Ponthieu e l'Aquitania. E. morì a Sheen nel 1377.Le prime opere direttamente legate a E. sono due manoscritti che gli furono offerti tra il 1326 e il 1327, quando era ancora adolescente: una raccolta di testi letterari che annoverava anche il Trésor di Brunetto Latini e il Roman de Fauvain (Parigi, BN, fr. 571), dono di fidanzamento nel 1326 dei consiglieri di Filippa di Hainaut, futura sposa di E.
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Publication of a new Portrait of the Auctioneer James Christie by Benjamin Vandergucht. Description of Christie family monument. Account of Charles Christie and other members of the Christie family.
Research Interests: Eighteenth Century History, History of Slavery, Nineteenth Century British History and Culture, Portraiture, Slave Trade, and 15 moreAuctions, Caribbean Slavery, Hong Kong, Eighteenth-Century British Art, Joshua Reynolds, British Colonialism, The Great Game, Thomas Gainsborough, Royal Academy of Arts, Auctioneering, James Christie, Charles Christie, Benjamin Vandergucht, Sir Henry Pottinger, and Rudolf Ackermann
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The term opus anglicanum, as a designator of English national identity associated with embroidery and textiles, is unknown in any document written in England during the Middle Ages, but is used in papal and other European archives. The... more
The term opus anglicanum, as a designator of English national identity associated with embroidery and textiles, is unknown in any document written in England during the Middle Ages, but is used in papal and other European archives. The term has been questioned by a number of scholars who have suggested it may be a generic name used to describe a particular technique of attaching gold thread to an embroidered textile (underside couching). It is suggested in this article that the phenomenon of opus anglicanum during its golden age c. 1200–1400 was part of a wider European cultural development at a time when an appreciation of cultural identity as a transnational phenomenon emerged. The article goes on to examine the relationship between English pictorial artists and the craftswomen and men who made these textiles. It concludes with a case study of the orphrey associated with the Daroca Cope in Madrid — now associated with a designer in the artistic circle of the artist of the Wilton Diptych. The respect for, and reuse of, these works of art (many of which have survived through the care taken to preserve them in cathedral treasuries and private collections up to the present day) is an element in their continued importance as a part of our shared European heritage.
Keywords: opus anglicanum, cope, orphrey, Daroca, Wilton Dyptich
Keywords: opus anglicanum, cope, orphrey, Daroca, Wilton Dyptich
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Documents relating to the history of English illuminated book production
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Account of the Byzantine paintings in the Church of the Chrysospiliotissa at Kato Devtera, Cyprus
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Some Early Fourteenth-Century English Drawings at Christ's College, Cambridge associated with the Madonna Master of the De Lisle Psalter
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Publication of a Book of Hours Made for Eleanor de Mohun
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(Yale, 1996), by Jaroslav Pelikan
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Review of Decorated Revisited: English Architectural Style in Context, 1250– 1400, ed. John Munns
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Review of: ‘Gold und Bücher lieb ich sehr…’:
480 Jahre Staats- und
Stadtbibliothek Augsburg
Edited by Karl-Georg Pfändtner. 242 pp.
incl. 180 col. ills. (Quaternio Verlag, Luzern,
2017), €26. ISBN 978–3–905924–59–6.
480 Jahre Staats- und
Stadtbibliothek Augsburg
Edited by Karl-Georg Pfändtner. 242 pp.
incl. 180 col. ills. (Quaternio Verlag, Luzern,
2017), €26. ISBN 978–3–905924–59–6.
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Review of: Colour: the Art and Science of Illuminated Manuscripts, ed. Stella Panayotova, with Deirdre Jackson, Paola Ricciardi et al (Harvey Miller/Brepols Publishers, 420pp, €75); Beyond Words: Illuminated Manuscripts in Boston... more
Review of:
Colour: the Art and Science of Illuminated Manuscripts, ed. Stella Panayotova, with Deirdre Jackson, Paola Ricciardi et al (Harvey Miller/Brepols Publishers, 420pp, €75); Beyond Words: Illuminated Manuscripts in Boston Collections, ed. Jeffrey F. Hamburger, William P. Stoneman, Anne-Marie Eze, Lisa Fagin Davis and Nancy Netzer, (University of Chicago Press in association with the McCullen Museum of Art, 378pp, $85); Le Miniature della Fondazione, ed. Giorgio Cini, Massimo Medica and Federica Toniolo with Alessandro Martoni (Silvana Editoriale, 544pp €75); The Art of the Bible: Illuminated Manuscripts from the Medieval World, ed. Scot McKendrick and Kathleen Doyle (Thames & Hudson in association with the British Library, 336pp, £60); Christopher de Hamel, Meetings with Remarkable Manuscripts (Allen Lane -Penguin Books, 632pp, £30); Jonathan J.G. Alexander, The Painted Book in Renaissance Italy, (Yale University Press, 400pp, £50)
Colour: the Art and Science of Illuminated Manuscripts, ed. Stella Panayotova, with Deirdre Jackson, Paola Ricciardi et al (Harvey Miller/Brepols Publishers, 420pp, €75); Beyond Words: Illuminated Manuscripts in Boston Collections, ed. Jeffrey F. Hamburger, William P. Stoneman, Anne-Marie Eze, Lisa Fagin Davis and Nancy Netzer, (University of Chicago Press in association with the McCullen Museum of Art, 378pp, $85); Le Miniature della Fondazione, ed. Giorgio Cini, Massimo Medica and Federica Toniolo with Alessandro Martoni (Silvana Editoriale, 544pp €75); The Art of the Bible: Illuminated Manuscripts from the Medieval World, ed. Scot McKendrick and Kathleen Doyle (Thames & Hudson in association with the British Library, 336pp, £60); Christopher de Hamel, Meetings with Remarkable Manuscripts (Allen Lane -Penguin Books, 632pp, £30); Jonathan J.G. Alexander, The Painted Book in Renaissance Italy, (Yale University Press, 400pp, £50)
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Review: John Lowden, Medieval and Later Ivories in the Courtauld Gallery: Complete Catalogue, with an essay by Alexandra Gerstein London, Courtauld Institute Gallery in association with Paul Holberton Publishing, 2013, 144 pp., 90 colour... more
Review: John Lowden, Medieval and Later Ivories in the Courtauld Gallery: Complete Catalogue, with an essay by Alexandra Gerstein London, Courtauld Institute Gallery in association with Paul Holberton Publishing, 2013, 144 pp., 90 colour illustrations, £40.00. ISBN 978-1-907372-60-5
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Review of Corpus Christi College Cambridge MS 20 Apocalypse
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Review of the Book of Kells by Bernard Meehan
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"Royal Manuscripts: The Genius of Illumination" by Scot McKendrick, John Lowden, and Kathleen Doyle.
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Review of Book on Madonna of Humility
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Review of St Louis Psalter Book
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The Murthly Hours: Devotion, Literacy and Luxury in Paris, England and the Gaelic West. By Higgitt John. 260mm. Pp xxii plus 362, ills, 1 CDROM in pocket. London: British Library and University of Toronto Press, 2000. ISBN 0802047599.... more
The Murthly Hours: Devotion, Literacy and Luxury in Paris, England and the Gaelic West. By Higgitt John. 260mm. Pp xxii plus 362, ills, 1 CDROM in pocket. London: British Library and University of Toronto Press, 2000. ISBN 0802047599. £50
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Review
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Review of: The Lambeth Apocalypse: Manuscript 209 in Lambeth Palace Library: a Critical Study. By NIGEL MORGAN. 290mm. Pp. 383, 64 p. of pis., ills. London: Harvey Miller, 1990. ISBN 1-872501-55-9.
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The Psalter of Robert de Lisle in the British Library. By Sandler Lucy Freeman. 33.5 × 23.5 cm. Pp. 142, 82 pls. (inc. 25 col.). London and Oxford: Harvey Miller and Oxford University Press, 1983. ISBN 0–19–921028–4. £60.00.
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Review of: Fashion in the Age of the Black Prince . By STELLA MARY NEWTON . Pp. vi+151 . Woodbridge : Boydell and Brewer ; Totowa, NJ : Rowan and Littlefield , 1980 . £25.00.
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This paper will look at the use of particular design elements and the transfer of images from illuminated manuscripts, panel and wall painting, architecture and stained glass to embroidered vestments in England between c. 1250-1350. The... more
This paper will look at the use of particular design elements and the transfer of images from illuminated manuscripts, panel and wall painting, architecture and stained glass to embroidered vestments in England between c. 1250-1350. The form that embroidered images take will be examined in relation to these media and an attempt will be made to understand the process by which one medium is translated into another. Questions will be asked about the messages that the decorative forms convey by framing and other devices. The paper will also look at how Christian iconography when used in different media goes through a process of reinforcement re-doubling the signification of concepts and altering their function through this transformation.
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Explores the mis-en-page of medieval illuminated Psalters