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"Explores images of torment and martyrdom that appeared in the German-speaking world in the late medieval period, tying them to premodern conceptualizations of individuality and selfhood"--

Violence in art --- Martyrdom in art --- Art, Medieval --- Medieval art --- Martyre --- Iconographie --- Violence --- Art médiéval --- Dans l'art. --- Thèmes, motifs.

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"Abstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or both? Essays in this collection explore these and other questions that coalesce around three broad themes: medieval abstraction as the untethering of the image from what it purports to represent; abstraction as a vehicle for signification; and abstraction as a form of figuration. Contributors approach the concept of medieval abstraction from a multitude of perspectives-formal, semiotic, iconographic, material, phenomenological, epistemological"--Page 4 of cover.

Art --- abstraction --- ornaments [object genre] --- Medieval [European] --- anno 500-1499 --- Art, Medieval --- Art, Abstract --- Symbolism in art --- Abstract art --- Art, Non-objective --- Non-objective art --- Art, Modern --- Modernism (Art) --- Medieval art --- Allegory (Art) --- Signs and symbols in art

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Beginning in the late eleventh century, masters and students flocked to Bologna to study Roman law, creating the academic setting that gave rise to the city’s unique artistic culture. Professors enjoyed high social status, tombs carved with classroom scenes made for impressive lecture halls, and, most important, teachers and students created a tremendous demand for books. By the mid-thirteenth century, the city had become the preeminent center for manuscript production in Italy. Accompanying a major exhibition at Nashville’s Frist Art Museum, the essays by academics, curators, and educators in Medieval Bologna create a rich context for the nearly seventy works of art in the exhibition. Drawn primarily from American libraries, museums, and private collections, many of the works have never been studied or published before. The authors discuss the illustrious foreign artists called to work in the city, most notably Cimabue and Giotto; the devastating wake of the Black Death; and the political resurgence of Bologna at the end of the fourteenth century. This captivating illustrated tour of medieval Bologna—its porticoed streets, stunning piazzas, mendicant churches, and more—shows us how the city became a center for higher learning and expands our understanding of art in the medieval world. --Paul Holberton Publishing

378.4 <45 BOLOGNA> --- 378.4 <45 BOLOGNA> Universiteiten--Italië--BOLOGNA --- Universiteiten--Italië--BOLOGNA --- Book history --- Sculpture --- Painting --- sculpture [visual works] --- intellectual history --- easel paintings [paintings by form] --- illuminated manuscripts --- Medieval [European] --- anno 500-1499 --- Bologna --- Art, Medieval --- Universities and colleges --- History --- Bologna (Italy) --- Intellectual life.

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"Explores Theophilus' On Diverse Arts, a twelfth-century treatise on artistic techniques. Examines the system of values according to which medieval artists operated and created art objects"--Provided by publisher

Art --- Art, Medieval. --- Medieval art --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Technique --- Theophilus, --- Art. --- Künstlerische Technik. --- Traktat. --- Early works to 1800. --- Technique. --- De diversis artibus (Theophilus, Presbyter). --- Art médiéval. --- Théophile (10..-11.. ; moine).

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Fonctionnaire de l’administration des papes d’Avignon, Opicino (ou Opicinus) de Canistris (1296-1355) a produit, pour son propre compte, des diagrammes déconcertants où se mêlent cartes et corps, symboles astraux et religieux. Exhumés peu à peu au cours du siècle passé, ses manuscrits suscitent encore de nombreuses interrogations. Sous la forme d’une enquête, Dialectique du monstre explore les différentes facettes d’une œuvre complexe et fascinante. Prêtre séculier de Pavie, fuyant les conflits politiques qui déchiraient la Lombardie des premières décennies du XIVe siècle, Opicino s’est réfugié à la cour papale à Avignon où ses talents d’écrivain lui ont valu un poste de scribe à la Pénitencerie pontificale. Tourmenté par ses responsabilités sacerdotales, souffrant des paradoxes d’une Église romaine riche et puissante qui prône la pauvreté et l’humilité, il a trouvé dans l’écriture et le dessin un moyen d’apaiser ses angoisses. Ayant appris à dresser des cartes marines selon la technique des cartographes génois, la géographie du bassin méditerranéen devient entre ses mains le support d’une symbolisation de tous les conflits qui le déchirent. L’hypothèse de troubles psychotiques chez Opicino a plusieurs été plusieurs fois formulée et souvent rejetée. Elle est ici affrontée sans fard et fait l’objet d’une postface d’un spécialiste des psychoses (Philippe Nuss). S’il est illusoire de formuler un diagnostic rétrospectif précis, sa souffrance psychique ne fait du moins aucun doute. C’est pour en comprendre les raisons que cet ouvrage tente de restituer le sens de la production graphique et textuelle du scribe des papes. Afin de donner à entendre sa voix, des traductions de différents passages de ses écrits sont intercalées entre chaque chapitre. Une vingtaine de reproductions en couleurs et trois dépliants hors-texte font entrer dans l’intimité de ces manuscrits étonnants. « Dialectique du monstre » (Dialektik des Monstrums) : par cette expression, Aby Warburg désignait le drame psychique fondamental de la culture, dont les réalisations ne viennent au jour qu’en surmontant un chaos originaire, dont elles laissent cependant affleurer la trace. Les dessins d’Opicino de Canistris exposent au grand jour, de la façon la plus explicite, la bataille qu’il livre contre ses monstres.

Drawing, Medieval --- Art, Medieval --- Maps in art --- Geography, Medieval --- Nautical charts --- Human body --- Human figure in art --- Visual communication --- Visions in art --- Art and mental illness --- Monsters in art --- History --- Symbolic aspects --- Opicino, --- Criticism and interpretation --- Biblioteca apostolica vaticana. --- Biblioteca apostolica vaticana --- Canistris, Opicino de, --- Drawing, Medieval - Italy --- Art, Medieval - Italy --- Geography, Medieval - Maps --- Nautical charts - Europe - History - To 1500 --- Human body - Symbolic aspects - Italy - History - To 1500 --- Visual communication - Italy - History - To 1500 --- Art and mental illness - Case studies --- Opicino, - de Canistris, - 1296-approximately 1354 - Criticism and interpretation --- Opicino, - de Canistris, - 1296-approximately 1354 - Biography --- Art et maladies mentales --- Cartographie et art --- Canistris, Opicino de --- Cartography in art --- Catholic Church --- Clergy --- Opicino, - de Canistris, - 1296-approximately 1354