scholarly journals Towards an Art History of the Parish Church, 1200–1399

2021 ◽  
Keyword(s):  
Middle Ages ◽  
Art History ◽  
Historical Study ◽  
Parish Church ◽  
Medieval Church ◽  
History Of ◽  
Parish Churches ◽  
Definition Of ◽  
Art And Architecture ◽  
Courtauld Institute

Estimated at numbering between eight and nine thousand, parish churches containing at least some medieval building fabric are ubiquitous in the English landscape. Yet, despite their quotidian familiarity, parish churches have not, by and large, been treated consistently or systematically as deserving of the attention of art historical study. This collection of essays comes out of a conference held at the Courtauld Institute of Art in June 2017 and focuses on the two centuries between 1200 and 1399. This period represents the most notable lacuna in scholarship, even though the parish church was fully solidified as an administrative category and arguably as a building type. Compared with the smaller corpus of the Romanesque period or the late medieval church after 1400, which draws on greater availability of documentary evidence in the form of churchwarden accounts, these two centuries have been historically understudied. The ten diverse essays contained within this volume explore the art and architecture of parish churches through a variety of lenses, methodologies, and perspectives, ranging from (re)considerations of the very definition of the parish church to phenomenological explorations of their component parts, as well as case studies of their decorative schemes. An Afterword by Paul Binski reflects upon his 1999 essay, ‘The English Parish Church and its Art in the Later Middle Ages: A Review of the Problem’ and considers the place of anthropology in our developed study of the parish church.

Georg Wilhelm Friedrich Hegel: Aesthetics

Philosophy ◽  
2017 ◽  
Author(s):  
Beat Wyss
Keyword(s):  
Middle Ages ◽  
Georg Wilhelm Friedrich Hegel ◽  
Art History ◽  
Aesthetic Experience ◽  
Aesthetic Judgment ◽  
Global History ◽  
Sociological Approach ◽  
History Of ◽  
Definition Of ◽  
Roman Antiquity

Georg Wilhelm Friedrich Hegel (b. 1770–d. 1831) developed his aesthetics by a series of lectures, held four times at Heidelberg and Berlin Universities. The text in three parts, titled Vorlesungen über die Ästhetik, got compiled and edited by Heinrich Gustav Hotho four years after Hegel’s death. So we have to get straight about the fact that a remarkable edifice of teachings, though lacking any written proof by its author, became a headstone of art history, literary studies, and philosophical aesthetics. Hegel’s approach is the first philosophical attempt to focus aesthetics specifically on art. He does so by a critique of moralist and sensualist positions that both hardly distinguish whether aesthetic experience is generated by natural or artificial phenomena. Hegel’s critical argument culminates in a refusal of Immanuel Kant’s idea about aesthetic judgment. The latter’s definition of beauty—as a cognition that pleases without a concept—performs, according to Hegel, a relapse into a fixed opposite between the subjectivity of thought and objective nature. According to Hegel, instead, artistic beauty is the mediating “middle” between spirit and nature. Hegel puts a “phenomenological” antithesis to Kant’s concept of transcendental perception. By the idea of artistic beauty, the realm of absolute spirit is entered. The lectures on aesthetics follow the hierarchical concept of perception, deployed in Hegel’s Encyclopedia of the Philosophical Sciences: the work of comprehension starts with the artistic mode of beholding, continues with the religious mode of imagination, and culminates in the philosophical mode of thinking. The “peripathetic” performative character is constitutive to Hegel’s aesthetics, as it mirrors the work of thinking as such. Hegel’s “world spirit” is literally wandering across three eras: the symbolic, the classical, and the romantic art forms, represented by the early ancient cultures from Persia, India, and Egypt; Greek and Roman Antiquity; and Occidental culture from the Middle Ages to modernity. By historicizing the meaning of art, Hegel relinquishes rule-based poetics and aesthetics in the classical tradition of rhetorics, laying so the foundation of a sociological approach to cultural phenomena. At the same time, his historico-philosophical aesthetics is a first attempt to draft a global history of art, though Eurocentrically limited, including the genres of architecture, sculpture, painting, music, and poetry.

scholarly journals The Bauhaus Pots and Cups Express the Spirit of the Twentieth Century: Design in Art History and Pevsner's Definition of the Modern Movement

Res Mobilis ◽  
2020 ◽  
Vol 9 (11) ◽  
pp. 19-31
Author(s):  
Rebeka Vidrih
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Art History ◽  
Modern Architecture ◽  
Historical Study ◽  
History Of ◽  
History Of Design ◽  
Definition Of ◽  
Modern Movement

Nikolaus Pevsner’s Pioneers of Modern Movement is considered the foundational text of two new historical fields, the history of modern architecture and the history of design. This contribution, nevertheless, discusses this text in the context of art-historical discipline. Pevsner himself namely understood his work as a complement to Kunstgeschichte: by defining the ‘Modern Movement’ in established art-historical terms and also by discussing not only architecture but attempting to define the style and the worldview expressed in it for the whole period and all of visual arts. Specifically, this contribution is interested in the place that Pevsner allocated to the design within his art-historical edifice, since inclusion of objects of everyday use within an art-historical study was not (and still is not) usual. For Pevsner, on the contrary, design (linked to architecture) turns out to be a key component of his narrative, even if not for aesthetic but rather for moral or social reasons.

Byzantine Religious Law in Medieval Italy

2021 ◽  
Author(s):  
James Morton
Keyword(s):  
Middle Ages ◽  
Canon Law ◽  
Eleventh Century ◽  
Southern Italy ◽  
Historical Study ◽  
Norman Conquest ◽  
Medieval Italy ◽  
Religious Law ◽  
History Of ◽  
Byzantine Church

This book is a historical study of these manuscripts, exploring how and why the Greek Christians of medieval southern Italy persisted in using them so long after the end of Byzantine rule. Southern Italy was conquered by the Norman Hauteville dynasty in the late eleventh century after over 500 years of continuous Byzantine rule. At a stroke, the region’s Greek Christian inhabitants were cut off from their Orthodox compatriots in Byzantium and became subject to the spiritual and legal jurisdiction of the Roman Catholic popes. Nonetheless, they continued to follow the religious laws of the Byzantine church; out of thirty-six surviving manuscripts of Byzantine canon law produced between the tenth and fourteenth centuries, the majority date to the centuries after the Norman conquest. Part I provides an overview of the source material and the history of Italo-Greek Christianity. Part II examines the development of Italo-Greek canon law manuscripts from the last century of Byzantine rule to the late twelfth century, arguing that the Normans’ opposition to papal authority created a laissez faire atmosphere in which Greek Christians could continue to follow Byzantine religious law unchallenged. Finally, Part III analyses the papacy’s successful efforts to assert its jurisdiction over southern Italy in the later Middle Ages. While this brought about the end of Byzantine canon law as an effective legal system in the region, the Italo-Greeks still drew on their legal heritage to explain and justify their distinctive religious rites to their Latin neighbours.

Cheshire Cat and Mickey Mouse: analysis, interpretation and the art of the La Tène Iron Age

1970 ◽  
Vol 36 ◽  
pp. 261-279 ◽  
Author(s):  
J. V. S. Megaw
Keyword(s):  
Iron Age ◽  
Art History ◽  
Mickey Mouse ◽  
Classical Archaeology ◽  
Italian Physician ◽  
History Of Art ◽  
Prehistoric Art ◽  
History Of ◽  
Definition Of ◽  
Wilhelm Worringer

Nearly seventy years ago Wilhelm Worringer first wrote that ‘ultimately all our definitions of art are definitions of classical art’ (Worringer, 1953, 132). Today, the study of Western European art history, old or modern, the products of peasant craft-centres or urban ‘schools’, has in the course of time developed its own methodology and, almost, mystique. In contrast, the study of many branches of prehistoric art in Europe and elsewhere is all too often seen as a mere extension of the skilled but subjective approaches of classical archaeology without considering the suitability of the latter's application. The use of the classical art-historian's intuitive methods built up not just from visual exprience but a detailed background of literary, historical and philosophical studies must in fact be almost entirely denied the student of prehistoric or primitive art. It is perhaps only natural that principles of classical art history should be applied to later European prehistory, though it is often difficult to arrive at a precise definition of these principles. It was Johann Joachim Winckelmann who made the first systematic application of categories of style to the history of art (Gombrich, 1968, 319). Sir John Beazley, the greatest of all modern classical art historians followed in this tradition basing attributions ‘on the grounds of tell-tale traits of individual mannerisms’ (Carpenter, 1963, 115 ff.) a scheme first applied to painting less than a century ago by the Italian physician Giovanni Morelli (Gombrich, 1968, 309 ff.) and followed at the turn of the nineteenth century in the study of Italian painting (Lermolieff, 1892–3). With Beazley it is, however, difficult to follow step by step his methods of work.

scholarly journals Utjecaj interpretacija pojma periferijske umjetnosti Ljube Karamana i Miroslava Krleže na dalmatinsku povijesti umjetnosti

2021 ◽  
pp. 498-510
Author(s):  
Ivana Prijatelj Pavičić
Keyword(s):  
Interwar Period ◽  
Art History ◽  
Central European ◽  
Cultural Paradigm ◽  
Miroslav Krleza ◽  
History Of ◽  
Artistic Styles ◽  
Definition Of ◽  
True Center ◽  
External Forces

Although the so-called „Vienna school“ practised an universalist approach to history of arts, their prominent acters like Alois Riegel and Max Dvořák influenced the nationalist ideas among the Central European art historians in the interwar period. An evident example of such an influence is Croatian art historian Ljubo Karaman (1886‒1971) ‒ a Vienna student who studied the art relations between center and periphery from early 1930s on. His thoughts on this topic were collected in his 1963 book Problemi periferijske umjetnosti. O djelovanju domaće sredine u umjetnosti hrvatskih krajeva (Problems of Peripheral Art. On Influence of Local Surrounding on the Art of the Croatian Areas). Colonial character of the Karaman’s definition of the center/periphery relation is clear in his notion that the dissemination and assimilation of the artistic styles is always one-way: from developed center to the province. His definition of „peripheral art“ appeared as a reaction to the works of famous „Vienna school“ scholars from early 20th century (particularly Polish-Austrian art historian Strzygowski). It is based on the idea of external, political and artistic influences in Dalmatia as external forces of artistic exchange. A prominent writer and encyclopaedist Miroslav Krleža turned upside-down the idea of the artistic transfer from the advanced West toward underdeveloped East/Balkans as a periphery at the edge of civilisation. In his discussion on the Second Congress of writers in Zagreb he promoted the idea of the periphery as a true center. During 1950s, Krleža strongly influenced the formation of a new cultural paradigm, and forging of the new scientific paradigm within art history in Croatia. In her paper, the author explores how texts of the Croatian art-history scholars regarding ancient Dalmatian art were influenced by Karaman’s and Krleža’s ideas and concepts on peripheral, provincial, and border-line art.

Igołomia i Wawrzeńczyce – dwa kościoły przy Wielkiej Drodze / Igołomia and Wawrzeńczyce – two churches by the Great Road

2020 ◽  
pp. 175-203
Author(s):  
Monika Kamińska
Keyword(s):  
World War Ii ◽  
World War I ◽  
Middle Ages ◽  
18Th Century ◽  
Virgin Mary ◽  
World War ◽  
Mary Magdalene ◽  
Parish Church ◽  
History Of ◽  
The Church

The parish churches in Igołomia and Wawrzeńczyce were founded in the Middle Ages. Their current appearance is the result of centuries of change. Wawrzeńczyce was an ecclesial property – first of Wrocław Premonstratens, and then, until the end of the 18th century, of Kraków bishops. The Church of St. Mary Magdalene was funded by the Bishop Iwo Odrowąż. In 1393 it was visited by the royal couple Jadwiga of Poland and Władysław Jagiełło. In the 17th century the temple suffered from the Swedish Invasion, and then a fire. The church was also damaged during World War I in 1914. The current furnishing of the church was created to a large extent after World War II. Igołomia was once partly owned by the Benedictines of Tyniec, and partly belonged to the Collegiate Church of St. Florian in Kleparz in Kraków. The first mention of the parish church of the Nativity of the Blessed Virgin Mary comes from the first quarter of the fourteenth century. In 1384, a brick church was erected in place of a wooden one. The history of the Igołomia church is known only from the second half of the 18th century, as it was renovated and enlarged in 1869. The destruction after World War I initiated interior renovation work, continuing until the 1920s.

The medieval church

2004 ◽  
Author(s):  
David Luscombe
Keyword(s):  
Twentieth Century ◽  
Middle Ages ◽  
Medieval Church ◽  
History Of ◽  
The Church ◽  
The Middle Ages

This chapter discusses the contributions that were made by former Fellows of the Academy to the study of the medieval church. It states that the history of the medieval church is inseparable from the general history of the Middle Ages, since the church shaped society and society shaped the church. The chapter determines that no hard and fast distinction can always be made between the works by ecclesiastical historians during the twentieth century, and the contributions made to general history by other historians.

Art history papers in a general manuscripts collection: the case of the National Library of Scotland

1985 ◽  
Vol 10 (4) ◽  
pp. 37-45
Author(s):  
Iain Gordon Brown
Keyword(s):  
Art History ◽  
Historical Study ◽  
British Library ◽  
National Library ◽  
Definition Of

This paper was read at the Planning Conference for the projected Artists’ Papers Index, held at the British Library in September 1985. Dr. Brown discusses some problems inherent in the definition of such an index or register of artists’ papers. The author, who is responsible for manuscripts and archives relating to artists and art history in the National Library of Scotland, goes on to outline the resources for art-historical study to be found in one large general manuscript collection-a major collection that is part of an institution with a long-established and very active acquisitions policy in this field.

The Irish and Welsh Middle Ages in the Victorian Period

2020 ◽  
pp. 214-234
Author(s):  
Huw Pryce
Keyword(s):  
Nineteenth Century ◽  
Middle Ages ◽  
Literary Texts ◽  
Modern Literature ◽  
Medieval Church ◽  
Victorian Period ◽  
Long Term Consequences ◽  
Art And Architecture ◽  
Medieval Ireland

This chapter compares how the Irish and Welsh of the Victorian period engaged with their respective medieval cultures and histories. Although medieval Ireland and Wales both produced extensive and varied literatures in Celtic vernaculars and experienced English conquest that had major long-term consequences, they also differed in important respects. The same is true of the post-medieval histories of both countries. These differences in turn help to explain why uses of their medieval legacies by the nineteenth-century Irish and Welsh reveal significant contrasts. After outlining the contexts in which engagement with medieval culture and history took place, the discussion focuses on the significance attached to the Middle Ages in understandings of the Irish and Welsh pasts; idealizations of the medieval Church and secular rulers; medieval influences on art and architecture; and the editing and translating of medieval Irish and Welsh literary texts, together with medieval influences on modern literature.

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