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New Horizons in Trecento Italian Art
, Brepols, 2021 Hardback, 320 pages, Size:216 x 280 mm, Illustrations:200 col., Language: English. ISBN 9782503586182.
Summary The fourteenth century in Italy, the age of Giotto, Dante, and Boccaccio, widely known as the trecento, was a pivotal moment in art history and in European culture. The studies in this volume present new approaches to art in this important but often neglected period of the late Middle Ages and early Renaissance. Scholars at various stages in their careers discuss a wide range of topics including architecture, cultural exchange, materiality, politics, patronage, and devotion, contributing to a new understanding of how art was made and experienced in this nodal century. These papers were originally presented at the Andrew Ladis Trecento Conference held at the Museum of Fine Arts in Houston in November of 2018. TABLE OF CONTENTS Some Reflections - Judith Steinhoff Introduction - Bryan C. Keene and Karl Whittington I. Matter and Material Stone, Paint, Flesh: Fictive Porphyry Exteriors in a Group of Multipart Panel Paintings from Angevin Naples - Sarah K. Kozlowski The Altar as Stage: Visual and Material Conditions of the Dramatized Nativity - Patricia Simons Jacopo, Niccol , and Paintings in Books for Santa Maria degli Angeli - George R. Bent II. Narrative and Response Painted Wood Caskets for Saints in Trecento Venice - Ana Munk The Reliquary of the Column of the Flagellation: A Case for Narrative Reliquaries - Claire Jensen Fragmented Narrative in the Chapter House of San Francesco in Pistoia - Laura Leeker Seeing and Sensing Compassion: Giotto's Naturalism in the Arena Chapel and Pietro d'Abano's Theory of Sympathetic Response - Theresa Flanigan III. Prototypes: Local and Global Locating the Duomo of Milan in the European Trecento - Erik Gustafson The Ilkhanid-Italian Relationship during the Trecento: Medieval Persian Prototypes for Brunelleschi's Dome in Florence - Lorenzo Vigotti IV. Art and Identity A Tribute to Dante: The Giottesque Portrait in the Palazzo del Podest in Florence - Sonia Chiodo Visual Representation of Women's Legal Duties in Medieval Siena - Elena Brizio V. Time and Knowledge Towards a New Reading of the Fifteenth-Century Astrological Cycle at the Palazzo della Ragione in Padua - Anna Majeski Giotto and Time - Luca Palozzi Diagramming Triumph in Trecento Painting: Augustine and Thomas from Page to Wall - Karl Whittington VI. Local Sanctities Art of an Emblematic King: Robert I of Naples as King of Jerusalem in the Fourteenth Century - Cathleen A. Fleck The Lignum Crucis and the Veneration of the Cross in the contado of Siena: Unmasking Some Neglected Images in the Cathedral of Massa Marittima - Sandra Cardarelli The Bodies and Blood of Christ and the Virgin at Santa Maria Novella, Florence - Amber McAlister VII. The Trecento in the Present Rising from the Rubble of World War II: The High Altarpiece of Impruneta - Cathleen Hoeniger Engaging with the Trecento - Caroline Campbell Afterword - William Underwood Eiland
Trecento Pictoriality: Diagrammatic Painting in Late Medieval Italy
, Brepols - Harvey Miller, 2023 Hardback, 367 pages, Size:220 x 280 mm, Illustrations:115 col., Language: English. ISBN 9781915487049.
Summary In dozens of monumental examples across central and northern Italy, late-medieval artists created complex diagrammatic paintings whose content was conveyed not through proto-perspectival spaces but rather through complex circles, trees, hierarchical stemmata, and winding pathways. Trecento Pictoriality is the first comprehensive study of the practice of monumental diagrammatic painting in late-medieval Italy, moving the study of diagrams from the manuscript page to the frescoed wall and tempera panel. Often placed alongside narrative, devotional, and allegorical paintings, the diagrammatic mode was one of a number of pictorial modes available to artists, patrons, and planners, with a unique ability to present complex content to viewers. While monumental diagrams may have sparked some of the experiences usually associated with diagrams in manuscripts, acting as machines for thought, scaffolds for memory, or tools for the visualization of complex concepts, their reception was also shaped by their presence in public spaces, their scale and aura as richly decorated works of monumental visual art, and their insertion into larger pictorial programs. Closely examining the visual and communicative strategies of these paintings expands the horizon of trecento art history beyond narrative and devotional painting, and shifts our understanding of all of the arts of the trecento, calling attention to issues of scale, visual rhetoric, pictorial ingenuity, and reception.
