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A collection of papers published over the last 25 years on the art of Byzantine Cappadocia, focusing in particular on wall-paintings which provide a rich source of evidence for the religious and social life in the Byzantium province.
Lillch discusses all aspects of stained glass produced in France during the Gothic era. As well as analysing the iconography, style and hagiography of these major works of art, Lillich also considers glaziers, specific glazing techniques, grisaille and displaced panels.
Over the last fifty years, Professor Cornelius Vermeule, formerly curator of Classical Art at the Boston Museum of Fine Arts, has consolidated his reputation as one of the foremost American authorities on Graeco-Roman art.
Maylis Bayle has had the advantage of a dual training in history and the history of art. She is a director of research at the Centre National de la Recherche Scientifique (Universite de Paris I), author of a work on the Romanesque sculpture of Normandy, and an authority in the field of Romanesque monumental art.
Professor Charles D. Cuttler changed from artist to art historian at New York University s Institute of Fine Arts , studying under distinguished teachers such as Walter Friedlaender and Erwin Panofsky. A specialist in Flemish painting, he spent the major part of his career teaching at the University of Iowa.
Alison Stones has taught History of Art and Architecture in the USA since 1969 and has enjoyed Visiting Fellowships at the Universities of Oxford, Cambridge, and Paris.
This volume complements Anna Muthesius' two earlier ground-breaking volumes in the field of silk as material culture: Studies in Byzantine and Islamic Silk Weaving and Studies in Silk in Byzantium. The publication highlights the fact that similar patterns of selection were at work in the acquisition of silks by secular and ecclesiastical bodies.
This is the second of two volumes which consider in detail the art and architecture of Islam, from Spain to India, from the 7th century to the present day. This volume reflects Hillenbrand's principal interest: the architecture of Iran during the Seljuq period (11th to 12th centuries).
The title is an allusion to the description by Suger, Abbot of St. Denis, of the men of the Auvergne.
Professor Lodder is a leading specialist in art of the Russian avant-garde which flourished during the 1910s and 1920s.
The present volume gathers together a selection of the editorials, articles, conference papers and essays, though which he has furthered his own attempts to renew art history and participated in those of others.
Marilyn Aronberg Lavin has taught the history of art at Washington University, the University of Maryland, Yale, Princeton, and Universita di Roma, La Sapienza. Specializing in Italian 13th-16th century painting, she is internationally known for her books and articles on Piero della Francesca. Her other books include The Place of Narrative: Mural Painting in Italian Churches, 431-1600 AD., and Seventeenth-Century Barberini Documents and Inventories of Art , both of which were recipients of international prizes for distinguished scholarship. She is one of the leaders in the use of computers and digitized imagery for research, teaching, and publication in the history of art. This book offers a series of case studies intended to introduce and define an important class of fifteenth-century Italian art not previously recognized. It is argued that the paintings and sculptures discussed were created privately by artists for personal satisfaction and internal needs, outside the traditional framework of patronage and commercial gain. Since there is no direct documentation from this period of a work being privately made, the selection presented here is necessarily speculative. Instead, the essays focus on works by Piero della Francesca, Mantegna, Michelangelo, Bellini, and Titian that appear in the artists' testaments, letters of refusals to sell, and inventories showing ownership at the time of death. The task at hand is to uncover the motivation and meaning of works of art in which the medieval craftsman began to rise to the status of independent artist, and the maker and the viewer confront each other face to face for the first time.
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