A Companion to Medieval Art: Romanesque and Gothic in by Conrad Rudolph

By Conrad Rudolph

Эта книга представляет собой сборник из 30-ти очерков, в которых авторы дают аналитический обзор художественного творчества, наверное, в важнейшей области распространения Западного искусства. Внимание уделено историографии периода; теории образа и видения; художественным приемам и архитектурному дизайну со ссылками на широкий ряд примеров специфических образцов Северной Европы.
Вместе с тем, не забыто романское и готическое искусство на Востоке: в Византии и в государствах крестоносцев.Образцы сканов:

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Extra info for A Companion to Medieval Art: Romanesque and Gothic in Northern Europe

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8 William Laud, Archbishop of Canterbury and Chancellor of Oxford University, left his valuable collection of manuscripts to the Bodleian Library in Oxford and helped to obtain the Great Charter for Oxford University Press before being beheaded for Royalist support by order of Parliament in 1645. And John Webb, in an edition of some of Inigo Jones’s writings on Stonehenge of 1655, incorporated the distinction between round and pointed arches already made (though unsystematically) by Somner in 1640 into a broader conception of architectural style, calling them “Saxon” and “Norman,” respectively.

W. N. Pugin (most notably in the Houses of Parliament, designed 1835). In the visual arts, medievalism affected William Blake (esp. 1792–1827), the Pre-Raphaelites (esp. 1848–53), and the Arts and Crafts Movement (particularly William Morris, esp. 1861–96) in prints, paintings, books, stained glass, and furniture of often unsurpassed design. Sir Walter Scott and Alfred, Lord Tennyson were but two among many who popularized the Middle Ages in literature. And John Ruskin was of enormous ACTC01 20 26/01/2006, 03:47PM INTRODUCTION: HISTORIOGRAPHY ᭿᭿᭿ 21 influence in his many publications throughout his life, particularly The Stones of Venice (1851–53), which spoke of the freedom of the medieval artist, among other things.

England after the death of Cromwell was more concerned than ever with better understanding its medieval art historical past, something largely manifested through a very gradual awareness and articulation of architectural styles and their origins. In this effort, by far the most influential English antiquary of his generation was William Dugdale, the intellectual heir of Camden and Cotton. Dugdale is the primary author of the Monasticon Anglicanum (written with Roger Dodsworth; 1655–73), a deeply researched history of monasticism in England that incorporated a discussion of the building histories and the destruction of the various institutions with which he was concerned.

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