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Articles 151 - 172 of 172
Full-Text Articles in Arts and Humanities
From Choir Book To Scrap Book: The Initials In Hmml Bean Ms 3, Elizabeth Teviotdale
From Choir Book To Scrap Book: The Initials In Hmml Bean Ms 3, Elizabeth Teviotdale
Elizabeth C Teviotdale
A consideration of the origin of a group of cuttings contained in a 19th-century album (Collegeville, Hill Monastic Manuscript Library, Bean MS 3), with an analysis is the relationship of the initials' figural subjects to the texts they introduced. The cuttings, a series of historiated and decorated initials, were taken from one of a pair of choir books made in northern France or Flanders for a house of Cistercian nuns in the 13th century.
Penises In The Book Of Kells: A Study In Gendered Text-Image Relationships, Pamela Warner
Penises In The Book Of Kells: A Study In Gendered Text-Image Relationships, Pamela Warner
Pamela J. Warner
No abstract provided.
750 Years In The Life Of A Pair Of Cistercian Antiphonals, Elizabeth Teviotdale
750 Years In The Life Of A Pair Of Cistercian Antiphonals, Elizabeth Teviotdale
Elizabeth C Teviotdale
Examines the provenance and dissemination of a multivolume antiphonary produced for the Cistercian nunnery near Cambrai. The MS is presently dispersed through several collections. In 1983 the J. Paul Getty Museum, Los Angeles, purchased from the German art collectors Peter and Irene Ludwig 19 leaves and four cuttings from the MS (MS Ludwig VI 5). In 1992, the Museum acquired an additional 81 leaves (MS 44). One leaf is kept at the Cleveland Museum of Art (inv. no. 85.83), and cuttings are at the Nationalmuseum in Stockholm (B 1730-32) and in a private collection in Collegeville, Minnesota (Hill Monastic Manuscript …
Dis[Un]Covering The Body In The Book Of Kells, Pamela Warner
Dis[Un]Covering The Body In The Book Of Kells, Pamela Warner
Pamela J. Warner
No abstract provided.
The Poetry Of László Moholy-Nagy, Pamela Warner
The Poetry Of László Moholy-Nagy, Pamela Warner
Pamela J. Warner
No abstract provided.
The "Hereford Troper" And Hereford, Elizabeth Teviotdale
The "Hereford Troper" And Hereford, Elizabeth Teviotdale
Elizabeth C Teviotdale
The probability of a Hereford origin for the so-called Hereford Troper (London, BL, MS Cotton Caligula A.xiv (troper) is re-examined. The longstanding opinion that the paintings in the troper share an exclusive stylistic affinity with those in a gospel lectionary known to have been at Hereford at an early date (Cambridge, Pembroke College, MS 302) is challenged, and it is proposed that the Hereford provenance of the 11th-century gospel-lectionary does not constitute reliable evidence concerning the origin of the troper (now also called the Caligula Troper).
Lee Miller’S Photographic Impersonations, 1930-1945, Amy Lyford
Lee Miller’S Photographic Impersonations, 1930-1945, Amy Lyford
Amy Lyford
No abstract provided.
Nature's Laws And The Changing Image Of Reality In Art And Physics, 1910-1940, John G. Hatch Jr
Nature's Laws And The Changing Image Of Reality In Art And Physics, 1910-1940, John G. Hatch Jr
John G. Hatch
No abstract provided.
Latin Verse Inscriptions In Late Anglo-Saxon Art, Elizabeth Teviotdale
Latin Verse Inscriptions In Late Anglo-Saxon Art, Elizabeth Teviotdale
Elizabeth C Teviotdale
Examines the inscriptions in seven manuscripts and on a portable altar. All of the inscriptions are hexameters. Argues that the Anglo-Saxons understood the poetry to be an essentially written and visual (as opposed to oral) art form and that, even as the literary pretensions of the poetry declined during the course of the late Anglo-Saxon period, the presentation of the poetry increased in its sophistication.
East Meets West: Isabella Stewart Gardner And Okakura Kakuzō, Victoria Weston
East Meets West: Isabella Stewart Gardner And Okakura Kakuzō, Victoria Weston
Victoria Weston
This exhibition catalogue accompanied the exhibition of the same name shown at the Gardner Museum in 1993. The exhibition featured the fusuma and folding screen sets owned by the Gardner of generally seventeenth century Kano authorship. The catalogue essay discusses the relationship between Mrs. Gardner and Japanese art critic Okakura Kakuzō during the years 1904 to 1913 and the development of the Chinese Room. The painting "Two Dragons Contending for the Moon" by Yokoyama Taikan (ca. 1904/5) and his quick sketch inside the cover of Mrs. Gardner's guest book (discovered and identified by Weston) were included in the exhibition.
The Romance Of Transportation: Vehicle And Voyage In North American Art, Ellen Plummer, Pamela Warner
The Romance Of Transportation: Vehicle And Voyage In North American Art, Ellen Plummer, Pamela Warner
Pamela J. Warner
Catalog of an exhibition held aboard Artrain, April 1993-November 1994.
The Picture Inscriptions In The Cotton Troper, Elizabeth Teviotdale
The Picture Inscriptions In The Cotton Troper, Elizabeth Teviotdale
Elizabeth C Teviotdale
A consideration of the hexameter inscriptions surrounding the miniatures in the Cotton Troper (London, BL, MS Cotton Caligula A.xiv, fols. 1-36), assessing the style and character of the verses and their dependence on antecedent texts, both Latin and vernacular.
Some Thoughts On The Place Of Origin Of The Cotton Troper, Elizabeth Teviotdale
Some Thoughts On The Place Of Origin Of The Cotton Troper, Elizabeth Teviotdale
Elizabeth C Teviotdale
Argues that the first fragment in London, BL, MS Cotton Caligula A.xiv was copied at Winchester Old Minster or at Worcester either for the cathedral priory at Worcester or for a highly-placed individual at Worcester. The published version of a paper given at the fourth meeting of the Cantus Planus Study Group of the International Musicological Society (September 3-8, 1990) in Pécs.
Music And Pictures In The Middle Ages, Elizabeth Teviotdale
Music And Pictures In The Middle Ages, Elizabeth Teviotdale
Elizabeth C Teviotdale
Discusses various examples of music and musicians in works of medieval manuscript art.
The Making Of The Cotton Troper, Elizabeth Teviotdale
The Making Of The Cotton Troper, Elizabeth Teviotdale
Elizabeth C Teviotdale
Provides a detailed description of a fragment of an illustrated 11th-century English troper, forming the first portion of MS Cotton Caligula A.XIV (London, BL). The major decoration is an initial and paintings of Christological and hagiographical subject matter.
Pollaiuolo Studies, Eric Frank
The Filiation Of The Music Illustrations In A Boethius In Milan And In The Piacenza Codice Magno, Elizabeth Teviotdale
The Filiation Of The Music Illustrations In A Boethius In Milan And In The Piacenza Codice Magno, Elizabeth Teviotdale
Elizabeth C Teviotdale
Proposes a common prototype from the tradition of illustrated manuscripts of Cassiodorus’s Institutiones as the explanation for the close iconographic relationship between music illustrations in a manuscript (here dated to the 11th century) of the De arithmetica and De musica of Boethius (Milan, Biblioteca Ambrosiana, MS C.128 inf.) and in the 12th-century Codice Magno (Piacenza, Biblioteca Capitolare, MS 65). Suggests that the iconography may have originated in a Carolingian scriptorium.
Owen Jones' The Grammar Of Ornament: Field Theory In The Post-Modern Studio, Kresten Jespersen
Owen Jones' The Grammar Of Ornament: Field Theory In The Post-Modern Studio, Kresten Jespersen
Kresten Jespersen
A suggested use of Owen Jones's great encyclopedia of ornament for the contemporary architectural studio. the article is the outcome of a course given for the students in the Undergraduate Architecture Program by Prof. Kent Bloomer and myself in 1984.
Form And Meaning: The Conventionalization Of The Leaf Ornament, Kresten Jespersen
Form And Meaning: The Conventionalization Of The Leaf Ornament, Kresten Jespersen
Kresten Jespersen
As did Owen Jones, Bloomer argues for a modern style of ornament to decorate a modern architecture. Based on formal laws rather than theories of classical or naturalistic imitation, conventionalization can be seen as being explicitly modern. Moreover, deriving from the work of ornament, these laws are dependent on intrinsic rather than extrinsic principles.
The Drawings And Paintings In An Ottonian Epistle-Lectionary, Elizabeth Teviotdale
The Drawings And Paintings In An Ottonian Epistle-Lectionary, Elizabeth Teviotdale
Elizabeth C Teviotdale
A consideration of the relative chronology of the drawings and paintings in among the five completed miniatures of Berlin, Staatsbibliothek Preussischer Kulturbesitz, MS theo. lat. fol 34, an epistle lectionary, presumably of the 10th century. Concludes that the originally intended iconography of the scenes in the Berlin manuscript is, in each case, distinct from that of the corresponding scene in the Codex Egberti (Trier, Stadtbibliothek, MS 24) and that the iconographic elements which peculiarly link the the Berlin manuscript to the Trier manuscript were added after the paintings were finished.
The Filiation Of The Musical Illustrations In Milano, Biblioteca Ambrosiana, Ms. C 128 Inf. And Piacenza, Biblioteca Capitolare, Ms. 65, Elizabeth Teviotdale
The Filiation Of The Musical Illustrations In Milano, Biblioteca Ambrosiana, Ms. C 128 Inf. And Piacenza, Biblioteca Capitolare, Ms. 65, Elizabeth Teviotdale
Elizabeth C Teviotdale
Proposes a common prototype from the tradition of illustrated manuscripts of Cassiodorus’s Institutiones as the explanation for the close iconographic relationship between music illustrations in a manuscript (here dated to the 11th century) of the De arithmetica and De musica of Boethius (Milan, Biblioteca Ambrosiana, MS C.128 inf.) and in the 12th-century Codice Magno (Piacenza, Biblioteca Capitolare, MS 65). Suggests that the iconography may have originated in a Carolingian scriptorium.
A Speculation On An Affinity Between Ruskin's Seven Lamps Of Architecture And Monet's Cathedrals, Elizabeth Teviotdale
A Speculation On An Affinity Between Ruskin's Seven Lamps Of Architecture And Monet's Cathedrals, Elizabeth Teviotdale
Elizabeth C Teviotdale
Discusses John Ruskin’s architectural aesthetics and his view of the Gothic style as expressed in his Seven Lamps of Architecture. Discovers similarities between Ruskin’s ideas and the ideas and methods of Claude Monet, evident in his series of paintings of Rouen Cathedral, 1892-1895. Describes how Ruskin’s theories grew out of and advanced beyond the aesthetics of the Gothic revival movement, and how Monet’s paintings relate in a similar way to earlier 19th-century depictions of Gothic architecture. Ruskin’s redefinition of the picturesque is seen as the key to establishing a relationship between his theories and Monet’s paintings.