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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Additional resources for A Companion to Medieval Art: Romanesque and Gothic in Northern Europe
ACTC01 18 26/01/2006, 03:47PM INTRODUCTION: HISTORIOGRAPHY 19 a sympathetic view of medieval art among the general public in the process. One of the leading voices in this rehabilitation of medieval art in Germany was von Schlegel who, along with his brother, August Wilhelm, argued for a greater recognition of the historicity of art and of the relation between art and religion. Historiographically, Friedrich von Schlegel is also especially important for his discussion of Gothic architecture as the representation of the infinite.
As Görres and Sulpiz Boisserée were contemplating the completion of Cologne Cathedral in Germany, in France the great Romanesque abbey church of Cluny was being systematically dynamited and sold for construction material (1811–23). Feelings were still very bitter on the part of many in France in regard to the ancien régime, and French Romanticism took a course different from that in England or Germany. Some French Romanticists were Catholic revivalists, such as the highly influential Chateaubriand, who saw Christian art in general and medieval art in particular as not just equal to Classical art, but superior (esp.
Although this strain of thought was not taken further at the time in France, it was across the Channel. 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.