![]() The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". This cookie is set by GDPR Cookie Consent plugin. These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. Saints and Status in Late Medieval and Early Renaissance Florence Visual Religious Education in Late Medieval Florence: Zanobi Perini, the Leggenda di Santo Tobia, and the Misericordiaġ5. Artistic Appropriation, Institutional Identity and Civic Religion in Fourteenth-Century Siena: The Byzantine Treasury of the Hospital of Santa Maria della Scalaġ4. A New Angle on Simone Martini's Holy Familyġ3. Patterns of Holiness: A Virgin Lactans in a Franciscan contextġ2. Painter-Illuminator Workshops and the Church of San Giorgio a Ruballa: The Case of Bernardo Daddi and Pacino di Bonaguidaġ1. Father of Light: Giotto and the Beatific Vision in the Baroncelli Chapelġ0. Crisis and Charity in Fourteenth-Century Florence: Ambrogio Lorenzetti's Saint Nicholas Panels for San Procoloĩ. Simone Martini's 'Treaty with the House of Santa Fiora' in Siena's Palazzo Pubblico: Its Date and SignificanceĨ. The Siena Connection: A Franciscan Provincial Minister between Tuscany and Assisi at the Dawn of the Trecentoħ. 'Speculum sine macula': The Trittico di Santa Chiara in Trieste as an Object of Clarissan DevotionĦ. Guccio di Mannaia and the Concept of a 'Franciscan' Chaliceĥ. The Sculpted Saint: A Statue of Saint Francis in SienaĤ. Holy Wood / 'sacra tavola': Saint Dominic and the Memory of Miracles in Bolognaģ. As a collection they combine to make an important contribution to the study of Early Italian art, seeking thereby to echo the extraordinary contribution of Joanna Cannon's own work to that field.Ģ. Some essays bring fresh approaches to familiar material (Ambrogio Lorenzetti's Saint Nicholas panels, the frescoes in Siena's Palazzo Pubblico, Simone Martini's Holy Family), while others illuminate objects and images that are less well known (the central panel of the Santa Chiara triptych in Trieste, and the statue of Saint Francis in San Francesco in Siena). ![]() Ranging across Italy, from Bologna, to Siena, to Assisi, to Florence, they address key themes in the field, such as artistic patronage, sainthood and sanctity, the visual culture of the mendicant orders, devotional practice, and civic religion. The book is unified by its concentration on Italian art, history, and material culture, spanning the thirteenth to the fifteenth centuries but within that scope the individual essays focus on an impressive variety of subjects, across many media, including panel painting, wall painting, architecture, sculpture, metalwork, manuscripts, and gilded glass. ![]() The reach of her interests and expertise is also reflected in its range of subjects. Her teaching lies at the heart of this book, as its chapters are all written by those who gained their doctorates under her supervision. The essays collected here form a tribute to Joanna Cannon, whose scholarship and teaching have done so much to shape the historical study of thirteenth- and fourteenth-century Italian art. Joanna Cannon's scholarship and teaching have helped shape the historical study of thirteenth- and fourteenth-century Italian art this essay collection by her former students is a tribute to her work. ![]()
0 Comments
Leave a Reply. |