The twenty-four studies in this volume propose a new approach to framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women, moving beyond today's standard division of artist from patron.

These volumes propose a renewed way of framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women. Today's standard division of artist from patron is not seen in medieval inscriptions--on paintings, metalwork, embroideries, or buildings--where the most common verb is 'made' ( fecit ). At times this denotes the individual whose hands produced the work, but it can equally refer to the person whose donation made the undertaking possible. Here twenty-four scholars examine secular and religious art from across medieval Europe to demonstrate that a range of studies is of interest not just for a particular time and place but because, from this range, overall conclusions can be drawn for the question of medieval art history as a whole. Contributors are Mickey Abel, Glaire D. Anderson, Jane L. Carroll, Nicola Coldstream, María Elena Díez Jorge, Jaroslav Folda, Alexandra Gajewski, Loveday Lewes Gee, Melissa R. Katz, Katrin Kogman-Appel, Pierre Alain Mariaux, Therese Martin, Eileen McKiernan González, Rachel Moss, Jenifer Ní Ghrádaigh, Felipe Pereda, Annie Renoux, Ana Maria S. A. Rodrigues, Jane Tibbetts Schulenburg, Stefanie Seeberg, Miriam Shadis, Ellen Shortell, Loretta Vandi, and Nancy L. Wicker.

A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art.

In this visually rich volume, Mariah Proctor-Tiffany reconstructs the art collection and material culture of the fourteenth-century French queen Clémence de Hongrie, illuminating the way the royal widow gave objects as part of a deliberate strategy to create a lasting legacy for herself and her family in medieval Paris. After the sudden death of her husband, King Louis X, and the loss of her promised income, young Clémence fought for her high social status by harnessing the visual power of possessions, displaying them, and offering her luxurious objects as gifts. Clémence adeptly performed the role of queen, making a powerful argument for her place at court and her income as she adorned her body, the altars of her chapels, and her dining tables with sculptures, paintings, extravagant textiles, manuscripts, and jewelry—the exclusive accoutrements of royalty. Proctor-Tiffany analyzes the queen’s collection, maps the geographic trajectories of her gifts of art, and interprets Clémence’s generosity using anthropological theories of exchange and gift giving. Engaging with the art inventory of a medieval French woman, this lavishly illustrated microhistory sheds light on the material and social culture of the late Middle Ages. Scholars and students of medieval art, women’s studies, digital mapping, and the anthropology of ritual and gift giving especially will welcome Proctor-Tiffany’s meticulous research.

The Medieval Iberian Treasury in the Context of Cultural Interchange—expanded beyond the special issue of Medieval Encounters from which it was drawn—centers on the magnificent treasury of San Isidoro de León to address wider questions about the meanings of cross-cultural luxury goods in royal-ecclesiastical settings during the central Middle Ages. Now fully open access and with an updated introduction to ongoing research, an additional chapter, composite bibliographies, and indices, this multidisciplinary volume opens fresh ways into the investigation of medieval objects and textiles through historical, art historical, and technical analyses. Carbon-14 dating, iconography, and social history are among the methods applied to material and textual evidence, together shining new light on the display of rulership in medieval Iberia. Contributors are Ana Cabrera Lafuente, María Judith Feliciano, Julie A. Harris, Jitske Jasperse, Therese Martin, Pamela A. Patton, Ana Rodríguez, and Nancy L. Wicker.

This book explores an alternate history of the power and agency of 30 Hungarian queens over 400 years by a rigorous examination of the material culture connected with their lives. By researching the objects, images, and spaces, it demonstrates how these women expressed and displayed their power. Queens used material culture and space not only to demonstrate their own power to a wide, international audience, but also to consolidate their own position when it was weakened by external circumstances. Both the public and private image of the queen factors significantly in understanding in her own role at the strongly centralized Hungarian court, and, moreover, how her position and person strengthened and complemented that of the king.

The twenty-five papers in this volume arise from a conference jointly organised by the British Archaeological Association and the Museu Nacional d’Art de Catalunya in Barcelona. They explore the making of art and architecture in Latin Europe and the Mediterranean between c. 1000 and c. 1250, with a particular focus on questions of patronage, design and instrumentality. No previous studies of patterns of artistic production during the Romanesque period rival the breadth of coverage encompassed by this volume – both in terms of geographical origin and media, and in terms of historical approach. Topics range from case studies on Santiago de Compostela, the Armenian Cathedral in Jerusalem and the Winchester Bible to reflections on textuality and donor literacy, the culture of abbatial patronage at Saint-Michel de Cuxa and the re-invention of slab relief sculpture around 1100. The volume also includes papers that attempt to recover the procedures that coloured interaction between artists and patrons – a serious theme in a collection that opens with ‘Function, condition and process in eleventh-century Anglo-Norman church architecture’ and ends with a consideration of ‘The death of the patron’.

This book explores the significance of gender in shaping the Portuguese-speaking world from the Middle Ages to the present. Sixteen scholars from disciplines including history, sociology, anthropology, linguistics, literature and cultural studies analyse different configurations and literary representations of women's rights and patriarchal constraints. Unstable constructions of masculinity, femininity, queer, homosexual, bisexual, and transgender identities and behaviours are placed in historical context. The volume pioneers in gendering the Portuguese expansion in Africa, Asia, and the New World and pays particular attention to an inclusive account of indigenous agencies. Contributors are: Darlene Abreu-Ferreira, Vanda Anastácio, Francisco Bethencourt, Dorothée Boulanger, Rosa Maria dos Santos Capelão, Maria Judite Mário Chipenembe, Gily Coene, Philip J. Havik, Ben James, Anna M. Klobucka, Chia Longman, Amélia Polónia, Ana Maria S. A. Rodrigues, Isabel dos Guimarães Sá, Ana Cristina Santos, and João Paulo Silvestre.

Medieval queens led richly complex lives and were highly visible women active in a man's world. Linked to kings by marriage, family, and property, queens were vital to the institution of monarchy. In this comprehensive and accessible introduction to the study of queenship, Theresa Earenfight documents the lives and works of queens and empresses across Europe, Byzantium, and the Mediterranean in the Middle Ages. The book: - Introduces pivotal research and sources in queenship studies, and includes exciting and innovative new archival research - Highlights four crucial moments across the full span of the Middle Ages – ca. 300, 700, 1100, and 1350 – when Christianity, education, lineage, and marriage law fundamentally altered the practice of queenship - Examines theories and practices of queenship in the context of wider issues of gender, authority, and power. This is an invaluable and illuminating text for students, scholars and other readers interested in the role of royal women in medieval society.

Transforming Saints explores the transformation and function of the images of holy women within wider religious, social, and political contexts of Old Spain and New Spain from the Spanish conquest to Mexican independence. The chapters here examine the rise of the cults of the lactating Madonna, St. Anne, St. Librada, St. Mary Magdalene, and the Suffering Virgin. Concerned with holy figures presented as feminine archetypes—images that came under Inquisition scrutiny—as well as with cults suspected of concealing Indigenous influences, Charlene Villaseñor Black argues that these images would come to reflect the empowerment and agency of women in viceregal Mexico. Her close analysis of the imagery additionally demonstrates artists' innovative responses to Inquisition censorship and the new artistic demands occasioned by conversion. The concerns that motivated the twenty-first century protests against Chicana artists Yolanda López in 2001 and Alma López in 2003 have a long history in the Hispanic world, in the form of anxieties about the humanization of sacred female bodies and fears of Indigenous influences infiltrating Catholicism. In this context Black also examines a number of important artists in depth, including El Greco, Murillo, Jusepe de Ribera, Pedro de Mena, Baltasar de Echave Ibía, Juan Correa, Cristóbal de Villalpando, and Miguel Cabrera.