Between the ninth and thirteenth centuries the Western world witnessed a glorious flowering of the pictorial arts. In this lavishly illustrated book, C.R. Dodwell provides a comprehensive guide to all forms of this art--from wall and panel paintings to stained glass windows, mosaics, and embroidery--and sets them against the historical and theological influences of the age. Dodwell describes the rise and development of some of the great styles of the Middle Ages: Carolingian art, which ranged from the splendid illuminations appropriate to an emperor's court to drawings of great delicacy; Anglo-Saxon art, which had a rare vitality and finesse; Ottonian art with its political and spiritual messages; the colorful Mozarabic art of Spain, which had added vigor through its interaction with the barbaric Visigoths; and the art of Italy, influenced by the styles of Byzantium and the West. Dodwell concludes with an examination of the universal Romanesque style of the twelfth century that extended from the Scandinavian countries in the north to Jerusalem in the south. His book--which includes the first exhaustive discussion of the painters and craftsmen of the time, incorporates the latest research, and is filled with new ideas about the relations among the arts, history, and theology of the period--will be an invaluable resource for both art historians and students of the Middle Ages.

Understanding Art is a two-volume, fully illustrated work that strives to explain and discuss four important periods in the history of western art--the Romanesque, Gothic, Renaissance, and Baroque. It aims to create a sense of understanding, recognition, and appreciation of art by analysing, within the four periods, three distinct artistic genres: painting; sculpture; and architecture. Besides the excellence of the illustrations, one of the great virtues of this book is its clear and concise explanations. It is truly an excellent first stop for anyone embarking on a serious study of art--or anyone wishing to refresh his or her memory of the facts about the art history of the western world.

This volume examines the development and use of the Bible from late Antiquity to the Reformation, tracing both its geographical and its intellectual journeys from its homelands throughout the Middle East and Mediterranean and into northern Europe. Richard Marsden and E. Ann Matter's volume provides a balanced treatment of eastern and western biblical traditions, highlighting processes of transmission and modes of exegesis among Roman and Orthodox Christians, Jews and Muslims and illuminating the role of the Bible in medieval inter-religious dialogue. Translations into Ethiopic, Slavic, Armenian and Georgian vernaculars, as well as Romance and Germanic, are treated in detail, along with the theme of allegorized spirituality and established forms of glossing. The chapters take the study of Bible history beyond the cloisters of medieval monasteries and ecclesiastical schools to consider the influence of biblical texts on vernacular poetry, prose, drama, law and the visual arts of East and West.

This 1999 book is concerned with the pictorial language of gesture revealed in Anglo-Saxon art, and its debt to classical Rome. Reginald Dodwell was an eminent art historian and former Director of the Whitworth Art Gallery in Manchester. In this, his last book, he notes a striking similarity of both form and meaning between Anglo-Saxon gestures and those in illustrated manuscripts of the plays of Terence. He presents evidence for dating the archetype of the Terence manuscripts to the mid-third century, and argues persuasively that their gestures reflect actual stage conventions. He identifies a repertory of eighteen Terentian gestures whose meaning can be ascertained from the dramatic contexts in which they occur, and conducts a detailed examination of the use of the gestures in Anglo-Saxon manuscripts. The book, which is extensively illustrated, illuminates our understanding of the vigour of late Anglo-Saxon art and its ability to absorb and transpose continental influence.

In the first volume of the Artists of an Era series, Leslie Ross examines the identities of artists attributed to the most famous and influential works of medieval art. These works are much discussed within the realm of art history, yet the identities of medieval artists fall victim to incomplete historical records and often remain enigmatic. In ten narrative chapters, Ross examines this significant area of the art world (including architecture, iconography, metalwork, scribework, sculpture—even medieval art instruction) and summarizes the lives and work of that genre's leading artist or artists. Students will learn not only what is factually known of an artist's life (as well as what is purely speculative), but also the processes used to gather the information and fuel speculation. Readers will also gain unique insights into the practices and traditions of medieval art and the role it played within medieval society. A timeline, chapter bibliographies, a list of further resources on medieval art, and an index offer additional tools to students of medieval art and art history.

Earliest Christian art - Saints and holy places - Holy images - Artistic production for the wealthy - Icons & iconography.

Using the political and theological writings of the eleventh-century churchmen Gerard of Cambrai and Richard of Saint-Vanne, this study argues that the Flemish Saint-Vaast Bible's illuminations defended the continued hegemony of the then embattled offices of King and Bishop.

This is the first comprehensive study of Byzantine influence on the art and iconography of East Central Europe and also the first account of the disciplinary development of Byzantine Studies in the Czech and Slovak Republics.

Art in England fills a void in the scholarship of both English and medieval art by offering the first single volume overview of artistic movements in Medieval and Early Renaissance England. Grounded in history and using the chronology of the reign of monarchs as a structure, it is contextual and comprehensive, revealing unobserved threads of continuity, patterns of intention and unique qualities that run through English art of the medieval millennium. By placing the English movement in a European context, this book brings to light many ingenious innovations that focused studies tend not to recognize and offers a fresh look at the movement as a whole. The media studied include architecture and related sculpture, both ecclesiastical and secular; tomb monuments; murals, panel paintings, altarpieces, and portraits; manuscript illuminations; textiles; and art by English artists and by foreign artists commissioned by English patrons.