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|Format – détails additionnels :||Online version:
Parker, Elizabeth C.
New York : Metropolitan Museum of Art : Distributed by H.N. Abrams, ©1994
|Type d’ouvrage :||Ressource Internet|
|Format :||Book, Internet Resource|
|Tous les auteurs / collaborateurs :||
Elizabeth C Parker; Charles T Little
|ISBN :||0870996827 9780870996825 1872501907 9781872501901 0810964341 9780810964341|
|Numéro OCLC :||28215488|
|Description :||316 pages : illustrations (some color) ; 29 cm|
|Contenu :||Foreword / William D. Wixom --
Ch. 1. Introduction: The Cross and Its History --
Ch. 2. Word and Image: The Iconography of the Cross --
Ch. 3. The Function of the Cloisters Cross --
Ch. 4. The Liturgical Context --
Ch. 5. The Intellectual Setting --
Ch. 6. The Bury St. Edmunds Connection --
Ch. 7. Epilogue: The Place of the Cross in English Romanesque Art --
Appendix I: The Inscriptions on the Cross --
Appendix II: The Olso Corpus.
|Responsabilité :||Elizabeth C. Parker & Charles T. Little.|
The dearth of solid information about its provenance prior to its ownership by a Yugoslav art dealer and restorer has generated a number of tantalizing theories as to its origin, function, and early history, although no one has denied the exceptional quality of its workmanship or the unparalleled complexity of its design.
The story of the cross's creation, survival, and meaning is explored in this fascinating book. Of special interest is the sheer number of figures that populate the compact scenes on both sides of the cross, and of biblical passages diligently inscribed on individual scrolls held by Old Testament prophets across its surface. The cross is a tour de force of sculptural artistry, which holds within its small physical scope an iconographic encyclopedia of learning almost unmatched in Medieval Art.
This comprehensive study is addressed to the genuinely curious visitor to the Cloisters collection, as well as to the specialized scholar. The authors have included a systematic description of the intricate construction of the cross and an analysis of every detail of its carving. They offer substantial new insights to the findings of previous scholarly research as to possible meanings and context, in terms of both the liturgy and the intellectual milieu of the twelfth century in which it has been placed.
The attribution to the abbey of Bury St. Edmunds - the name by which the cross was first known - is discussed at length. In rich and exacting detail the authors reveal, as do the splendid new color photographs by Malcolm Varon, just how the Cloisters Cross, in its imagery and consummate workmanship, bears "witness to a level of erudition and artistry seldom seen in the twelfth century or later."
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