I’m an art historian specializing in late medieval art in Italy and in England. I especially love narrative fresco cycles and the Orvieto Cathedral. I’ve written one book on English art and one on a fresco cycle in the Orvieto Cathedral. I have a second book on frescoes and a stained glass window in the high chapel of the Orvieto Cathedral in press. Supervisors: David Summers and Paul Barolsky
This study brings together leading scholars from Europe and the United States to consider the art... more This study brings together leading scholars from Europe and the United States to consider the art of Hans Holbein the Younger (1497/98-1543) from a variety of perspectives and disciplines. Generously illustrated and based on the most up-to-date research, the book is essential reading for anyone with an interest in Holbein the Younger and his magnificent art. In chapters relating to artistic exchange, the contributors discuss what Holbein knew of French and Italian art and how he utilized this knowledge. Conservation and technical chapters examine the materials and techniques in the painting The Ambassadors and documentary evidence on a series of festival paintings on canvas. Two contributors examine the artist's woocuts, particularly Dance of Death, in the light of contemporary political and theological issues. In addition, the historical and theoretical circumstances and contexts of Holbein's portraits are investigated, notably their associations with classical antiquity and its revival in humanist thought. The book also considers the impact of the first scholarly monograph on Holbein's reception and how German Romantic literary art criticism of the early nineteenth century shaped an image of his life and art.
Seventeenth-century Delft has traditionally been viewed as a quaint town whose artists painted sc... more Seventeenth-century Delft has traditionally been viewed as a quaint town whose artists painted scenes of domestic life. This important book revises that image, showing that the small but vibrant Dutch city produced fine examples of all the major arts, including luxury goods and sophisticated paintings for the court at The Hague and for patrician collectors in Delft itself. The book traces the history and culture of Delft from the 1200s through the lifetime of the city's most renowned painter, Johannes Vermeer. The authors discuss at length some ninety major paintings (seventeen by Vermeer), forty drawings, and a choice selection of decorative arts, all of which are reproduced in full colour. Among the paintings are state portraits, history pictures, still lifes, views of palaces and church interiors, illusionistic murals, and refined genre pictures by Vermeer and Pieter de Hooch. The rich works on paper encompass exquisite drawings by Delft artists and sketches of the town by visiting artists. Included in the decorative arts are tapestries, bronze statuary, silver, Delftware, and glass. The volume concludes with an essay that takes the reader on a walk through seventeenth-century Delft. It is accompanied by maps of the city's neighbourhoods that indicate major monuments and the homes of patrons, art dealers, and painters. This handsome book serves as the catalogue for an exhibition to be held at The Metropolitan Museum of Art from 5 March to 27 May 2001 and at the National Gallery, London, from 20 June to 26 September 2001.
Description of Normative Figure of Antichrist in the Visual Arts. The visual paradigm for the Ant... more Description of Normative Figure of Antichrist in the Visual Arts. The visual paradigm for the Antichrist evolves over time from the symbolic image to the human or composite human and beast imagery showing attributes of royal kingship or a preacher to sinister image of Jesus. Most often the image appears in manuscripts or printed books and often is only discernable through the context of the accompanying text. When the image is painted, rather than printed in black ink on white paper as in woodcuts or engravings, the palette is hot, with intense shades of red, sometimes accompanied by touches of orange and/or purple. Antichrist imagery appears most often during the times of apocalyptic fervor that surround the years 1000 and 1500. Attribute and/or Symbol. Like the image of the Antichrist, the attributes vary. In the earliest human or composite images, which develop in the late 8th century and continue through the 15th century, the Antichrist appears wearing either a hat or a crown. In the late 15th century, his attributes broaden from images of royal kingship to gowned preacher to flowing biblical robes associated with Jesus. Often the devil is nearby, adding a sinister tone. Scriptural Episodes in the Visual Arts. The Bible characterizes the Antichrist as a false prophet who will precede the final judgment by Christ. 1 John 2 : 18;4 : 3 and 2 John 1 : 7 cite the Antichrist by name and exemplify him as a heretic, a deceiver, and one who denies the incarnation and divinity of Christ. Additional apocalyptic texts that imply the Antichrist and his rule preceding the judgment include Rev 12-13.; Dan 7; 2 Thess 2 : 3-4;9-12; and 2 Pet 3 : 3-4, 10 and 13. The Gospels quote Christ warning of the danger and alluring nature of false prophets in Mark 13 : 5-6. and 19-23 and Matt 7 : 15-19. Popular Iconographic Motifs in the Visual Arts. Among the earliest overt images of the Antichrist are those in commentaries on the Book of Revelation by the Spanish monk Beatus of Liébana (d. ca. 800). Although the book of Revelation does not name the Antichrist, Beatus refers to him in the commentary; therefore, occasionally the illustrations depict him. One such illustration in a Beatus commentary depicts Antichrist attacking Jerusalem (John Rylands University Library, Manchester, manuscript Lat 8, fol. 170r.). In the Morgan Beatus, the Antichrist appears as a false prophet wearing a large hat; the seven-headed beast appears in the register above (Pierpont Morgan Library, New York, manuscript 422, fol. 215v.). The greatest visionary of the Middle Ages, both in writing and in artistic images, is probably Hildegard of Bingen (1098-1179). Her book, Liber Scivias Encyclopedia of the Bible and Its Reception (EBR)-Walter de Gruyter GmbH & Co. KG
Radiance and Symbolism in Modern Stained Glass: European and American Innovations and Aesthetic Interrelations in Material Culture, 2016
A Retrospective of Fine American Stained Glass: The Windows of Trinity Church, Staunton, Virginia... more A Retrospective of Fine American Stained Glass: The Windows of Trinity Church, Staunton, Virginia
Trinity Church, Founded in 1746 as Augusta Parish, is the oldest church in Staunton, Virginia and one of the first Episcopal congregations west of the Blue Ridge Mountains. The present 1855 church building has undergone various modifications in the architectural configuration; with those alterations came came changes in the windows. Today the structure contains five distinct styles of window glass installed between 1855 and the 1970. These windows not only constitute a retrospective of stained glass traditions in American Protestant churches, they also trace the development of stained glass methods in the United States. Several of these techniques were developed in America and remained distinctive to American stained glass. The greatest treasure among these windows is the dozen windows by Louis Comfort Tiffany. Dating from 1897 to 1936, this unusually wide variety of Tiffany windows not only offers a glimpse into his subjects, innovative techniques, and stylistic changes, but also it presents a retrospective of his career in the larger context of American stained glass. The changes in styles and subjects of the windows not only pay tribute to a long and rich heritage, but also they reflect the modifications in the worship practices and evolution of the church liturgy in the Episcopal Church in America and how this particular parish responded to the changes.
In 1325, the Opera del Duomo of Orvieto called Master Giovanni di Bonino da Assisi (d. 1347) to f... more In 1325, the Opera del Duomo of Orvieto called Master Giovanni di Bonino da Assisi (d. 1347) to fabricate stained-glass windows for their cathedral, the most significant of which would adorn the nearly square Cappella Maggiore, or east-end tribune. In 1334, when Giovanni signed and dated his masterpiece—one of the largest stained-glass windows in Italy—it would have been hailed as a marvel of technology and artistic expression. Although previous scholars have praised Giovanni’s fabrication and painting, they have overlooked the unusual choices of narrative scenes and the arrangement of the forty-four rectangular panes, which alternate both horizontally and vertically to form heretofore unnoticed dual typological relationships between the Marian narratives and the Old Testament prophets. The window not only emphasizes Mary, to whom the founding pope dedicated the cathedral, but also fits into a more comprehensive papal plan than ever before recognized and acknowledges earlier than previously realized devotion to Joseph; heretofore unobserved key episodes in the city’s history, including heresy and a miracle; the probable involvement of theological advisors; and hitherto unseen site-specific dogmatic agendas related to the Feast of Corpus Christi, which was universally sanctioned in Orvieto.
This study brings together leading scholars from Europe and the United States to consider the art... more This study brings together leading scholars from Europe and the United States to consider the art of Hans Holbein the Younger (1497/98-1543) from a variety of perspectives and disciplines. Generously illustrated and based on the most up-to-date research, the book is essential reading for anyone with an interest in Holbein the Younger and his magnificent art. In chapters relating to artistic exchange, the contributors discuss what Holbein knew of French and Italian art and how he utilized this knowledge. Conservation and technical chapters examine the materials and techniques in the painting The Ambassadors and documentary evidence on a series of festival paintings on canvas. Two contributors examine the artist's woocuts, particularly Dance of Death, in the light of contemporary political and theological issues. In addition, the historical and theoretical circumstances and contexts of Holbein's portraits are investigated, notably their associations with classical antiquity and its revival in humanist thought. The book also considers the impact of the first scholarly monograph on Holbein's reception and how German Romantic literary art criticism of the early nineteenth century shaped an image of his life and art.
Seventeenth-century Delft has traditionally been viewed as a quaint town whose artists painted sc... more Seventeenth-century Delft has traditionally been viewed as a quaint town whose artists painted scenes of domestic life. This important book revises that image, showing that the small but vibrant Dutch city produced fine examples of all the major arts, including luxury goods and sophisticated paintings for the court at The Hague and for patrician collectors in Delft itself. The book traces the history and culture of Delft from the 1200s through the lifetime of the city's most renowned painter, Johannes Vermeer. The authors discuss at length some ninety major paintings (seventeen by Vermeer), forty drawings, and a choice selection of decorative arts, all of which are reproduced in full colour. Among the paintings are state portraits, history pictures, still lifes, views of palaces and church interiors, illusionistic murals, and refined genre pictures by Vermeer and Pieter de Hooch. The rich works on paper encompass exquisite drawings by Delft artists and sketches of the town by visiting artists. Included in the decorative arts are tapestries, bronze statuary, silver, Delftware, and glass. The volume concludes with an essay that takes the reader on a walk through seventeenth-century Delft. It is accompanied by maps of the city's neighbourhoods that indicate major monuments and the homes of patrons, art dealers, and painters. This handsome book serves as the catalogue for an exhibition to be held at The Metropolitan Museum of Art from 5 March to 27 May 2001 and at the National Gallery, London, from 20 June to 26 September 2001.
Description of Normative Figure of Antichrist in the Visual Arts. The visual paradigm for the Ant... more Description of Normative Figure of Antichrist in the Visual Arts. The visual paradigm for the Antichrist evolves over time from the symbolic image to the human or composite human and beast imagery showing attributes of royal kingship or a preacher to sinister image of Jesus. Most often the image appears in manuscripts or printed books and often is only discernable through the context of the accompanying text. When the image is painted, rather than printed in black ink on white paper as in woodcuts or engravings, the palette is hot, with intense shades of red, sometimes accompanied by touches of orange and/or purple. Antichrist imagery appears most often during the times of apocalyptic fervor that surround the years 1000 and 1500. Attribute and/or Symbol. Like the image of the Antichrist, the attributes vary. In the earliest human or composite images, which develop in the late 8th century and continue through the 15th century, the Antichrist appears wearing either a hat or a crown. In the late 15th century, his attributes broaden from images of royal kingship to gowned preacher to flowing biblical robes associated with Jesus. Often the devil is nearby, adding a sinister tone. Scriptural Episodes in the Visual Arts. The Bible characterizes the Antichrist as a false prophet who will precede the final judgment by Christ. 1 John 2 : 18;4 : 3 and 2 John 1 : 7 cite the Antichrist by name and exemplify him as a heretic, a deceiver, and one who denies the incarnation and divinity of Christ. Additional apocalyptic texts that imply the Antichrist and his rule preceding the judgment include Rev 12-13.; Dan 7; 2 Thess 2 : 3-4;9-12; and 2 Pet 3 : 3-4, 10 and 13. The Gospels quote Christ warning of the danger and alluring nature of false prophets in Mark 13 : 5-6. and 19-23 and Matt 7 : 15-19. Popular Iconographic Motifs in the Visual Arts. Among the earliest overt images of the Antichrist are those in commentaries on the Book of Revelation by the Spanish monk Beatus of Liébana (d. ca. 800). Although the book of Revelation does not name the Antichrist, Beatus refers to him in the commentary; therefore, occasionally the illustrations depict him. One such illustration in a Beatus commentary depicts Antichrist attacking Jerusalem (John Rylands University Library, Manchester, manuscript Lat 8, fol. 170r.). In the Morgan Beatus, the Antichrist appears as a false prophet wearing a large hat; the seven-headed beast appears in the register above (Pierpont Morgan Library, New York, manuscript 422, fol. 215v.). The greatest visionary of the Middle Ages, both in writing and in artistic images, is probably Hildegard of Bingen (1098-1179). Her book, Liber Scivias Encyclopedia of the Bible and Its Reception (EBR)-Walter de Gruyter GmbH & Co. KG
Radiance and Symbolism in Modern Stained Glass: European and American Innovations and Aesthetic Interrelations in Material Culture, 2016
A Retrospective of Fine American Stained Glass: The Windows of Trinity Church, Staunton, Virginia... more A Retrospective of Fine American Stained Glass: The Windows of Trinity Church, Staunton, Virginia
Trinity Church, Founded in 1746 as Augusta Parish, is the oldest church in Staunton, Virginia and one of the first Episcopal congregations west of the Blue Ridge Mountains. The present 1855 church building has undergone various modifications in the architectural configuration; with those alterations came came changes in the windows. Today the structure contains five distinct styles of window glass installed between 1855 and the 1970. These windows not only constitute a retrospective of stained glass traditions in American Protestant churches, they also trace the development of stained glass methods in the United States. Several of these techniques were developed in America and remained distinctive to American stained glass. The greatest treasure among these windows is the dozen windows by Louis Comfort Tiffany. Dating from 1897 to 1936, this unusually wide variety of Tiffany windows not only offers a glimpse into his subjects, innovative techniques, and stylistic changes, but also it presents a retrospective of his career in the larger context of American stained glass. The changes in styles and subjects of the windows not only pay tribute to a long and rich heritage, but also they reflect the modifications in the worship practices and evolution of the church liturgy in the Episcopal Church in America and how this particular parish responded to the changes.
In 1325, the Opera del Duomo of Orvieto called Master Giovanni di Bonino da Assisi (d. 1347) to f... more In 1325, the Opera del Duomo of Orvieto called Master Giovanni di Bonino da Assisi (d. 1347) to fabricate stained-glass windows for their cathedral, the most significant of which would adorn the nearly square Cappella Maggiore, or east-end tribune. In 1334, when Giovanni signed and dated his masterpiece—one of the largest stained-glass windows in Italy—it would have been hailed as a marvel of technology and artistic expression. Although previous scholars have praised Giovanni’s fabrication and painting, they have overlooked the unusual choices of narrative scenes and the arrangement of the forty-four rectangular panes, which alternate both horizontally and vertically to form heretofore unnoticed dual typological relationships between the Marian narratives and the Old Testament prophets. The window not only emphasizes Mary, to whom the founding pope dedicated the cathedral, but also fits into a more comprehensive papal plan than ever before recognized and acknowledges earlier than previously realized devotion to Joseph; heretofore unobserved key episodes in the city’s history, including heresy and a miracle; the probable involvement of theological advisors; and hitherto unseen site-specific dogmatic agendas related to the Feast of Corpus Christi, which was universally sanctioned in Orvieto.
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Trinity Church, Founded in 1746 as Augusta Parish, is the oldest church in Staunton, Virginia and one of the first Episcopal congregations west of the Blue Ridge Mountains. The present 1855 church building has undergone various modifications in the architectural configuration; with those alterations came came changes in the windows. Today the structure contains five distinct styles of window glass installed between 1855 and the 1970. These windows not only constitute a retrospective of stained glass traditions in American Protestant churches, they also trace the development of stained glass methods in the United States. Several of these techniques were developed in America and remained distinctive to American stained glass. The greatest treasure among these windows is the dozen windows by Louis Comfort Tiffany. Dating from 1897 to 1936, this unusually wide variety of Tiffany windows not only offers a glimpse into his subjects, innovative techniques, and stylistic changes, but also it presents a retrospective of his career in the larger context of American stained glass. The changes in styles and subjects of the windows not only pay tribute to a long and rich heritage, but also they reflect the modifications in the worship practices and evolution of the church liturgy in the Episcopal Church in America and how this particular parish responded to the changes.
Trinity Church, Founded in 1746 as Augusta Parish, is the oldest church in Staunton, Virginia and one of the first Episcopal congregations west of the Blue Ridge Mountains. The present 1855 church building has undergone various modifications in the architectural configuration; with those alterations came came changes in the windows. Today the structure contains five distinct styles of window glass installed between 1855 and the 1970. These windows not only constitute a retrospective of stained glass traditions in American Protestant churches, they also trace the development of stained glass methods in the United States. Several of these techniques were developed in America and remained distinctive to American stained glass. The greatest treasure among these windows is the dozen windows by Louis Comfort Tiffany. Dating from 1897 to 1936, this unusually wide variety of Tiffany windows not only offers a glimpse into his subjects, innovative techniques, and stylistic changes, but also it presents a retrospective of his career in the larger context of American stained glass. The changes in styles and subjects of the windows not only pay tribute to a long and rich heritage, but also they reflect the modifications in the worship practices and evolution of the church liturgy in the Episcopal Church in America and how this particular parish responded to the changes.