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Article

Byzantine influence in Western medieval art  

Rebecca W. Corrie

Publication History:

Published online:
16 September 2010
Collection:
Grove Art Online

In the 20th century, discussion of the relationship between Byzantine art and the art of the Latin West evolved in tandem with scholarship on Byzantine art itself. Identified as the religious imagery and visual and material culture of the Greek Orthodox Empire based at Constantinople between ad 330 and 1453, studies of Byzantine art often encompassed Post-Byzantine art and that of culturally allied states such as Armenian Cilicia, Macedonia, and portions of Italy. As such fields as Palaiologan family manuscripts and wall paintings, Armenian manuscripts, and Crusader manuscripts and icons emerged, scholars identified new intersections between Western medieval and Byzantine art. Subtle comparisons emerged with the recognition that Byzantine art was not static but changed over time in style and meaning, although most analyses identified Byzantine art as an accessible reservoir of the naturalistic, classicizing styles of antiquity. Scholars considering the 7th-century frescoes at S Maria Antiqua and mosaics at S Maria in Cosmedin, both in Rome, and the 8th-century frescoes at Castelseprio and Carolingian manuscripts such as the Coronation Gospels of Charlemagne (Vienna, Schatzkam. SCHK XIII) used formal comparisons with works such as pre-iconoclastic icons at St Catherine’s Monastery on Sinai, along with the history of Byzantine iconoclasm, to argue for the presence of Greek painters in the West. Similarly, Ottonian and Romanesque painting and luxury arts, such as ivories, provided examples of the appropriation of Byzantine imperial imagery. Yet the study of works such as the great 12th-century ...

Article

Narkiss, Bezalel  

Herbert Kessler

Publication History:

Published online:
16 September 2010
Collection:
Grove Art Online

(b Jerusalem, Dec 14, 1926; d Jerusalem, June 29, 2008).

Israeli art historian of Jewish art. Educated first at the Hebrew University of Jerusalem, he moved to London and earned an MA in art history at the Courtauld Institute (1959) and a PhD at the Warburg Institute (1962). Returning to Jerusalem, Narkiss rose steadily through the ranks from 1963 when he began teaching at the Hebrew University and, in 1984, was appointed Nicolas Landau Professor of Art History. He also held fellowships and visiting positions at: Dumbarton Oaks Center for Byzantine Studies in Washington, DC (1969–70); the Institute for Advanced Study in Princeton (1979–80); the Institute of Fine Arts of New York University (1983), Brown University in Providence, RI (1984–5); the Centre National de la Recherche Scientifique in Paris (1987–8); the Center for Advanced Study in the Visual Arts in Washington, DC (Samuel H. Kress Professor ...