1-10 of 22 results  for:

  • Collecting, Patronage, and Display of Art x
  • Artist, Architect, or Designer x
  • Medieval Art x
Clear all

Article

Italian, 16th century, male.

Died 1567.

Sculptor (ivory).

This artist is known by a Madonna belonging to an English collector, Philip Hardwick.

Article

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

Alison Manges Nogueira

Monumental, marble paschal Candlestick of the late 12th to early 13th century with reliefs signed by Nicolaus de Angelo and Vassallettus now in S Paolo fuori le Mura, Rome. The imposing column (h. 5.6 m), adorned with six registers of reliefs and surmounted by a fluted candle holder, rests upon a base of sculpted lions, sphinxes, rams and female figures. The upper and lower reliefs bear vegetal and ornamental patterns while the three central registers portray Christ before Caiaphas, the Mocking of Christ, Christ before Pilate, Pilate Washing his Hands, the Crucifixion, the Resurrection and the Ascension. The culminating Easter scenes reflect the paschal candle’s function during the Easter season as a symbol of Christ resurrected, as evoked in an inscription on the base. A second fragmentary inscription refers to the unidentifiable patron’s desire for commemoration. A third inscription identifies Nicolaus de Angelo as the master sculptor and Petrus Vassallettus as playing a secondary role. Both were active in the second half of the 12th to the early 13th century and came from leading families of Roman sculptors: the Vassalletti and Cosmati (Nicolaus’s family). The candlestick is the only work signed by and securely attributed to Nicolaus and the scope of his contribution remains uncertain. A plausible theory attributes the base and first register to Petrus, based upon similarities to works signed by him and ascribed to his family, such as the cloister of S Giovanni in Laterano in Rome and the narthex of S Lorenzo fuori le Mura in Rome. Nicolaus probably executed the Christological scenes, distinguishable for their more dynamic, expressive figures and decorative chisel work, and appropriate for the master sculptor because of their centrality and significance. Early Christian sarcophagi and Carolingian ivories may have provided models for the figural types. This form of paschal candlestick was probably inspired by Roman columnar monuments carved with triumphal scenes....

Article

Einhard  

D. A. Bullough

[Eginhard; Einhart]

(b c. ad 770; d 837).

German patron, writer, and possibly metalworker. He married Emma, sister of Bernharius, Bishop of Worms, and they possibly had a son, Hussin. He received his early education at Fulda Abbey, where he wrote documents between 788 and 791, although he was not ordained or professed as a monk. He then moved to the court at Aachen, which had recently been established, to continue his studies under Alcuin (c. 735–804) and others. His most notable product was the Life of his patron Charlemagne, written in the late 820s. It was after Charlemagne had died that his son Louis the Pious elevated Einhard to the post of private secretary. It was in this post and under Louis’s patronage that he wrote the Vita Karoli Magni, which is still one of the principal sources for much of our knowledge of Charlemagne. Contemporaries recorded his small stature and lively conduct, and his nickname Be(se)leel, after Bezaleel, the worker in precious metals in Exodus 31:2–5....

Article

Jacobus  

14th century, male.

Active in Chillon.

Painter.

Savoyard School.

Jacobus produced paintings of the Capella Chillonis for Amadeus V. He is mentioned in accounts belonging to Roland Garret, who was the tax collector at the Villeneuve toll gate, in 1314 and 1315.

Article

Dutch, 16th century, male.

Active in Leiden or in Utrecht.

Painter, collector.

Article

Illuminated manuscript (Paris, Bib. N., MS. n.a.fr. 16251) made in Cambrai depicting 87 of an original set of 90 full-page illustrations of the Life of Christ and a Litany of the Saints accompanied by a Cistercian Calendar, a subject-list and captions to the illustrations. Comprised of 107 folios, the work was made c. 1285. Two artists participated: the assistant, traceable as Master Henri, who painted a compendium of Richard de Fournival’s Bestiaire d’amour and a Vies de saints with tiny historiated initials, in 1285 (Paris, Bib. N., MS. fr. 412), and many other books; and the major painter, otherwise untraced, who probably worked in monumental art, wall painting or stained glass. The book was made for a lady identified in the subject list as ‘Madame Marie’ and the pictures originally showed her kneeling before her ten favourite saints: Michael, John the Baptist, Paul, John the Evangelist, James the Greater, Christopher, Francis, Catherine, Margaret (now missing) and Agnes. All but one of these portraits were painted out, probably when the book came into Cistercian possession. SS Gertrude of Nivelles and Waudru of Mons at the end of the litany indicate where Madame Marie lived—the city of ...

Article

Islamic School, 12th century, male.

Active in Herat.

Engraver.

Masud ibn Ahmad was responsible for the design and creation of the famous bronze Bobrinski Bucket (named after the Russian collector who acquired it in 1885), on which he collaborated with the inlayer Muhammad ibn al-Wahid. Dated to ...

Article

Walter Geis

(b Andernach, April 15, 1823; d Cologne, Sept 13, 1888).

German sculptor, writer, designer, collector, dealer and furniture-restorer. From 1846 to 1871 he made gothicizing sculptures for Cologne Cathedral: for example figures of evangelists, martyrs and angels and figured reliefs (limestone; south transept, portals and buttresses). He also produced sculpture in period styles for castles, public buildings and private houses, for example 36 limestone statues of German emperors (1882–7; Aachen, Rathaus). The balanced form of his blocklike standing figures shows the influence of classical sculpture, and their generally pensive expression may be traced to the influence of the Lukasbrüder (see Nazarenes). With the help of costumes, Mohr adapted sculpted figures to the style of architecture, but in general his work after 1860 is characterized by massiveness, broad surfaces and an expression of pathos.

Mohr’s later work suggests an admiration for Michelangelo and for the monumental sculpture of Mohr’s contemporaries Ernst Rietschel and Johannes Schilling. The sculptures Mohr made between ...

Article

Louis I. Hamilton

(b Bieda, nr Ravenna, c. 1050/55; reg 1099–1118; d Rome, Jan 21, 1118).

Italian pope and patron. Paschal is often considered a weak successor to popes Gregory VII (reg 1073–85) and Urban II (reg 1088–99), and his contributions have been overshadowed by the ‘Privelegium’ dispute with the Emperor Henry V in 1111. He has come to be appreciated as a formidable pope in the tradition of Urban II for his effective use of papal itinerary, pontifical liturgy, church consecrations and an increasingly coherent set of ‘Gregorian’ liturgical commentaries. He dedicated twenty-six churches during his papacy; that seven of those were after 1111 bespeaks his ability to resecure his authority (Hamilton, 2010). The influence of reforming ideals and the use of church architecture and art to promote those ideals has been studied for both churches that he dedicated (as diverse as San Vincenzo al Volturno, S Geminiano in Modena (see Modena §1 and St Bénigne in Dijon (see Dijon §IV 2....