Download PDF | Rembrandt Duits, Angeliki Lymberopoulou - Byzantine Art and Renaissance Europe-Routledge (2016).
236 Pages
byzantine art and renaissance europe Byzantine Art and Renaissance
Europe discusses the cultural and artistic interaction between the Byzantine east and western Europe, from the sack of Constantinople by the Fourth Crusade in 1204 to the flourishing of postByzantine artistic workshops on Venetian Crete during the fifteenth and sixteenth centuries and the formation of icon collections in Renaissance Italy. The contributors examine the routes by which artistic interaction may have taken place, and explore the reception of Byzantine art in western Europe, analysing why artists and patrons were interested in ideas from the other side of the cultural and religious divide. In the first chapter, Lyn Rodley outlines the development of Byzantine art in the Palaiologan era and its relations with western culture.
Hans Bloemsma then re-assesses the influence of Byzantine art on early Italian painting from the point of view of changing demands regarding religious images in Italy. In the first of two chapters on Venetian Crete, Angeliki Lymberopoulou evaluates the impact of the Venetian presence on the production of fresco decorations in regional Byzantine churches on the island. The next chapter, by Diana Newall, continues the exploration of Cretan art manufactured under the Venetians, shifting the focus to the bi-cultural society of the Cretan capital, Candia and the rise of the post-Byzantine icon.
Kim Woods then addresses the reception of Byzantine icons in western Europe in the late Middle Ages and their role as devotional objects in the Roman Catholic Church. Finally, Rembrandt Duits examines the status of Byzantine icons as collectors’ items in early Renaissance Italy. The inventories of the Medici family and other collectors reveal an appreciation for icons among Italian patrons, which suggests that received notions of Renaissance tastes may be in need of revision. The book thus offers new perspectives and insights and re-positions late and post-Byzantine art in a broader European cultural context. Angeliki Lymberopoulou is Lecturer in Art History at The Open University, UK. Rembrandt Duits is Deputy Curator of the Photographic Collection at The Warburg Institute, University of London, UK.
List of Contributors
Hans Bloemsma is Lecturer in Art History and Head of the Arts and Humanities Department at the Roosevelt Academy (Utrecht University) in Middelburg, The Netherlands. His research focuses on Italian art from the late Middle Ages and the early Renaissance. He has a special interest in narrative painting from that period. Rembrandt Duits is Deputy Curator of the Photographic Collection at the Warburg Institute, University of London. His research interests include Renaissance material culture, the iconography of medieval and Renaissance astronomy and astrology, and historiography, and he is the author of Gold Brocade and Renaissance Painting: a study in material culture (London, 2008).
Angeliki Lymberopoulou is Lecturer in Art History (late and post-Byzantine art) at The Open University, UK. Her research focuses on art produced on Venetian Crete (1211–1669) and its social context and cross-cultural interaction especially in the regions of the island, and she is the author of The Church of the Archangel Michael at Kavalariana: art and society on fourteenth-century Venetiandominated Crete (London, 2006).
Diana Newall is Research Associate at The Open University, UK and lectures part-time at the University of Kent. She is a Fellow of the Higher Education Academy and was the Konstantinos Leventis Research Fellow at The Open University (2008–10). Her research includes Venetian Crete (1211–1699), especially the cross-cultural and artistic interactions in the capital Candia, and the concepts of hybridity and the canon within the discipline of art history .
Lyn Rodley is Associate Lecturer with The Open University, UK and has taught a broad range of topics in Byzantine art and architecture at several other institutions, particularly Queen’s University, Belfast. Her research interests include patron imagery and the material and documentary evidence for the status of artists and she is the author of Byzantine Art and Architecture: an introduction (Cambridge, 1994).
Kim Woods is Senior Lecturer in Art History at The Open University, UK. Her research focuses on late-medieval northern European sculpture, especially from the southern Netherlands. She is the author of Imported Images: Netherlandish late Gothic sculpture in England, c.1400–c.1550 (Donington, 2007) and is currently working on a book on alabaster sculpture entitled Cut in Alabaster.
Preface
Angeliki Lymberopoulou This publication marks a full circle of an initiative, which started back in 2006. George A. Lemos, inspired by The Open University module Renaissance Art Reconsidered (AA315), which was officially launched in February 2007, and which was pioneering in its presentation of the art of post-Byzantine icons as an integral part of the European Renaissance, wished to seek funding to facilitate further research on the subject. With his support, the department of Art History at The Open University was awarded a generous two-year, parttime Fellowship on post-Byzantine Art by the A.G. Leventis Foundation, dedicated to the memory of its founder, another avid supporter of the arts, Konstantinos Leventis. This fellowship enabled research undertaken by one of the contributors to this volume, Diana Newall, on the artistic production of icons in the second half of the fifteenth century in the capital of Venetian Crete, Candia (present-day Herakleion). The research consolidated the initiative and further steps were taken in order to produce the current volume, one of the main ambitions of which is to further a dialogue between scholars working on the Byzantine East and Renaissance Europe. These two fields have traditionally remained separate; however, as this volume shows, an exchange of ideas between them could offer fresh perspectives to the study of the Early Modern period. Unfortunately, George A. Lemos did not manage to see this project through to the end: he passed away in 2008, leaving his family and friends devastated. The London Hellenic Society (LHS), wishing to honour his memory, became our generous sponsor, and has supported this publication financially. Finally, owing to John Smedley and Ashgate, this volume saw the light and its contributors can only wish and hope that it does George A. Lemos proud.
Editorial Policy
In rendering the Greek names and place-names mentioned in this volume the standard Anglicized forms have been used, where they exist (for example, Damian instead of Damianos). In the remainder of the cases, following a trend that has been gaining acceptance recently, all names have been transcribed as literally as possible avoiding the various Latinized versions (e.g. Komnenos instead of Comnenus). Obviously, in all publications cited in the footnotes the names have remained unchanged and appear as their authors intended. Maps indicating various locations mentioned over the course of the six chapters, precede the Introduction to this volume. The fact that this is a collection of specialized chapters and not a general survey means that we have opted not to include a central bibliography; there is relatively little overlap between the literature references of the various chapters and the bibliography would become disproportionally weighed down by expert publications on details referred to only by one of the authors in their specific contribution. Readers who wish to find out more about the topics discussed here can find all the relevant material in the footnotes to each chapter.
Acknowledgements
We are grateful to the London Hellenic Society (LHS) for sponsoring this publication and for their encouragement and support; to the A.G. Leventis Foundation for allowing research for this volume to be initiated by generously sponsoring the two-year, part-time Konstantinos Leventis Fellowship on post-Byzantine Art at The Open University; to John Smedley for his enthusiasm, careful attention and continuous support of Byzantine studies and publications; to Robert Anderson, Celia Barlow, Brother Nikolaos of the Franciscan monastery of the Capuchin monks in Chania, Julian Chrysostomides (†2008), Donal Cooper, Charalambos Dendrinos, Sue Dobson, Father Peter of the Catholic cathedral of the Dormition of the Virgin in Chania, Anne Ford, Kanakis Gerolimakis, Lynne Harrison, Paul Hetherington, Konstantinos Lymperopoulos, Anne Mclaughlin, Mick McTiernan, Rosemary Morris, Diana Norman, Diogenes Papadopoulos, Georgi Parpulov, Carol Richardson, Vasiliki Tsamakda and Annemarie Weyl Carr, for their constructive criticism, meticulous and useful suggestions, support and help (practical and otherwise); and to the contributors for embracing this project by showing dedication, commitment, punctuality, precision and understanding. Last, but by no means least, to George A. Lemos, to whose memory this book is dedicated, and who loved all things Byzantine (except its bureaucracy).
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