By Robert Gibbs Louise Bourdua
Julian Gardners preeminent position in British experiences of the artwork of the thirteenth and 14th centuries, fairly the interplay of papal and theological concerns with its construction and on both sides of the Alps, is well known in those reviews by way of his scholars. They talk about Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, in addition to monochrome dado portray as much as Giotto, Duccios representations of proskynesis, a Parisian reliquary in Assisi, Riminese portray for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of affection at Sabbionara, the cult of city V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardners occupation itself.The individuals to the amount are Serena Romano, Jill Bain, Claudia Bolgia, Louise Bourdua, Joanna Cannon, Roberto Cobianchi, Anne Dunlop, Jill Farquhar, Robert Gibbs, Virginia Glenn, Dillian Gordon, John Osborne and Martina Schilling.
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Extra info for A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner
1305, fresco (Alinari/Art Resource, NY). 26 The subdued dado colours and the earthly subjects suggest, by contrast with the full colour glory of the celestial imagery above, the more bleak and diminished nature of human existence prior to the soul’s union with God. Norman, Metamorphoses of an Allegory: the Iconography of the Psychomachia in Medieval Art, New York, 1988; J. O’Reilly, Studies in the Iconography of the Virtues and Vices in the Middle Ages, New York, 1988. , 1929. Blumenröder, Andrea Mantegna’s Grisaille Paintings, argues that grisaille is usually intended to denote temporal difference, suggesting that Giotto’s use of grisaille is designed to create ‘a set of atemporal figures that balance the time-bound historical action of the narrative scenes’ (44ff).
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A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner by Robert Gibbs Louise Bourdua