By Kim W. Woods
This quantity comprises essays on key issues of medieval and Renaissance paintings, together with analyses of sacred artwork, Gothic structure, the artwork of the crusades, and paintings at court docket. Key artists equivalent to Simone Martini and Botticelli are incorporated, besides defining monuments of the interval similar to the Basilica of Saint Denis and Westminster Abbey.
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This quantity comprises essays on key subject matters of medieval and Renaissance artwork, together with analyses of sacred artwork, Gothic structure, the paintings of the crusades, and paintings at courtroom. Key artists corresponding to Simone Martini and Botticelli are incorporated, in addition to defining monuments of the interval akin to the Basilica of Saint Denis and Westminster Abbey.
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Extra info for Art & Visual Culture 1100-1600: Medieval to Renaissance
In the arts and in criticism about the arts, the ambition is different; it is to latch on to those features of the material environment to which a sensory response is the only one available but which are nonetheless capable of being non-accidentally shared, shareable because of their rightness, so to speak. Thus, the reason why there is a dislocation between patterns of support and convergence in a conclusion upon which all can agree in aesthetic matters is that the structure of empirical features constituting the object judged—its being composed of just these sounds or just those shapes and colors in that sequence—is also, at the same time, a structure or order or logic of feeling that demands or calls for a certain (sensuous) response in 47 Tast y the perceiver.
That said, purposiveness without purpose is precisely the thought necessary to make sense of the “decorative,” what is designed but without function. Purposiveness without purpose is equally the engine making abstract art possible. , 219. ” 52 J. M. Bernstein 14 Elaine Scarry, The Body in Pain: The Making and Unmaking of the World (New York: Oxford University Press, 1985), 288. , 290. , 291. 17 For one of my attempts to demonstrate the possibility and significance of nondiscursive cognition see my Against Voluptuous Bodies: Late Modernism and the Meaning of Painting (Stanford, CA: Stanford University Press, 2006).
A direct spinoff of this paradigm is the explosion of aesthetic practices and scholarship that treat the most individualized of surfaces, namely skin, as a site for creative and cultural expression. The notion of treating skin as a site of signification is certainly not new. 12 The skin was, so to speak, a stratum on which was inscribed a widely legible social code. In the agora, it was entirely possible to be inappropriately naked, or properly nude. But if skin as a site for cultural signification is not new, scholarship on it is.