By Robert Gibbs Louise Bourdua
Julian Gardners preeminent function in British reports of the paintings of the thirteenth and 14th centuries, fairly the interplay of papal and theological concerns with its construction and on each side of the Alps, is well known in those reports by way of his scholars. They speak 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 profession itself.The individuals to the quantity 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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Additional resources for A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner
Mitchell, London, 2004, 35–50. 16 The replication of a physical object is important here, both in the desire to create a convincing likeness and to connect the image with the physical world; these points will be revisited in the essay. Kessler, Seeing Medieval Art, Peterborough, 2004, 19–44. Reutersward, ‘The Breakthrough of Monochrome Sculpture during the Renaissance’, Konsthistorisk Tidskrift 69 (2000), 125–49, 128. 17 There are also the practical matters of damage and economics; being closest to the floor, the dado is also more susceptible to damage by getting in the way of feet, brooms, and furnishings, and hence less sacred imagery may be desired, while the reduced colour schemes would also represent a less costly enterprise than the full polychromy accorded to the more sanctified imagery above.
Moskowitz, The Sculpture of Andrea and Nino Pisano, Cambridge, 1986, in: Apollo 128, 213–4. M. Boskovits, Frühe Italienische Malerei, Gemäldegalerie Berlin Katalog der Gemälde, Berlin, 1988, in: Zeitschrift für Kunstgeschichte, 52, 432–7. V. , Art and Public in Trecento Italy, Florence, 1986, in: Journal of Ecclesiastical History, 39, 252–3. G. Holmes, Florence, Rome and the Origins of the Renaissance, Oxford, 1986 in: Journal of Ecclesiastical History, 39, 592–4. 1989 P. Leone de Castris, Arte di Corte nella Napoli Angioina, Florence, 1986, in: The Burlington Magazine 131, 562–3.
Xxxii julian gardner’s published works D. Pincus, The Tombs of the Doges of Venice, Cambridge, 2000, in: The Burlington Magazine 142, 780. J. Cannon and A. Vauchez, Margherita of Cortona and the Lorenzetti. University Park PA, 1999, in: History, 85, 709–10. 2001 G. Kreytenberg, Orcagna: Andrea di Cione – ein universeller Künstler der Gotik in Florenz, Mainz, 2000, in: The Burlington Magazine 143, 570–2. Miller, The Bishopʼs Palace: Architecture and Authority in Medieval Italy, Ithaca. NY, 2000, in: Speculum 77, 1363–4.
A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner by Robert Gibbs Louise Bourdua