What does the study of iconography entail for scholars active today? How does it intersect with the broad array of methodological and theoretical approaches now at the disposal of art historians? Should we still dare to use the term "iconography" to describe such work?
The seven essays collected here argue that we should. Their authors set out to evaluate the continuing relevance of iconographic studies to current art-historical scholarship by exploring the fluidity of iconography itself over broad spans of time, place, and culture. These wide-ranging case studies take a diverse set of approaches as they track the transformation of medieval images and their meanings along their respective paths, exploring how medieval iconographies remained stable or changed; how images were reconceived in response to new contexts, ideas, or viewerships; and how modern thinking about medieval images--including the application or rejection of traditional methodologies--has shaped our understanding of what they signify. These essays demonstrate that iconographic work still holds a critical place within the rapidly evolving discipline of art history as well as within the many other disciplines that increasingly prioritize the study of images.
This inaugural volume in the series Signa: Papers of the Index of Medieval Art at Princeton University demonstrates the importance of keeping matters of image and meaning--regardless of whether we use the word "iconography"--at the center of modern inquiry into medieval visual culture.
In addition to the editors, the contributors to this volume are Kirk Ambrose, Charles Barber, Catherine Fernandez, Elina Gertsman, Jacqueline E. Jung, Dale Kinney, and D. Fairchild Ruggles.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Pamela A. Patton is Director of the Index of Medieval Art at Princeton University. She is the author of several books, including Art of Estrangement: Redefining Jews in Reconquest Spain, also published by Penn State University Press.
Henry D. Schilb is Art History Specialist in Byzantine Art at Princeton University's Index of Medieval Art.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Hardback. Etat : New. What does the study of iconography entail for scholars active today? How does it intersect with the broad array of methodological and theoretical approaches now at the disposal of art historians? Should we still dare to use the term "iconography" to describe such work?The seven essays collected here argue that we should. Their authors set out to evaluate the continuing relevance of iconographic studies to current art-historical scholarship by exploring the fluidity of iconography itself over broad spans of time, place, and culture. These wide-ranging case studies take a diverse set of approaches as they track the transformation of medieval images and their meanings along their respective paths, exploring how medieval iconographies remained stable or changed; how images were reconceived in response to new contexts, ideas, or viewerships; and how modern thinking about medieval images-including the application or rejection of traditional methodologies-has shaped our understanding of what they signify. These essays demonstrate that iconographic work still holds a critical place within the rapidly evolving discipline of art history as well as within the many other disciplines that increasingly prioritize the study of images.This inaugural volume in the series Signa: Papers of the Index of Medieval Art at Princeton University demonstrates the importance of keeping matters of image and meaning-regardless of whether we use the word "iconography"-at the center of modern inquiry into medieval visual culture.In addition to the editors, the contributors to this volume are Kirk Ambrose, Charles Barber, Catherine Fernandez, Elina Gertsman, Jacqueline E. Jung, Dale Kinney, and D. Fairchild Ruggles. N° de réf. du vendeur LU-9780271086217
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Hardcover. Etat : new. Hardcover. What does the study of iconography entail for scholars active today? How does it intersect with the broad array of methodological and theoretical approaches now at the disposal of art historians? Should we still dare to use the term iconography to describe such work?The seven essays collected here argue that we should. Their authors set out to evaluate the continuing relevance of iconographic studies to current art-historical scholarship by exploring the fluidity of iconography itself over broad spans of time, place, and culture. These wide-ranging case studies take a diverse set of approaches as they track the transformation of medieval images and their meanings along their respective paths, exploring how medieval iconographies remained stable or changed; how images were reconceived in response to new contexts, ideas, or viewerships; and how modern thinking about medieval imagesincluding the application or rejection of traditional methodologieshas shaped our understanding of what they signify. These essays demonstrate that iconographic work still holds a critical place within the rapidly evolving discipline of art history as well as within the many other disciplines that increasingly prioritize the study of images.This inaugural volume in the series Signa: Papers of the Index of Medieval Art at Princeton University demonstrates the importance of keeping matters of image and meaningregardless of whether we use the word iconographyat the center of modern inquiry into medieval visual culture.In addition to the editors, the contributors to this volume are Kirk Ambrose, Charles Barber, Catherine Fernandez, Elina Gertsman, Jacqueline E. Jung, Dale Kinney, and D. Fairchild Ruggles. A collection of essays that evaluate the continued relevance of iconographic studies within current art-historical scholarship by exploring the fluidity of iconography itself. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9780271086217
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