Parution : Holly Flora et Sarah Wilkins (dir.), Art and Experience in Trecento Italy, Turnhout, Brepols, 2019

The age of Giotto, Dante, and Boccaccio, the fourteenth century in Italy, known as the trecento, was a pivotal moment in art history and in European culture. The studies in this volume present new approaches to art in this important but often neglected period of the early Renaissance. Scholars at various stages in their careers discuss a wide range of topics including architecture, materiality, politics, patronage, and devotion, contributing to a new understanding of how art was made and experienced in this nodal century. These papers were originally presented at the Andrew Ladis Trecento Conference held at Tulane University in November of 2016.

Holly Flora is Associate Professor of Art History at Tulane University. Sarah Wilkins is Visiting Assistant Professor of Art History at Pratt Institute.

Table of Contents

• Introduction — Holly Flora and Sarah S. Wilkins
• Dante and the Moment of Florentine Art — Marvin Trachtenberg

I. Media and Materiality

• Networks and Materials: Italian Stained-Glass Windows c. 1280–1400 — Nancy M. Thompson
• Studying Drawings of the Italian Trecento — Giada Damen

II. Likeness and Beauty

• ‘I, Porrina’: A Hyper-Realistic Portrait in the Collegiata of Casole d’Elsa — Laura Jacobus
• Beyond Blood: The Crucifixus Dolorosus and the Beauty of Christ — Meredith Raucher Sisson

III. Building and Identity

• The Ponte Vecchio as a Public Good: Civic Architecture and Civil Conflict in Trecento Florence — Theresa Flanigan
• Roman Versus Gothic in Trecento Architecture — Erik Gustafson
• Before Palazzo Medici: Earlier Domestic Traditions Shaping the Renaissance Palace in Florence, 1380–1420 — Lorenzo Vigotti

IV. Artists and Altarpieces

• Partisan Politics and Giotto’s Ognissanti Madonna: Making Invisible Allegiances Visible — Jill Harrison
• From Giotto to Masaccio and Masolino: Reflections on Two Double-sided Polyptychs in Rome — Damien Cerutti

V. Rivalry and Replication

• The ‘Tabernacles’ War’, c. 1367–1377: Civic versus Papal Authority in Popular-Regime Rome — Claudia Bolgia
• Simone Martini’s Design of the Prototype for the Patron Saints’ Altarpieces in Siena Cathedral, Inspired by Duccio and Nicola Pisano — Wolfgang Loseries

VI. Space and Experience

• Bodies In and Out of Space in Trecento Painting — Karl Whittington
• Dissolving the Frame: Phenomenology and Index in Trecento Painting — Michael Grillo
• A Trecento Artist and Miraculous Images: Simone di Filippo at Bologna — Jessica N. Richardson
• As the World Turns: Revisiting Ambrogio Lorenzetti’s Lost Wheel Map in Siena — Mark Rosen

VII. Connoisseurship and Conservation

• Illuminators from Pistoia and Pisa in Trecento Florence: The Case of Two Antiphonary Commissions — Bryan C. Keene
• The Painting Techniques of Fourteenth-Century Wall Painting in Northern Italy — Fabio Frezzato

VIII. Preservation and Display

• The Camposanto of Pisa in the Wake of World War Two: Loss and Discovery — Cathleen Hoeniger
• Some Trecento Objects in the Collection of Stefano Bardini: Additions, Subtractions, and Restorations — Anita F. Moskowitz
• In Memoriam: An Address to the Andrew Ladis Trecento Conference, November 12, 2016 — William Underwood Eiland

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