Parution : Donal Cooper, Beth Williamson (dir.), « Late Medieval Italian Art and its Contexts. Essays in Honour of Professor Joanna Cannon », Suffolk, Boydell & Brewer, 2022

Former doctoral students come together to write essays in tribute to their supervisor, Joanna Cannon, whose scholarship and teaching have helped shape the historical study of thirteenth- and fourteenth-century Italian art. The essays collected here form a tribute to Joanna Cannon, whose scholarship and teaching have done so much to shape the historical study of thirteenth- and fourteenth-century Italian art. Her teaching lies at the heart of this book, as its chapters are all written by those who gained their doctorates under her supervision. The reach of her interests and expertise is also reflected in its range of subjects. The book is unified by its concentration on Italian art, history, and material culture, spanning the thirteenth to the fifteenth centuries; but within that scope the individual essays focus on an impressive variety of subjects, across many media, including panel painting, wall painting, architecture, sculpture, metalwork, manuscripts, and gilded glass. Ranging across Italy, from Bologna, to Siena, to Assisi, to Florence, they address key themes in the field, such as artistic patronage, sainthood and sanctity, the visual culture of the mendicant orders, devotional practice, and civic religion. Some essays bring fresh approaches to familiar material (Ambrogio Lorenzetti’s Saint Nicholas panels, the frescoes in Siena’s Palazzo Pubblico, Simone Martini’s Holy Family), while others illuminate objects and images that are less well known (the central panel of the Santa Chiara triptych in Trieste, and the statue of Saint Francis in San Francesco in Siena). As a collection they combine to make an important contribution to the study of Early Italian art, seeking thereby to echo the extraordinary contribution of Joanna Cannon’s own work to that field.

Table of contents

1. Introduction: Circling Giotto, Donal Cooper and Beth Williamson
2. Holy Wood / ‘sacra tavola’: Saint Dominic and the Memory of Miracles in Bologna, Jessica N. Richardson
3. The Sculpted Saint: A Statue of Saint Francis in Siena, John Renner
4. Guccio di Mannaia and the Concept of a ‘Franciscan’ Chalice, Glyn Davies
5. ‘Speculum sine macula’: The Trittico di Santa Chiara in Trieste as an Object of Clarissan Devotion, Michaela Zöschg
6. The Siena Connection: A Franciscan Provincial Minister between Tuscany and Assisi at the Dawn of the Trecento, Donal Cooper
7. Simone Martini’s ‘Treaty with the House of Santa Fiora’ in Siena’s Palazzo Pubblico: Its Date and Significance, Thomas De Wesselow
8. Crisis and Charity in Fourteenth-Century Florence: Ambrogio Lorenzetti’s Saint Nicholas Panels for San Procolo, Janet Robson
9. Father of Light: Giotto and the Beatific Vision in the Baroncelli Chapel, Virginia Brilliant
10. Painter-Illuminator Workshops and the Church of San Giorgio a Ruballa: The Case of Bernardo Daddi and Pacino di Bonaguida, Bryan C. Keene
11. Patterns of Holiness: A Virgin Lactans in a Franciscan context, Beth Williamson
12. A New Angle on Simone Martini’s Holy Family, James Alexander Cameron
13. Artistic Appropriation, Institutional Identity and Civic Religion in Fourteenth-Century Siena: The Byzantine Treasury of the Hospital of Santa Maria della Scala, Stefania Gerevini
14. Visual Religious Education in Late Medieval Florence: Zanobi Perini, the Leggenda di Santo Tobia, and the Misericordia, Federico Botana
15. Saints and Status in Late Medieval and Early Renaissance Florence, Sally J. Cornelison

Source



Citer ce billet
Florence Larcher (2022, 18 juillet). Parution : Donal Cooper, Beth Williamson (dir.), « Late Medieval Italian Art and its Contexts. Essays in Honour of Professor Joanna Cannon », Suffolk, Boydell & Brewer, 2022. Collectif d'Historiens de l'Art de la Renaissance. Consulté le 16 juin 2024, à l’adresse https://doi.org/10.58079/moxq

Florence Larcher

Florence Larcher est doctorante à l'Université Paris 1 Panthéon-Sorbonne. Ses recherches sur les images de saint Roch en Italie de 1350 à 1680 l'amènent à étudier la peinture murale, la sérialité et l'itinérance des peintres.

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