IMC 2016: Sessions

Session 1215: The Long Lives of Medieval Art and Architecture, I: Manuscripts and Virgins, Patronage and Performance

Wednesday 6 July 2016, 14.15-15.45

Sponsor:Association Villard de Honnecourt for the Interdisciplinary Study of Technology, Science & Art (AVISTA)
Organiser:Amanda W. Dotseth, Courtauld Institute of Art, University of London / Consejo Superior de Investigaciones Científicas (CSIC), Madrid
Moderator/Chair:Amanda W. Dotseth, Courtauld Institute of Art, University of London / Consejo Superior de Investigaciones Científicas (CSIC), Madrid
Paper 1215-a​'I pray you remember your suster elizabeth': The Carew-Poyntz Hours and Its Patrons
(Language: English)
Emily Savage, School of Art History, University of St Andrews
Emily Savage, School of Art History, University of St Andrews
Emily Savage, School of Art History, University of St Andrews
Index terms: Art History - General, Manuscripts and Palaeography, Women's Studies
Paper 1215-bOutliving Destruction: The Virgin(s) of Le Puy-en-Velay
(Language: English)
Elisa Foster, Henry Moore Institute, Leeds
Elisa Foster, Henry Moore Institute, Leeds
Elisa Foster, Henry Moore Institute, Leeds
Index terms: Art History - General, Art History - Sculpture, Performance Arts - General
Paper 1215-cFlying Pigs, Fiery Whirlwinds, and a 300-Year-Old Virgin: Costume and Continuity in Sacred Performance
(Language: English)
Laura Jacobus, Department of History of Art & Screen Media, Birkbeck, University of London
Laura Jacobus, Department of History of Art & Screen Media, Birkbeck, University of London
Laura Jacobus, Department of History of Art & Screen Media, Birkbeck, University of London
Index terms: Architecture - Religious, Art History - General, Performance Arts - General, Technology
Abstract

The way in which we access and analyse medieval buildings and the objects contained therein is deeply inflected by meaningful events in their long lives. Over time, the circumstances of creation and function; location, movement, modification and restoration; and styles of valorization leave indelible, if not always visible, marks. To all this, we might add yet another layer of circumstances influential to current interpretation: that deposited by the creative act of writing and rewriting the history of art and architecture. Historians, too, make their marks. We might, therefore, consider the telling of a building’s or object’s life as moving beyond biography to hagiography, in which over time material things are activated and set apart by their gesta. Pivoting from histories that privilege a presumed original state, this pair of sessions, dedicated to buildings and to objects respectively, presents papers on the long lives of medieval art that highlight the utility of diachronic analysis and defy the chronological or geographic boundaries set by academic discipline.