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IMC 2016: Sessions

Session 1735: Exploring the 14th Century across the Eastern and Western Christian World, III: Transmission, Exchange, Manipulation

Thursday 7 July 2016, 14.15-15.45

Sponsor:Courtauld Institute of Art, London / University of York
Organisers:Livia Lupi, Department of History of Art, University of York
Maria Alessia Rossi, Courtauld Institute of Art, University of London
Moderator/Chair:Maria Alessia Rossi, Courtauld Institute of Art, University of London
Paper 1735-aA Lukan Legend and a Trecento Panel: The Invention of Two Images extra moenia, Bologna
(Language: English)
Jessica N. Richardson, Kunsthistorisches Institut in Florenz, Max-Planck-Institut, Firenze
Index terms: Art History - General, Art History - Painting, Religious Life
Paper 1735-bThe Coronation of the Virgin in Siena c. 1260-1310: A Comparative Study of Marian Images East and West
(Language: English)
Kayoko Ichikawa, Department of History of Art, University of Warwick
Index terms: Art History - Painting, Ecclesiastical History, Local History, Theology
Paper 1735-cTranslatio coquinae: Inspiring and Inheriting King Richard II's 'best and ryallest vyandier of all cristen kynges'
(Language: English)
Dino Meloni, Centre d'Études Médiévales Anglaises (CEMA), Université Paris IV - Sorbonne
Index terms: Historiography - Medieval, Historiography - Modern Scholarship, Literacy and Orality, Politics and Diplomacy

This session examines cultural and artistic exchanges between Italy and the Eastern Mediterranean. The first paper focuses on miracle-working images in Bologna, reflecting on how a real or fictitious Eastern origin affected the perceived power of miraculous artworks. It also considers the reasons behind a shift in this tendency, which saw images with well-established Western origin ascend to the status of venerated Eastern objects. The second paper examines the iconography of the Coronation of the Virgin, a Western iconography that nonetheless often presents Eastern connotations. It also explores Marian images more broadly, observing how the coming together of Eastern and Western iconographies and stylistic approaches develops into a new type of narrative describing the last days of the Virgin.