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IMC 2023: Sessions

Session 129: Networks of Art and Patronage in Late Medieval Western Europe

Monday 3 July 2023, 11.15-12.45

Moderator/Chair:Zuzana Bolerazka, Department of General History Univerzita Karlova , Praha
Paper 129-aThe Myth of Sabina von Steinbach: The Creation of a Prolific Female Sculptor
(Language: English)
Lauren Beck, Department of History of Art, University of York
Index terms: Art History - Sculpture, Gender Studies, Historiography - Medieval, Women's Studies
Paper 129-bVan Eyck's Visual Sources, Burgundian Ideology, and the Figure of Charlemagne
(Language: English)
Susan Frances Jones, New College of the Humanities, Northeastern University, London
Index terms: Art History - Painting, Political Thought
Paper 129-cA Tale of Two Late Medieval Psalters
(Language: English)
Daniel Bennett Page, Independent Scholar, Omaha, Nebraska
Index terms: Art History - General, Bibliography, Language and Literature - Latin, Manuscripts and Palaeography

Paper -a:
A 13th-century donor inscription dedicated to a woman once adorned the south portal at Strasbourg Cathedral. In this paper, I will explore how the naming of a female donor, unusual in itself, became the basis for the creation of a mythical sculptor. I will examine the historiography of the Savina inscription created before and after its destruction, from the Renaissance humanist Enea Silvio Bartolomeo Piccolomini (1405-1464) to the German novelist Sophie von la Roche (1730-1807). I will explore how the networks these authors were a part of contributed to the expansion of a fantastical legend.

Paper -b:
One of the key dynamics of visual and material culture in Northern Europe in the 14th and 15th centuries was the complex, shifting struggle for power between France and the Burgundian-Habsburg Netherlands and the creation by its protagonists of self-promoting genealogies stretching back to antiquity. A recent study has demonstrated an association between Dinant black marble and the figure of Charlemagne, which suggests that the same marble in the tomb of Philip the Bold, duke of Burgundy, at Dijon, was a political statement - and that Jan van Eyck's depiction of black marble in his Thyssen Annunciation identified Philip the Good as the diptych's owner. Addressing forms, imagery, materials, and scripts in Van Eyck's paintings that are now defined as Carolingian, this paper investigates the notion that Philip the Good's embrace of the figure of Charlemagne had an impact on Jan van Eyck's activities, knowledge and visual sources. It defines Van Eyck as a pivotal figure within an expansive network of personal connections and material encounters that shed light on his knowledge, intellectuality, social status, role at court and artistic agenda.

Paper -c:
Two important Latin psalters survive from the possessions of the Tyrrell gentry family of Gipping, Suffolk: one the latest, 'Edinburgh' psalter-hours from the Bohun complex of illuminated manuscripts and the other the single surviving copy of William Caxton's 1481 printed psalter. The provenance of these books connects the Tyrrells directly with Thomas and Anne of Woodstock and with Queen Mary Tudor. Considered together, they illustrate the continuing relevance of the Vulgate psalter in the late Middle Ages, the devotion to this text by five generations of a family, the variety of guises in which the psalter continued to be produced, and the ways valuable books circulated in the 15th and 16th centuries.