Vision, Devotion, and Self-Representation in Late Medieval Art

Nonfiction, History, European General, Art & Architecture, General Art
Cover of the book Vision, Devotion, and Self-Representation in Late Medieval Art by Alexa Sand, Cambridge University Press
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Author: Alexa Sand ISBN: 9781107720701
Publisher: Cambridge University Press Publication: December 15, 2009
Imprint: Cambridge University Press Language: English
Author: Alexa Sand
ISBN: 9781107720701
Publisher: Cambridge University Press
Publication: December 15, 2009
Imprint: Cambridge University Press
Language: English
This book investigates the 'owner portrait' in the context of late medieval devotional books primarily from France and England. These mirror-like pictures of praying book owners respond to and help develop a growing concern with visibility and self-scrutiny that characterized the religious life of the laity after the Fourth Lateran Council in 1215. The image of the praying book owner translated pre-existing representational strategies concerned with the authority and spiritual efficacy of pictures and books, such as the Holy Face and the donor image, into a more intimate and reflexive mode of address in Psalters and Books of Hours created for lay users. Alexa Sand demonstrates how this transformation had profound implications for devotional practices and for the performance of gender and class identity in the striving, aristocratic world of late medieval France and England.
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
This book investigates the 'owner portrait' in the context of late medieval devotional books primarily from France and England. These mirror-like pictures of praying book owners respond to and help develop a growing concern with visibility and self-scrutiny that characterized the religious life of the laity after the Fourth Lateran Council in 1215. The image of the praying book owner translated pre-existing representational strategies concerned with the authority and spiritual efficacy of pictures and books, such as the Holy Face and the donor image, into a more intimate and reflexive mode of address in Psalters and Books of Hours created for lay users. Alexa Sand demonstrates how this transformation had profound implications for devotional practices and for the performance of gender and class identity in the striving, aristocratic world of late medieval France and England.

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