By Robert Gibbs Louise Bourdua
Julian Gardners preeminent function in British stories of the paintings of the thirteenth and 14th centuries, fairly the interplay of papal and theological matters with its creation and on both sides of the Alps, is widely known in those reports by means of his scholars. They talk about Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, in addition to monochrome dado portray as much as Giotto, Duccios representations of proskynesis, a Parisian reliquary in Assisi, Riminese portray for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of affection at Sabbionara, the cult of city V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardners profession itself.The individuals to the amount are Serena Romano, Jill Bain, Claudia Bolgia, Louise Bourdua, Joanna Cannon, Roberto Cobianchi, Anne Dunlop, Jill Farquhar, Robert Gibbs, Virginia Glenn, Dillian Gordon, John Osborne and Martina Schilling.
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Additional info for A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner
Cohen, The Metamorphosis of a Death Symbol: The Transi Tomb in the Late Middle Ages and Renaissance, Berkeley, 1973, in: The Burlington Magazine 119, 202–5. Greenhill, Incised Effigial Slabs, vol. I and II, London, 1976, in: The Burlington Magazine 119, 580. 1979 H. Belting, Die Oberkirche von San Francesco in Assisi: ihre Dekoration als Aufgabe und die Genese einer neuen Wandmalerei, Berlin, 1977, in: Kunstchronik 32, 63–84. 1980 P. Hetherington, Pietro Cavallini: A Study in the Art of Late Medieval Rome, London, 1979, in: The Burlington Magazine 122, 255–8.
And Julian’s increasingly evident view of the Italian peninsula as a whole rather than as a frame for the traditionally favoured hegemony of Florence is strongly represented, even if Venice, to which much of his Warwick teaching has been devoted, is only touched upon in our opening study. Jill Bain focuses on the dado area of 12th to 14th-century churches, proposing Venetian models for Giotto’s famous use of grisaille for the Virtues and Vices in the Arena chapel, Padua. Their use of monochrome fulfils many purposes, not least as a marker of different levels of reality from the colourful murals above them.
Verzar Bornstein, ‘Victory over Evil: Variations on the Image of Psalm 90:13 in the Art of Nicholaus’, in Scritti di storia dell’arte in onore di Roberto Salvini, Florence, 1984, 45–51 and P. Verdier, ‘Dominus potens in praelio’, Wallraf-Richartz-Jahrbuch 43 (1982), 35–106; see also A. Kartsonis (Anastasis: The Making of an Image, Prince ton, 1986, 71–5), regarding the related image of Christ trampling Hades. 26 One or more of these elements can be found in all of the dados listed in note 14, with the exception of Pallanza, as well as in the vast majority of those documented; see Bain, Romanesque Figural Dado Imagery, passim and Appendix, 218–21.
A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner by Robert Gibbs Louise Bourdua