A Companion to Medieval Art: Romanesque and Gothic in

A spouse to Medieval Art brings jointly state-of-the-art scholarship dedicated to the Romanesque and Gothic traditions in Northern Europe.

• Brings jointly state of the art scholarship dedicated to the Romanesque and Gothic traditions in Northern Europe.
• includes over 30 unique theoretical, ancient, and historiographic essays via popular and emergent scholars.
• Covers the vibrancy of medieval paintings from either thematic and sub-disciplinary perspectives.
• beneficial properties a global and impressive diversity - from reception, Gregory the nice, gathering, and pilgrimage paintings, to gender, patronage, the marginal, spolia, and manuscript illumination.

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Additional info for A Companion to Medieval Art: Romanesque and Gothic in Northern Europe (Blackwell Companions to Art History, Volume 2)

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Exact numbers are difficult to ascertain. The customary test – the ability to sign one’s name – by itself, is not an accurate indicator of literacy. 45 More telling than such statistics is the unprecedented growth in book and newspaper/magazine publishing. 46 For most of the century, printing and publishing of books occurred under the same roof. Therefore, the increase in numbers of provincial and London printers is a useful indicator of the expansion of the publishing industry. 47 The story of the newspaper publishing industry was similar.

Since consumption generally involves the exchange of property rights and thus falls within the function of the market, we must investigate that market to understand the changes in the arts environment in the commercial society of Georgian England. One of the common denominators of the above discussions is the central role these authors assign to contemporary theoretical discourse on art. Literature on the arts experienced an unprecedented expansion during this period, one that was paralleled in the book industry in general.

These portraits therefore agreed with civic humanism’s lofty purpose for painting to advocate private acts of public virtue. Richardson attempted not only an extension of the definition of ‘gentlemen’ to include those engaged in commercial pursuits, but also an inclusion of himself, as a painter, among their ranks. 12 Patriotism and social prestige coupled with profit potential optimally suited middle-class consumers in the mercantile class society of eighteenth-century Britain. By extending the definition of ‘gentlemen’ and including painters among their ranks, as well as providing social and economic justification for the consumption of paintings, Richardson offered a theoretical foundation for ‘polite’ members of the commercial middle class to consume art while simultaneously elevating the social status of the artist.

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