Papers by Judith Steinhoff
Art as Politics in Late Medieval and Renaissance Siena, 2017
Art as Politics in Late Medieval and Renaissance Siena Judith B. Steinhoff In Art as Politics in ... more Art as Politics in Late Medieval and Renaissance Siena Judith B. Steinhoff In Art as Politics in Late Medieval and Renaissance Siena, contributors explore the evolving relationship between image and politics in Siena from the time of the city-state's defeat of Florence at the Battle of Montaperti in 1260 to the end of the Sienese Republic in 1550. Engaging issues of the politicization of art in Sienese painting, sculpture, architecture, and urban design, the volume challenges the still-prevalent myth of Siena's cultural and artistic conservatism after the mid fourteenth century. Clearly establishing uniquely Sienese artistic agendas and vocabulary, these essays broaden our understanding of the intersection of art, politics, and religion in Siena by revisiting its medieval origins and exploring its continuing role in the Renaissance.
Idealizing Women in the Italian Renaissance, 2022
This paper explores relationships between funerary laws and mourning practices as well as the exp... more This paper explores relationships between funerary laws and mourning practices as well as the expression of emotions by women within male-prescribed frameworks. Materially, it focuses on two paintings whose representations and significance for women differed: one a memorial image possibly connected with burial, the other probably in the lay church of an Augustinian convent.
The Art Bulletin, 1986
... insight, and photographs, without which this study could not have been completed; to Ms. Lone... more ... insight, and photographs, without which this study could not have been completed; to Ms. Lone Bogh of the Conservation Department, Statens Museum, Copenhagen; to Dr. Alessandro Cecchi of the Galleria degli Uffizi, who had Simone Martini's Annunciation removed from the ...
Picturing Death 1200-1600, 2020
In recent decades, an increasing number of medieval art historical studies have explored the idea... more In recent decades, an increasing number of medieval art historical studies have explored the idea of "images that act" and the performative nature of vision in medieval Christianity.1 Such studies engage both the interactivity between the viewer and the image, and the multiple functions of individual images. Among scholars analyzing images connected with tombs, Robert Marcoux, re-evaluating Panofsky's distinction between prospective (in-tercessory) and retrospective (commemorative) tomb imagery, demonstrated that many tombs played both performative roles simultaneously. He also argued that the materiality and placement of the tomb and its effigy affected viewer reception, thus somewhat skewing the functionality of the tomb in one direction or the other.2 Tomb images depicting the deceased or family sup-plicant in prayer have also been analyzed as performing multiple functions. While serving to remind living viewers of the departed and to elicit their prayers on behalf ...
Renaissance Quarterly, Sep 17, 2007
Picturing Death 1200-1600, 2020
In recent decades, an increasing number of medieval art historical studies have explored the idea... more In recent decades, an increasing number of medieval art historical studies have explored the idea of "images that act" and the performative nature of vision in medieval Christianity.1 Such studies engage both the interactivity between the viewer and the image, and the multiple functions of individual images. Among scholars analyzing images connected with tombs, Robert Marcoux, re-evaluating Panofsky's distinction between prospective (in-tercessory) and retrospective (commemorative) tomb imagery, demonstrated that many tombs played both performative roles simultaneously. He also argued that the materiality and placement of the tomb and its effigy affected viewer reception, thus somewhat skewing the functionality of the tomb in one direction or the other.2 Tomb images depicting the deceased or family sup-plicant in prayer have also been analyzed as performing multiple functions. While serving to remind living viewers of the departed and to elicit their prayers on behalf of the deceased, as analyzed by Anne McGee Morgenstern, such figures can also be understood to be active embodiments of the supplicant and their proxies, perpetually performing prayer in the hope of the depicted person's rapid transit through Purgatory, as demonstrated by Gelfand and Gibson, and others.3 In this chapter I will argue that tomb images with supplicants also functioned in yet another way-one that was social rather than spiritual. Two well-known frescoes, situated over the husband and wife tombs of Gualtieri and Tessa de' Bardi
In a previous essay on Meiss's Black Death Theory, I examined the nature of that theory as an int... more In a previous essay on Meiss's Black Death Theory, I examined the nature of that theory as an interpretive model and the contexts that informed its development. I also analyzed the reception of the Black Death theory through the 1990s, and the ways studies of post-Black Death art followed or departed from the Meissian paradigm. In this paper I return to my earlier topic, but also look beyond the study of art produced after the Black Death, in order to consider the relationship between Meiss's model and the wide range of recent frameworks that comprise trecento social art historical discourse. (presented at RSA, 2014)
Sienese Painting After the Black Death: Artistic Pluralism, Politics, and the New Art Market, Cambridge University Press, 2007
This is a chapter from my book on Sienese Art, Politics and the New Art Market After the Black De... more This is a chapter from my book on Sienese Art, Politics and the New Art Market After the Black Death. It addresses the cultural and intellectual origins of Meiss' theory of post-Plague art in Tuscany as well as the influence of Meiss' paradigm on the historiography of scholarship on post-black Death art in the 20th century
The Art Bulletin, 1986
... insight, and photographs, without which this study could not have been completed; to Ms. Lone... more ... insight, and photographs, without which this study could not have been completed; to Ms. Lone Bogh of the Conservation Department, Statens Museum, Copenhagen; to Dr. Alessandro Cecchi of the Galleria degli Uffizi, who had Simone Martini's Annunciation removed from the ...
Zeitschrift für Kunstgeschichte, 1993
Crying in the Middle Ages: Tears of History, 2012
Between the Picture and the Word, C. P. Hourihane, ed., 2005
Resnaissance Siena: Art in Context, L. Jenkens, ed., 2005
Renaissance Studies, 2000
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Papers by Judith Steinhoff