Books, Exhibition Catalogs, Edited Volumes by Sherry Lindquist
Contents:
Sherry C.M. Lindquist, "Introduction: Visualizing Female Sexuality in Medieval Cultur... more Contents:
Sherry C.M. Lindquist, "Introduction: Visualizing Female Sexuality in Medieval Cultures"; Sarah Salih, "The Trouble with 'Female Sexuality'”; Mati Meyer, "Theologizing or Indulging Desire: Bathers in the Sacra Parallela (Paris, BnF, gr. 923)";Marian Bleeke, “'Hag of the Castle:' Women, Family, and Community in Later Medieval Ireland "
Sarit Shalev-Eyni, The Hebrew University of Jerusalem: The Bared Breast in Medieval Ashkenazi Illumination: Cultural Connotations in a Heterogeneous Society
Elina Gertsman, Case Western Reserve University: Si grant ardor: Transgression and Transformation in the Pühavaimu Altarpiece
In narratives of western art-historical development that still hold sway, the medieval artisan, a... more In narratives of western art-historical development that still hold sway, the medieval artisan, anonymous and selfeffacing, often functions as a foil to the Renaissance artist, self-consciously aware of his gifts and seeking fame. The early modern era, according to these narratives, saw the birth of now familiar notions of creative agency and artistic identity. As Andrew Martindale put it in his 1972 study, The Rise of the Artist: "before the fifteenth century there is no evidence for any of the mystique which has since grown up around the Great Artist."' More recent scholarship in the early modern field has complicated our understanding by revealing the complexities of workshop practice and artistpatron relationships in the Renaissance (in Italy and in the North), and by demonstrating significant connections and continuities with the Middle Ages.2 Medievalists, for their part, have called existing models into question. By the 1980s, the picture of the anonymous medieval craftsperson piously toiling away in humility and obscurity began to fade in the light of newly considered (or reconsidered) sources. In 1983, Xavier Barral i Altet organized a major colloquium on the theme Artistes, artisans et production artistique au moyen
Papers by Sherry Lindquist
"Here there be Dragons"
Excavating the Medieval Image, 2017
Flaying in the Pre-Modern World, 2017
Renaissance Quarterly, 2006
Page 1. SIGHT AND SPIRITUALITY IN EARLY NETHERLANDISH PAINTING BRET L. ROTHSTEIN Cambridge Page 2... more Page 1. SIGHT AND SPIRITUALITY IN EARLY NETHERLANDISH PAINTING BRET L. ROTHSTEIN Cambridge Page 2. Page 3. Sight and Spirituality in Early Netherlandish Painting examines the centrality of visual experience ...
Gesta, 2002
... The entries transcribed and translated below, drawn from accounts associated with the constru... more ... The entries transcribed and translated below, drawn from accounts associated with the construction of the Char-treuse de Champmol, shed light on the position of the artist in Burgundy under Philip the Bold and ... An interlinear note reads, "a messire nicolas de Fontenay ... ...
Johann Joachim Winckelmann and other early founders of the modern discipline of art history haile... more Johann Joachim Winckelmann and other early founders of the modern discipline of art history hailed the idealized nude-developed in ancient Greece, adopted by the Romans, and subject to imitation and revival ever since-as a superior, "classical," distinctively Western approach to representing the human body. 2 Such presumptions about the classical nude inform the traditional art historical canon, coloring judgments about other traditions and societies, and distorting our view even of certain eras of Western art history, particularly the Middle Ages. 3 In spite of some exceptional studies to be discussed below, the tradition of representing the unclothed body in the Middle Ages, when it is acknowledged at all, has been most often reduced to what is considered a typical medieval Christian ascetic rejection of the body. 4 This simplification is frankly astonishing when one considers the complex, multivalent and inventive iconographic contexts in which full or partial nakedness appears in medieval art: biblical stories featuring Adam and Eve, Susannah and the Elders, David and Bathsheba, the rape of the Levite's wife, the nakedness of Noah, and the Baptism of Christ, among others; the transcendent suffering body in representations of the lives of the saints and Christ; additional narratives that feature holy figures like Martin and Francis divesting themselves of clothes; the lactating Virgin; baptism scenes; birth scenes; bath scenes; medical miniatures; Sheela-na-gigs; illuminations in legal manuscripts addressing cases of impotence, rape, and adultery; Pygmalion's statue; Venus and other "pagan idols;" demons; hybrid creatures; anthropomorphized sexual organs worn as badges; souls; the dead; the monstrous races; lovers in romances; personifications of Luxuria, and more. While medievalists have addressed many of these still understudied themes, the sharp focus of individual studies has not necessarily been conducive to broader conclusions. As a result, accounts that treat the nude in medieval art continue to do so in reference to a traditional art historical narrative that only allows nudity in medieval art a narrow range of meaning.
The essays in this volume examine how gender and otherness coalesced in the visual culture of the... more The essays in this volume examine how gender and otherness coalesced in the visual culture of the Middle Ages and early modern eras. They explore the intersections of gender and other cultural identities as expressed in objects from the past, and they illuminate and interrogate their persistent influence.
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Books, Exhibition Catalogs, Edited Volumes by Sherry Lindquist
Sherry C.M. Lindquist, "Introduction: Visualizing Female Sexuality in Medieval Cultures"; Sarah Salih, "The Trouble with 'Female Sexuality'”; Mati Meyer, "Theologizing or Indulging Desire: Bathers in the Sacra Parallela (Paris, BnF, gr. 923)";Marian Bleeke, “'Hag of the Castle:' Women, Family, and Community in Later Medieval Ireland "
Sarit Shalev-Eyni, The Hebrew University of Jerusalem: The Bared Breast in Medieval Ashkenazi Illumination: Cultural Connotations in a Heterogeneous Society
Elina Gertsman, Case Western Reserve University: Si grant ardor: Transgression and Transformation in the Pühavaimu Altarpiece
Papers by Sherry Lindquist
Sherry C.M. Lindquist, "Introduction: Visualizing Female Sexuality in Medieval Cultures"; Sarah Salih, "The Trouble with 'Female Sexuality'”; Mati Meyer, "Theologizing or Indulging Desire: Bathers in the Sacra Parallela (Paris, BnF, gr. 923)";Marian Bleeke, “'Hag of the Castle:' Women, Family, and Community in Later Medieval Ireland "
Sarit Shalev-Eyni, The Hebrew University of Jerusalem: The Bared Breast in Medieval Ashkenazi Illumination: Cultural Connotations in a Heterogeneous Society
Elina Gertsman, Case Western Reserve University: Si grant ardor: Transgression and Transformation in the Pühavaimu Altarpiece
It takes as its point of departure a selection of fifteenth-century northern European Books of Hours - evocative objects designed at once to inscribe social status, to strengthen religious commitment, to entertain, to stimulate emotions, and to encourage discomfiting self-scrutiny. Studying their kaleidoscopically strange, moving, humorous, disturbing, and imaginative pages not only enables a window into relationships among bodies, images, and things in the past but also in our own internet era, where surprisingly popular memes drawn from such manuscripts constitute a part of our own visual culture.
In negotiating theoretical, post-theoretical, and historical concerns, this book aims to contribute to an emerging and much-needed intersectional social history of art. It will be of interest to scholars working in art history, medieval studies, Renaissance/early modern studies, gender studies, the history of the book, posthumanism, aesthetics, and the body.