1330 Ornamental stained glass, Musée national du Moyen Âge – Thermes de Cluny, Cl. Griffith Mann, Michel David-Weill Curator in Charge of Medieval Art and The Cloisters at the Metropolitan Museum of Art, will discuss the contexts that shaped. 1228–1230, champlevé enamel, Musée national du Moyen Âge – Thermes de Cluny, OA81 © RMN-Grand Palais / Art Resource, NY Photo: Jean-Gilles Berizzi White roses decoration, from the Franciscan Church in Colmar (?), Alsace, France, c. 1520, wool and silk tapestry, Musée national du Moyen Âge – Thermes de Cluny, Cl.2179 © RMN-Grand Palais / Art Resource, NY Photo: Franck Raux Four-lobed reliquary: Saint Francis of Assisi Receiving the Stigmata, Limoges, France, c. 2136 © RMN-Grand Palais / Art Resource, NY Photo: Gérard Blot The Seigniorial Life: Chivalry (Gallantry), southern Netherlands, c. Images: Aquamanile (water jug): unicorn, Lower Saxony, Germany, late 13th/early 14th century, bronze, Musée national du Moyen Âge – Thermes de Cluny, Cl. Additional support is provided by the Marguerite and Robert Hoffman Operating Fund and the Robert Lehman Foundation. The exhibition is presented by Texas Instruments. The featured works of art-which include an astonishing array of media, from stained glass windows to illuminated manuscripts-emphasize the fundamental bond between humans and nature, and nature’s constant presence in the immediate environment and spiritual life of men and women in the Middle Ages.ĭOWNLOAD THE ART AND NATURE PROGRAM GUIDEĭOWNLOAD THE SPANISH-LANGUAGE ART AND NATURE HANDBOOKĪrt and Nature in the Middle Ages is made possible through generous loans from the collection of Musée de Cluny, musée national du Moyen Âge, Paris. The exhibition, featuring work from the Musée de Cluny, musée national du Moyen Âge, Paris, and on view exclusively at the DMA in the United States, presents more than 100 extraordinary objects, rarely before shown in the United States, that reflect the wide range of styles, techniques, and iconography that flourished during this period. Students with a reading knowledge of French or German are especially welcome.Spanning the 12th to early 16th centuries, Art and Nature in the Middle Ages explores the diverse modes of expression and variety of representations of nature in European medieval art, whether plant or animal, sacred or profane, real or imagined, highlighting the continuities and changes. Stephen Jaeger, Mitchell Merback, Kathryn Park, Leo Steinberg, and others. Readings will include works by Caroline Walker Bynum, Michael Camille, Madeline Caviness, Jeffrey Hamburger, C. Placing such visual arts into dialogue with medieval texts (e.g., saints’ lives, visionary accounts, devotional treatises) will provide further insights into the continuities and tensions in historical attitudes toward the flesh. Among the subjects we will investigate are: the veneration of actual remnants of holy bodies, enshrined in sumptuous containers the iconography of death, Resurrection, and the afterlife the depiction of bodies and bodily processes in medical handbooks the use of the expressive sculpted body as a communicative tool for sparking empathy and modeling behavior. This seminar examines various approaches to embodiment manifested in the visual arts produced in northern and central Europe between around 9. The human body, above all, was the site of massive contradictions: despised for its uncontrollability and messiness, its sexual impulses and pressure for nourishment, it also formed the tangible, visible link between fallen humanity and the Christian God and was thus beloved as a vehicle of salvation. 900-1450) was a period of profound ambivalence when it came to the material world. Despite its reputation as an “age of spirituality” piously committed to the rejection of earthly things, the Western Middle Ages (ca.
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