Category Archives: News

Creating “Creators”

manuscript illumination of the Nativity
Simon Bening, Nativity, from Morgan Library M.451, fol. 31v. Book of Hours, 1531.

 

Someone made each of the works of art described in the Index of Medieval Art, and since the beginning of its online database, The Index has acknowledged the individuals and workshops responsible for generating illuminated manuscripts, sculptures, mosaics, et al. when their identities are known. In the original Index system, artists and scribes each occupied a separate field, however, in the updated Index a new field has been established to incorporate both roles under the title of Creator. This reflects the fact that in some media, such as manuscript illumination, the roles of scribe and artist were not always separate: at times one individual undertook both kinds of work, while in other cases the jobs were more specialized.

The Index here expresses a caveat: Creator will not appear on every record. Medieval artists and scribes were/are largely anonymous, creating unsigned works of art for patrons who were also frequently unknown. However, some of the approximately 1400 creators who are named in the Index are known because they signed their works. Others were acknowledged by patrons who named artisans in their inventories, and still others have been identified by modern art historians who have spotted enough similarities among groups of works to assign a nickname for their otherwise anonymous master.

You can learn more about the artist associated with a particular work of art by looking at the work of art record, where the Creator field is located just toward the bottom. In the example below, a screen shot of a manuscript main record shows the name of Simon Bening as creator.

 

 

Click on the name, and another window will open providing information about the creator, including such information as general notes, alternate names, bibliographical citations, profession/s and work of art references. This last bit of information presents a list of all works of art associated by the Index with the artist. In the case of our example Simon Bening, this includes some 250 manuscript folios attributed to the artist and included in our database. The researcher can then click through the records to view these works.

 

 

You can also browse by Creator name to see the information and records that the Index includes for a particular Creator. Choose the Browse option on the home page, and from the Browse Indices, click on Creator to open an alphabetical list of names. To find the artist or scribe of interest, either scroll through the list or type the desired name on the line below “Creator” at the top of the list. Click on the correct name, and a window will open as above.

 

 

The information about artists and scribes is intended to provide a springboard for further research. Citations frequently include an article in Oxford Art Online, many of which are followed in turn by relevant bibliography.

Although as noted, most medieval artists and scribes are unknown, The Index does include nearly 1400 “named” creators. A significant portion remain personally anonymous, but have been given monikers based on the attribution of works of very similar style or other details, such as the Gold Scrolls Group, named for a distinctive style of ornament, or the Master of Catherine of Cleves, a name based on work created for a specific patron. Searching Grove Art Online for “Anonymous Masters” will yield page after page of unknown creators whose works have been linked in this way to create a body of work by one artist, scribe or workshop. Because many of these names are still in use in art historical scholarship, the Index includes them in the Creator list, sometimes designating them as “see from” terms when consensus about authorship is not clear. We love to keep our records updated, so if you know of new research about the attribution of a work of art, please bring it to our attention at theindex@princeton.edu.

Judith K. Golden

Registration NOW OPEN for “Eclecticism at the Edges”

Exterior view of Moldovita Monastic Church
Moldovita Monastery, Romania, Church of the Annunciation, exterior

Registration for the Symposium “Eclecticism at the Edges: Medieval Art and Architecture at the Crossroads of the Latin, Greek, and Slavic Cultural Spheres” is now open. The Symposium will be held on April 5-6, 2019 in 106 McCormick Hall on the Princeton University campus. This event is free, but registration is required to guarantee seating.

For details about the Symposium, please check the event web page at https://ima.princeton.edu/conferences/

We look forward to seeing you!

Nov. 17 “Out of Bounds” Registration Now Open

Personification of Wisdom holding a world map
Wisdom holding a Map of the World, from Petrus de Ebulo: Liber ad honorem Augusti (Bern, Burgerbibliothek, Cod. 120.II, fol. 140r)

Registration for the Nov. 17 Index conference “Out of Bounds: Exploring the Limits of Medieval Art” is now open. Lectures will take place in 101 McCormick Hall on the Princeton University campus between 9-5, with a reception to follow in the Palmer House. Registration is free but required to guarantee a seat. For details about the conference, please check the event web page at  https://ima.princeton.edu/conferences/. We look forward to seeing you!

Spring Symposium: Eclecticism at the Edges

Eclecticism at the Edges: Medieval Art and Architecture at the Crossroads of the Latin, Greek, and Slavic Cultural Spheres c.1300–c.1550

On April 5-6, 2019, the Index will co-host “Eclecticism at the Edges: Medieval Art and Architecture at the Crossroads of the Latin, Greek, and Slavic Cultural Spheres,” along with the Princeton Institute for International and Regional Studies, the Department of Art & Archaeology at Princeton University, the International Center of Medieval Art, and the Society of Historians of East European, Eurasian, and Russian Art and Architecture. This two-day symposium focuses on the art, history, and culture of Eastern Europe between the 14th and the 16th centuries .

In response to the global turn in art history and medieval studies, “Eclecticism at the Edges” explores the temporal and geographic parameters of the study of medieval art, seeking to challenge the ways in which we think about the artistic production of Eastern Europe from the fourteenth through the sixteenth centuries. This event will serve as a long-awaited platform to examine, discuss, and focus on the eclectic visual cultures of the Balkan Peninsula and the Carpathian Mountains, the specificities, but also the shared cultural heritage of these regions. It will raise issues of cultural contact, transmission, and appropriation of western medieval and Byzantine artistic and cultural traditions in eastern European centers, and consider how this heritage was deployed to shape notions of identity and visual rhetoric in these regions that formed a cultural landscape beyond medieval, Byzantine, and modern borders.

Keynote Lectures:

Dr. Jelena Erdeljan (University of Belgrade): Cross-Cultural Entanglement and Visual Culture in Eastern Europe c. 1300–1550

Dr. Michalis Olympios (University of Cyprus): “Eclecticism,” “Hybridity,” and “Transculturality” in Late Medieval Art: A View from the Eastern Mediterranean

Symposium Speakers:

Dr. Vlad Bedros (National University of Arts, Bucharest): A Hybrid Iconography: The Lamb of God in Moldavian Wall Paintings

Dr. Elena Boeck (DePaul University): A Timeless Ideal: Constantinople in the Slavonic Imagination of the 14th–16th Centuries

Dr. Gianvito Campobasso (University of Fribourg): Eclecticism Among Multiple Identities: The Visual Culture of Albania in the Late Middle Ages

Krisztina Ilko (Ph.D. Candidate, Metropolitan Museum of Art Fellow): The Dormition of the Virgin: Artistic Exchange and Innovation in Medieval Wall Paintings from Slovakia

Dr. Nazar Kozak (National Academy of Sciences of Ukraine): Post-Byzantine Art as a Network: Mobility Trajectories of the Akathistos Cycle in the Balkans, the Carpathians, and Beyond

Dr. Dragoş Gh. Năstăsoiu (Centre for Medieval Studies, National Research University, Moscow): Appropriation, Adaptation, and Transformation – Painters of Byzantine Tradition Working for Catholic Patrons in 14th- and 15th-century Transylvania

Dr. Ovidiu Olar (Nicolae Iorga Institute of History of the Romanian Academy, Bucharest): A Murderer Among the Seraphim: Prince Lăpuşneanu’s Transfiguration Embroideries for Slatina Monastery

Dr. Ida Sinkević (Lafayette College): Serbian Royal Mausolea: A Reflection of Cultural Identity?

Dr. Christos Stavrakos (University of Ioannina / Greece): Donors, Patrons and Benefactors in Mediaeval Epirus between the Great Empires: A Society in Change or a Continuity?

The symposium is free, but registration is required to guarantee seating. Please check in early January 2019 for a detailed program and registration form. For any queries, please contact the organizers at eclecticism.symposium@gmail.com.

Don’t forget to join the Index for our Fall Conference, Out of Bounds: Exploring the Limits of Medieval Art, November 17, 2018 (https://ima.princeton.edu/conferences/)

Call for Proposals: The Index at Kalamazoo 2019

Call for Proposals

54th International Congress on Medieval Studies, Kalamazoo, MI, May 9 to 12, 2019

Sponsored by the Index of Medieval Art, Princeton University

A Roundtable

Last Supper of Christ, miniature from the ca 1300 Gladzor Gospels (Los Angeles, Charles E. Young Research Library, Armenian 1, p. 156)
Last Supper of Christ, miniature from the ca 1300 Gladzor Gospels (Los Angeles, Charles E. Young Research Library, Armenian 1, p. 156)

Encountering Medieval Iconography in the Twenty-First Century: Scholarship, Social Media, and Digital Methods

Organizers: M. Alessia Rossi and Jessica Savage (Index of Medieval Art, Princeton University)

Stemming from the launch of the new database and enhancements of search technology and social media at the Index of Medieval Art, this roundtable addresses the many ways we encounter medieval iconography in the twenty-first century. We invite proposals from emerging scholars and a variety of professionals who are teaching with, blogging about, and cataloguing medieval iconography. This discussion will touch on the different ways we consume and create information with our research, shed light on original approaches, and discover common goals.

Participants in this roundtable will give short introductions (5-7 minutes) on issues relevant to their area of specialization and participate in a discussion on how they use online resources, such as image databases, to incorporate the study of medieval iconography into their teaching, research, and public outreach. Possible questions include: What makes an online collection “teaching-friendly” and accessible for student discovery? How does social media, including Twitter, Facebook, and blogging, make medieval image collections more visible? How do these platforms broaden interest in iconography and connect users to works of art? What are the aims and impact of organizations such as, the Index, the Getty, the INHA, the Warburg, and ICONCLASS, who are working with large stores of medieval art and architecture information? How can we envisage a wider network and discussion of professional practice within this specialized area?

Please send a 250-word abstract outlining your contribution to this roundtable and a completed Participant Information Form (available via the Congress Submissions website: https://wmich.edu/medievalcongress/submissions) by September 15 to M. Alessia Rossi (marossi@princeton.edu) and Jessica Savage (jlsavage@princeton.edu). More information about the Congress can be found here: https://wmich.edu/medievalcongress.

Searching in Style

Fourth in a series of short blog posts introducing new features of our online database

manuscript page with the Annunciation
Annunction to the Virgin, from the Jahjah Giyorgis Gospel Book, 15th c, Jahjah Giyorgis, Ethiopia (Jäger II, miniature 11)

 

Did you know that you can filter Index search results by style and/or culture of origin? The “Style/Culture” field on the search filters page groups results according to widely used stylistic or cultural categories, such as “Gothic,” “Ethiopian,” or “Jewish.”

As any student of art history knows, stylistic and cultural labels can be difficult to define. Stylistically speaking, what’s “Gothic” in France in 1150 may be considered “Romanesque” at the same date in Italy, while the parameters for ethnic, religious, or other cultural communities can vary even more dramatically. Still, because we’ve observed that students and other new users of the Index may find such labels helpful in narrowing and exploring search results, we’ve elected to keep them in our new database, consulting authorities such as the Getty Art and Architecture Thesaurus and even current medieval art textbooks to refine how we apply them. If you’d like to learn more about why we applied a particular “Style/Culture” label to a work of art, you can look at the authority record for that label.

 

early Byzantine carved agate with the Virgin and Child
Early Byzantine agate carved with the Annunciation to the Virgin, Benaki Museum, Inv. GE 1783

 

Because style and culture terms remain subjective even in the best of circumstances, they may not yield precise results and are most usefully applied when you are searching broadly to learn how a subject was represented in a particular period or cultural sphere, rather than to search for a particular example. You might find, for example, that searching for a frequently represented subject such as “Virgin Mary: Annunciation” delivers an intimidating 2500+ results. However, if what you really wanted was to see examples of how the Annunciation was depicted in Byzantine art, narrowing the results by using the “Style/Culture” delimiter “Byzantine” reduces this to a much more manageable—and more relevant—list of 276 records.

Some delimiters will still deliver a high number of results (try using “Gothic” instead of “Byzantine” to see what we mean), but you can refine these further by using additional filters—such as Date, Location, or Medium—when you’re ready for more specificity. To apply the Style/Culture filter, type a search term into the free text field at the upper right of the search window. On the results page, choose the “Filters” option, then in the “Style/Culture filter, begin typing the term you’re looking for—the system will auto-complete the term, if it exists—and then, once you’ve selected the term you want, simply click “Search.” The filtered results will appear below.

 

A view of the “Filters” page with “Byzantine” applied in the Style/Culture filter

 

If you’d like to view a complete list of Style/Culture terms currently used by the Index, click on “Browse” at the top of the window and then choose Style/Culture. To expedite your search for a particular term, type it into the search line at the top of the list.

As always, if you have questions or comments about the Index of Medieval Art database, please contact theindex@princeton.edu. We’re here to help, and we want to know what you think.

 

Matter Matters

Third in a series of short blog posts introducing new features of our online database

Have you tried out our Medium filter yet? As part of our ongoing series introducing specific features of our database to assist you in developing research strategies, let us direct your attention to the Medium field. First, you may ask, what exactly do we mean by “Medium”? In the Index database, “Medium” refers both to the materials that compose the work of art and to the methods of facture or technique employed in its creation. As Herbert Kessler rightly observes, “matter mattered in the Middle Ages,” and we at the Index wish to foster exciting new scholarship related to the iconography of materials.[1]  A cursory glance at our Medium category under the “Browse” tab reveals an extraordinary array of materials and techniques. Objects may include materials ranging from “acacia” wood to “zeiler sandstone,” and all these materials might have been “hammered” and “punched,” or “chiseled” and “incised,” or subjected to many other possible means of manipulation.

But what if you are not ready for this level of specificity? For more general Medium searches, we have devised a series of basic category terms to help you find what you need: “stone,” “gems,” “wood,” “ivory,” “metal,” “enamel,” and “textile.” For example, let’s say you’re interested in representations of the Virgin Mary in any kind of stone. A keyword search for “Virgin Mary” on the database homepage will yield thousands of results in all media. So, if you want to limit your results to images in stone, simply find the “Filters” tab under “Advanced Search” and select “stone” under the Medium filter. Click on “Search,” and you will reduce your list to 1,752 records.

Example 1
Example 1

Now what if you know that you’re searching for representations of the Virgin Mary in a specific kind of stone? This time, let’s say you’re looking for marble sculpture. Instead of sifting through all 1,752 records for marble examples, just try selecting “marble” in the Medium filter. This should bring your results down to a mere 410 records.

Nativity, Jamb capital in portal of west façade. Saint-Trophime, Arles. 1160-1180.
Nativity, Jamb capital in portal of west façade. Saint-Trophime, Arles. 1160-1180.

You can also try refining your search with another filter. Interested in marble representations of the Virgin produced in medieval France? Add “France” in the Location filter, and you’ll narrow your results to 55 records.

Example 2
Example 2

So, whether you’re searching within broad categories or examining specific materials and techniques, try using the database’s Medium filter to adjust your search to your research interests.

Here are a few additional pointers:

  • When conducting iconographic research on manuscripts, if you wish to narrow your search according to how the images were rendered, select “Manuscript” in the Work of Art type filter and then select a more specific term from the Medium filter, such as “illumination,” “color wash,” or “drawing.”
  • You can always add more than one term to any filter. So, for example, if you want to search for items that include both copper and gold, you can add both “copper” and “gold” to the filter with the Filter Options set to “MATCH ALL FILTERS.” If, on the other hand, you want to search for items that include either copper or gold, then add both “copper” and “gold” to the Medium filter with the Filter Options set to “MATCH ANY FILTER.”
  • In the Index database, we make the distinction between regular gemstones and gemstones that bear images. Thus, figured gems are identified as glyptics. For example, a thirteenth-century head reliquary of Saint Eustace in the British Museum contains an amethyst stone among the gems on the fillet ornamentation, and therefore has “amethyst” listed under the Medium heading in the record. In contrast, the stunning Late-Antique intaglio at Dumbarton Oaks that bears a depiction of Christ is identified as “amethyst glyptics” under Medium.

Amethyst intaglio portrait of Christ. Dumbarton Oaks Research Library and Collection.
Amethyst intaglio portrait of Christ. Dumbarton Oaks Research Library and Collection.

So, as you undertake your research with us, we hope that you’ll give the Medium filter a try. As always, please feel free to send us questions or comments about any aspect of the IMA database. Contact us at theindex@princeton.edu. Matter matters…and so does your feedback!

[1] Herbert Kessler, Seeing Medieval Art (Peterborough, Ont.: Broadview Press, 2004), 14.

Studies in Iconography vol. 39 Has Been Published

manuscript image of couple at Passover table
“This maror”, Hileq and Bileq Haggadah, Middle Rhine, ca. 1450; Paris, BnF, Ms. Hébr. 1333, f. 19v, detail

This year’s contributions are unusually diverse, ranging from Byzantine wall paintings and Romanesque sculpture to Ottonian dynastic images and Jewish ritual books. In addition, for the first time this year authors were offered the option to include color illustrations. Check out the contents of the latest volume on the updated journal page: https://ima.princeton.edu/studies-in-iconography/. Congratulations and thank you to all our authors and reviewers!

Studies in Iconography (ISSN 0148-1029) is an annual publication housed at the Index of Medieval Art at Princeton University since October 1999. It is dedicated to publishing innovative work on iconography and other aspects of visual culture of the period up to 1600. We welcome submissions of innovative work on iconography and other aspects of visual culture of the period up to 1600, including those with interdisciplinary, theoretical, and critical perspectives. Submissions are accepted year round; see https://ima.princeton.edu/studies-in-iconography-editorial-guidelines/ for current guidelines.

Closing for Class Day and Commencement

Haymaking scene
June, from the Très Riches Heures du Duc du Berry (Chantilly, Musée Condé, 65/1284), fol. 6v © Photo. R.M.N. / R.-G. OjŽda

The Index will be closed on June 4 and 5 as Princeton celebrates Class Day and Commencement 2018. We look forward to welcoming visitors during Princeton University weekday summer hours, 8:45-4:30, beginning June 6.

Mind Your Language!

Second in a series of short blog posts introducing new features of our online database

Have you tried our Language Filter yet? Since we at the Index of Medieval Art realize that some of the search features available to users of the new database may be unfamiliar, we thought that we ought to take some time to recommend and explain a few of them. This time, let’s discuss your use of language, shall we? Specifically, did you know that you can filter your searches to look for images that appear in the context of a certain language? Well, you can!

Joseph of Arimathea from the late 11th-century Hamilton Lectionary (Morgan Library M. 639, fol. 15r).
Joseph of Arimathea from the late 11th-century Hamilton Lectionary (Morgan Library M. 639, fol. 15r).

Say you’re interested in images of Joseph of Arimathea, for example, whether in a scene—such as the Deposition or the Entombment—or as an isolated figure. You might start with a simple keyword search for “Arimathea” on the database homepage, or you could also use the “Terms” tab on the “Advanced Search” page, checking “Description” and “Subject” in the “Search Fields” checklist, a strategy that currently yields a whopping 735 results.

Now let’s try using one of the filters. Simply switch to the “Filters” tab on the “Advanced Search” page. Feel free to explore, and try all or any of the filters. For the purposes of this demonstration, however, we’re thinking about language, so let’s start by narrowing our search to manuscripts. Simply select “Manuscript” in the Work of Art Type Filter (Example 1), then click “Search” again. You’ll discover that, in this case, you have nearly halved the search results to 373, but that’s still a lot of records to consider.

Example 1, database search
Example 1

Now here comes the exciting part! If you know that you’re interested in a particular linguistic context, then you can add the Language Filter to your Advanced Search. There are currently 48 languages to choose from in the Index of Medieval Art database. For this demonstration, we’ve specified Greek (Example 2), so we’re searching for the word “Arimathea” where it appears in either the Subject field or the Description field, only in records for which the Work of Art Type is “Manuscript” and the language of the manuscript is “Greek.” Click “Search,” and you’ll discover that you have been able to filter your results down to a manageable 32 records!

Example 2, database search
Example 2

Simple, n’est-ce pas?

You can easily change the Language filter to compare results from one language to another. Changing Greek to Armenian yields ten results. Church Slavonic yields six. Filtering for some languages may return nothing, others quite a lot. Latin, for example, returns 233 results, so you might want to add another filter to your search. For the time being, only the languages of manuscripts are identified in the database. Eventually, however, the Index database will identify the language or languages of every object that incorporates the written word.

You might have noticed that names of some languages include date ranges, as in “Middle English (1100–1500).” Although such dates can seem arbitrary, we try to differentiate among the stages of a language’s development. If you’re curious about how the Index defines a language, or about what sources we cite, you can click on the language name in the Language field of a Work of Art record. This will take you to a page where you can read the Language Details. There you’ll also find citations and external reference codes (Glottolog and ISO 639-3). On that page, there is also a list of all Work of Art References that include that language.

So, start exploring, and be sure to try out the filters available in the new Index of Medieval Art database. Also, please let us know what you think…but mind your language!