Download PDF by Christina Normore: A Feast for the Eyes: Art, Performance, and the Late

By Christina Normore

To learn bills of past due medieval banquets is to go into a fantastical global the place reside lions shield nude statues, gilded stags burst into track, and musicians play from inside of pies. we will be able to virtually pay attention the clock sound from inside of a tumbler fort, flavor the fire-breathing roast boar, and odor the rose water cascading in a miniature fountain. Such brilliant artistic endeavors and function required collaboration between artists in lots of fields, in addition to the participation of the audience.

A banquet for the Eyes is the 1st book-length learn of the courtroom banquets of northwestern Europe within the fourteenth and 15th centuries. Christina Normore attracts on an array of artistic endeavors, archival files, chroniclers’ debts, and cookbooks to re-create those occasions and reconsider the overdue medieval visible tradition during which banquets have been staged. dinner party members, she indicates, constructed refined methods of appreciating creative ability and getting to their very own strategies of notion, thereby forging a courtroom tradition that overjoyed within the workout of excellent aesthetic judgment.

Challenging smooth assumptions concerning the nature of creative construction and reception, A banquet for the Eyes yields clean perception into the lengthy background of multimedia paintings and the complicated relationships among spectacle and spectators.

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Additional info for A Feast for the Eyes: Art, Performance, and the Late Medieval Banquet

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C) Copyright University of Chicago Press, 2016. All Rights Reserved. com/page/privacy-policy). ) On stage curtains, see William Tydeman, The Theatre in the Middle Ages (Cambridge: Cambridge University Press, 1978), 57–58. ) Posited from at least Vasari’s Lives, this construct has been studied, and increasingly questioned, by a number of art historians. , Andrew Martindale, The Rise of the Artist in the Middle Ages and Early Renaissance (New York: McGraw-Hill, 1972); Catherine Sousslof, The Absolute Artist: The Historiography of a Concept (Minneapolis: University of Minnesota Press, 1997); Martin Warnke, The Court Artist, trans.

She aggressively asserts her dominance over him, tugging back sharply on a handful of his hair with one fist while her other hand proprietarily caresses his buttocks, which peek out from under his fashionable short tunic. 34) to distribute liquid: in this aquamanile the spigot extends from an unusually sexualized Aristotle’s chest, while Phyllis retains an impenetrable and unpenetrated body. The possible resonances of this object go beyond a single narrative reference, and the theme plays interestingly with the performative use of the aquamanile on several levels.

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A Feast for the Eyes: Art, Performance, and the Late Medieval Banquet by Christina Normore

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