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Strasbourg 1400. Un foyer d’art dans l’Europe gothique, catalogue de l’exposition sous la direction de PHILIPPE LORENTZ: Strasbourg, Musée de l’Oeuvre Notre-Dame, 28 mars - 6 juillet 2008, Strasbourg 2008 (Éditions des Musées de la Ville de Strasbourg).

Sommaire

Joelle Pijaudier-Cabot, Avant-propos (pp. 10-11).
Introduction
Philippe Lorentz, «Strasbourg 1400» (pp. 12-21); Bernhard Metz, Strasbourg autour de 1400. Rayonnement et limites d’une grande ville (pp. 22-33).
Artistes dans la ville
Philippe Lorentz, Un grand artiste à Strasbourg au tournant du XV siècle: le Maître de la Crucifixion au Dominicain, Hermann Schadeberg (pp. 36-53); Philippe Lorentz, Le Maître du Paradiesgärtlein, peintre de la candeur enfantine (pp. 54-71); Cécile Dupeux, Quelques «Belles Madones» strasbourgeoises (pp. 72-77).
La Cathédrale, un sommet de l’art
Denise Borlée, Le beffroi de la cathédrale de Strasbourg : un singulier aménagement de la fin du XIV siècle (pp. 80-93); Denise Borlée et Dany Sandron, La place du beffroi dans l’espace urbain (pp. 94-99); Dany Sandron, «L’art n’a jamais rien produit de plus élevé» : l’octagone et la flèche (pp. 100-117); Cécile Dupeux, L’Empereur et le Clerc de l’octagone (pp. 118-123); Denise Borlée, Les «spectateurs» de l’octagone (pp. 124-129).
Catalogue
Introduction (pp. 132-135); Le Maître de la Crucifixion au Dominicain (pp. 136-147); Une production artistique multiforme (pp. 148-161); Le Maître du Paradiesgärtlein (pp. 162-172); Rayonemment du Maître du Paradiesgärtlein (pp. 173-185); Le temps des «Belles Madones» (pp. 186-189); Les figures de l’orgue de la cathédrale de Strasbourg (pp. 190-191); La maison patricienne et son décor (pp. 192-201); Physionomie de la ville vers 1400 (pp. 202-209); Autour de la chapelle Sainte-Catherine (pp. 210-213); Un saint sépulcre strasbourgois (pp. 214-217); Le beffroi de la cathédrale (pp. 218-233); L’octogone et la flèche (pp. 234-253).
Sources et Bibliographie (pp. 254-261); Expositions (p. 262); Copyrights et crédits photographiques (p. 263); et Abbréviations utilisées dans l’ouvrage (p. 263).

En savoir plus sur l’exposition

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CATALOGUE: Lambeth Palace Library. Treasures from the Collection of the Archbishops of Canterbury, edited by RICHARD PALMER and MICHELLE P. BROWN, London 2010 (Scala Publishers), 176 pages, 200 colour images, £35.00 or $60.

To learn more about the exhibition view the post Treasures of the Lambeth Palace Library.

James I described Lambeth Palace Library as ‘a monument of fame’ in his kingdom. It is the historic library of the Archbishops of Canterbury - its records date from the 9th century to the present day. In this new collection of treasures from the Library, 60 items are reproduced in glorious detail, alongside extended expert commentary. Included are illuminated manuscripts from the Middle Ages such as the MacDurnan Gospels and Hours of Richard III; manuscripts from the Tudor and Stuart eras, including a Venetian Atlas, a letter from Elizabeth I on her recovery from smallpox and the execution warrant for Mary Queen of Scots; early printed books, among them a Gutenberg Bible with English illumination, possibly the first printed book to come to England; and Elizabeth I’s own prayer book showing her portrait. Later items include the medical reports on the madness of George III and the Golden Cockerel Press Four Gospels, one of the masterpieces of Eric Gill. An introduction by Dr Palmer traces the history of the Library and sets the selected treasures in the wider context of the its collections.

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Crossing Borders. Hebrew Manuscripts as a Meeting-place of Cultures, edited by PIET VAN BOXEL and SABINE ARNDT, Oxford 2010 (Bodleian Library), 128 pages, £ 24.99.

This book tells the largely unfamiliar story of intellectual transmission, cultural exchange and practical cooperation, social interaction, and religious toleration between Jews and non-Jews in the Muslim as well as Christian world during the late Middle Ages. The story is composed of ten narratives, each of which brings to light a different aspect of Jewish life in a non-Jewish medieval society. The book is beautifully illustrated with images from the Hebrew holdings at the Bodleian Library, one of the largest and most important collections of Hebrew manuscripts worldwide. They range from Christian codex fragments as early as the 3rd century to a copy of Moses Maimonides’ “Mishneh Torah” signed by Maimonides himself.

Contents

Sarah Thomas, Foreword (pp. 6-7); Piet van Boxel, Introduction (pp. 9-14); Anthony Grafton, From Roll to Codex: A Christian Initiative (pp. 15-20); Malachi Beit-Arié, The Script and Book Craft in the Hebrew Medieval Codex (pp. 21-34); César Merchán-Hamann, Fables from East to West (pp. 35-44); Eva Frojmovic, Early Ashkenazic Prayer Books and Their Christian Illuminators (pp. 45-56); Piet van Boxel, The Virgin and the Unicorn: A Christian Symbol in a Hebrew Prayer Book (pp. 57-68); Suzanne Wijsman, The Oppenheimer Siddur: Artist and Scribe in a Fifteenth-century Hebrew Prayer Book (pp. 69-84); Sabine Arndt, Science as a Meeting-place of Cultures: The Court of Emperor Frederick II and Judah ben Solomon ha-Kohen’s Midrash ha-Holkhmah (pp. 85-98); Lesly Smith, Jews and Christians Imagining the Temple (pp. 99-114); Judith Olszowy-Schlanger, Christian Hebraism in Thirteenth-century England: The Evidence of Hebrew-Latin Manuscripts (pp. 115-122); Eva De Visscher, Cross-religious Learning and Teaching: Hebraism in the Works of Herbert of Bosham and Contemporaries (pp. 123-132); Index of Manuscripts (pp. 133-134).

Click here to view the past exhibition (2009).

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CATALOGO: Virtù d’amore. Pittura nuziale nel Quattrocento fiorentino, a cura di CLAUDIO PAOLINI, DANIELA PARENTI e LUDOVICA SEBRE- GONDI, Firenze 2010 (Giunti Editore), 288 pagine, € 45,00.

Per maggiori informazioni sulla mostra in corso a Firenze (Galleria dell’Accademie Museo Horne, 8 giugno - 1 novembre 2010), vedi il post Pittura nuziale nel Quattrocento fiorentino.

Sommario:

Cristina Acidini e Michele Gremigni, Presentazioni (pp. 10-12); Antonio Paolucci, Da Stefano Bardini a Herbert Percy Horne: collezionisti e collezioni (pp. 13-17); Franca Falletti, Quattro chiavi per una mostra (pp. 19-23).

Saggi: Isabella Gagliardi, Il matrimonio in epoca medievale e rinascimentale: alcune note (pp. 25-33); Ludovica Sebregondi, Rituali di nozze nella Firenze rinascimentale (pp. 35-43); Patricia Lurati, Vesti nuziali nella Firenze rinascimentale (pp. 45-49); Claudio Paolini, Il cassone, un arredo nella casa del Rinascimento (pp. 51-59); Elisabetta Nardinocchi, Uno sguardo dentro al cassone (pp. 61-67); Jerzy Miziolek, I decori e le storie dipinte sui cassoni (pp. 69-77); Alessandra Malquori, Invenzione e tradizione: temi letterari e fortuna figurativa nella pittura di cassone a Firenze nel Quattrocento (pp. 79-87); Alberto Bruschi, Il contributo dell’araldica e due antichi forzieri nuziali (pp. 89-95); Annamaria Bernacchioni, Forzerinai, cofanai e dipintori: le botteghe nei documenti (pp. 97-103); Lorenzo Sbaraglio, L’origine dei cassoni istoriati nella pittura fiorentina (pp. 105-113); Andrea Staderini, Il confronto con le novità  rinascimentali: pittori di cassoni nella Firenze di metà Quattrocento (pp. 115-125); Nicoletta Pons, Problemi di collaborazione e compagnie di artisti: cassoni e spalliere di Jacopo del Sellaio, Biagio d’Antonio e Bartolomeo di Giovanni (pp. 127-137); Jonathan K. Nelson, Le rivoluzionarie composizioni di Botticelli e Filippino Lippi per i dipinti da cassone e da spalliera (pp. 139-147); Roberta Bartoli, «Guardare più profondamente nel cuore del Rinascimento»: Schubring e il corpus dei cassoni italiani (pp. 149-157); Tomas Markevicius, The invisible story of Esther: revealing Botticelli and Filippino. Collaboration and approaches to underdrawing (pp. 210-213).

Catalogo: La memoria dell’evento (pp. 161-185); I ruoli nella coppia. Virtù e seduzione (pp. 187-239); L’orgoglio della casata (pp. 241-261); Pittura domestica al Museo Horne (pp. 263-277). Bibliografia (pp. 278-287).

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