Left-Handed Evangelist. A Contribution to Palaeologan Iconography
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A01=Ioannis Spatharakis
Antithetically Placed Evangelist Portraits in the Wolfenbuttel Musterbuch
Author_Ioannis Spatharakis
Category=AGA
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Other Evangelist Types in the Group
Place of the Left-Handed Evangelist Group in Late Byzantine Art
The Aftermath of the Left-Handed Evangelist
The Left-Handed Evangelist
Working Methods of the Artists
Product details
- ISBN 9780907132493
- Weight: 653g
- Dimensions: 170 x 240mm
- Publication Date: 31 Dec 1988
- Publisher: Pindar Press
- Publication City/Country: GB
- Product Form: Hardback
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This book by Professor Spatharakis is a study of the origin and development of a new iconographic type within the late Byzantine period, that of the left-handed Evangelist. Although mainly confined to manuscript illumination, it also takes account of the surviving depictions of the Evangelists in mosaic and fresco on the walls of the churches built during this period.
The author examines the appearance of this new type of Evangelist portrait at the beginning of the fourteenth century, and how it came to be sufficiently influential to replace the tenth-century models used by the artists of this period. He investigates how long this new fashion lasted, and the subsequent influence of the left-handed Evangelist in later Byzantine art. This leads on to the question of whether the artists were content to follow older models, or were actively participating in the creation of fresh groupings. The isolation of the archetype, the contemporary parallels, and the subsequent influence of the group of Evangelist portraits examined in this study is based not only on iconographic similarities but on a detailed examination of the individual types. This work makes a significant contribution to our knowledge of Palaeologan iconography, and the working methods of the artists who were responsible for its creation.
The author examines the appearance of this new type of Evangelist portrait at the beginning of the fourteenth century, and how it came to be sufficiently influential to replace the tenth-century models used by the artists of this period. He investigates how long this new fashion lasted, and the subsequent influence of the left-handed Evangelist in later Byzantine art. This leads on to the question of whether the artists were content to follow older models, or were actively participating in the creation of fresh groupings. The isolation of the archetype, the contemporary parallels, and the subsequent influence of the group of Evangelist portraits examined in this study is based not only on iconographic similarities but on a detailed examination of the individual types. This work makes a significant contribution to our knowledge of Palaeologan iconography, and the working methods of the artists who were responsible for its creation.
