Clement Bible at the Medieval Courts of Naples and Avignon
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A01=Cathleen A. Fleck
A01=CathleenA. Fleck
Age Group_Uncategorized
Age Group_Uncategorized
Angelic Hierarchy
Angevin Court
art historical methodology
Author_Cathleen A. Fleck
Author_CathleenA. Fleck
automatic-update
Avignon Papacy
Avignon Pope
Beatific Vision
benedict
Benedict XII
Category1=Non-Fiction
Category=ACK
Category=AGA
Category=HBJD
Category=HBLC1
Category=HRCF
Category=NHDJ
Category=QRMF1
Cavalliniano Workshop
Celestial Jerusalem
Clement Bible
Clement VII
Clement VIII
COP=United Kingdom
Delivery_Delivery within 10-20 working days
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=2
eq_nobargain
eq_non-fiction
fourteenth-century illustrated bible analysis
Gregory XI
illuminated manuscripts
Innocent VI
John XXII
Jullien De Pommerol
Language_English
luxury biblical iconography
medieval manuscript studies
Neapolitan Bibles
PA=Available
Papal Angevin Alliance
papal court culture
Papal Palace
Papal Tiara
Pietro Cavallini
Pope Benedict XII
Pope Clement VII
Price_€100 and above
PS=Active
royal patronage networks
Santa Maria Ad Martyres
softlaunch
Urban VI
vii
xii
Young Man
Product details
- ISBN 9780754669807
- Weight: 1102g
- Dimensions: 174 x 246mm
- Publication Date: 16 Dec 2010
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
- Language: English
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As a 'biography' of the fourteenth-century illustrated Bible of Clement VII, an opposition pope in Avignon from 1378-94, this social history traces the Bible's production in Naples (c. 1330) through its changing ownership and meaning in Avignon (c. 1340-1405) to its presentation as a gift to Alfonso, King of Aragon (c. 1424). The author's novel approach, based on solid art historical and anthropological methodologies, allows her to assess the object's evolving significance and the use of such a Bible to enhance the power and prestige of its princely and papal owners. Through archival sources, the author pinpoints the physical location and privileged treatment of the Clement Bible over a century. The author considers how the Bible's contexts in the collection of a bishop, several popes, and a king demonstrate the value of the Bible as an exchange commodity. The Bible was undoubtedly valued for the aesthetic quality of its 200+ luxurious images. Additionally, the author argues that its iconography, especially Jerusalem and visionary scenes, augments its worth as a reflection of contemporary political and religious issues. Its images offered biblical precedents, its style represented associations with certain artists and regions in Italy, and its past provided links to important collections. Fleck's examination of the art production around the Bible in Naples and Avignon further illuminates the manuscript's role as a reflection of the court cultures in those cities. Adding to recent art historical scholarship focusing on the taste and signature styles in late medieval and Renaissance courts, this study provides new information about workshop practices and techniques. In these two court cities, the author analyzes styles associated with different artists, different patrons, and even with different rooms of the rulers' palaces, offering new findings relevant to current scholarship, not only in art history but also in court and collection studies.
Cathleen A. Fleck is an Assistant Professor of Art History at Saint Louis University, USA
