Viewer and the Printed Image in Late Medieval Europe
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A01=David S. Areford
Ars Memorativa
Author_David S. Areford
Bayerische Staatsbibliothek
Biblioteca Classense
Breviarium Romanum
Category=AB
Category=N
Category=QRA
Christ Child
colored
Colored Woodcut
cult of saints imagery
devotional prints
early European print functions
Early Printmaking
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Fifteenth Century Prints
Fifteenth Century Woodcuts
German Woodcut
iconographic analysis
Italian Woodcuts
Labor Gravis
Late Twentieth Century Artists
Martin Schongauer
material culture studies
medieval print reception
Omne Bonum
religious visuality
Saint Peter Martyr
Seraph's Wings
Seraph’s Wings
Side Wound
Simon's Body
Simon’s Body
Single Sheet Prints
Single Sheet Woodcuts
Staatliche Graphische Sammlung
Staats Und Stadtbibliothek
Veronica Veil
Wall Hangings
woodcut
Product details
- ISBN 9780754667629
- Weight: 800g
- Dimensions: 174 x 246mm
- Publication Date: 09 Feb 2010
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Structured around in-depth and interconnected case studies and driven by a methodology of material, contextual, and iconographic analysis, this book argues that early European single-sheet prints, in both the north and south, are best understood as highly accessible objects shaped and framed by individual viewers. Author David Areford offers a synthetic historical narrative of early prints that stresses their unusual material nature, as well as their accessibility to a variety of viewers, both lay and monastic. This volume represents a shift in the study of the early printed image, one that mirrors the widespread movement in art history away from issues of production, style, and the artist toward issues of reception, function, and the viewer. Areford's approach is intensely grounded in the object, especially the unacknowledged material complexity of the print as a portable, malleable, and accessible image that depended on a response that was not only visual but often physical, emotional, and psychological. Recognizing that early prints were not primarily designed for aesthetic appreciation, the author analyzes how their meanings stemmed from specific functions involving private devotion, protection, indulgences, the cult of saints, pilgrimage, exorcism, the art of memory, and anti-Semitic propaganda. Although the medium's first century was clearly transitional and experimental, Areford explores how its potential to impact viewers in new ways”both positive and negative”was quickly realized.
David S. Areford is Associate Professor of Art History at the University of Massachusetts Boston, USA. He is coeditor of Excavating the Medieval Image and coauthor of Origins of European Printmaking: Fifteenth-Century Woodcuts and Their Public.
