The Grove Encyclopedia of Medieval Art and Architecture offers unparalleled coverage of all aspects of art and architecture from Medieval Western Europe, from the 6th century to the early 16th century. Drawing upon the expansive scholarship in the celebrated Grove Dictionary of Art and addinghundreds of new entries on topics not previously covered, as well as fully updated and expanded entries and bibliographies, The Grove Encyclopedia of Medieval Art and Architecture offers students, researchers, and the general public a reliable, up-to-date, and convenient resource covering this fieldof major importance in the development of Western history and international art and architecture. The Encyclopedia offers scholarly material on Medieval art in intelligent, well-written, and informative articles, each of which is followed by a bibliography to support further research. These include a mixture of shorter, more factual articles and larger, multi-section articles tracing thedevelopment of the arts in major regions. There are articles on all subject areas in Medieval art including biographies of major artists, architects and patrons; countries, cities, and sites; cultures and styles (Anglo-Saxon art, Carolingian art, Coptic art, Early Christian art, Romanesque, Gothic,Insular art, Lombard art, Merovingian art, Ottonian art, and Viking art); ivories, books and illuminated manuscripts, metalwork, architecture, painting, tapestries, sculpture, mosaics, reliquaries, and more. Part of the acclaimed Grove Art family of print encyclopedias, The Grove Encyclopedia of Medieval Art and Architecture is lavishly illustrated with more than 460 halftones and 170 color plates. The 6 volumes are organized into a cohesive A-Z format, with a comprehensive index.

A Companion to Medieval Art brings together cutting-edgescholarship devoted to the Romanesque and Gothic traditions inNorthern Europe. Brings together cutting-edge scholarship devoted to theRomanesque and Gothic traditions in Northern Europe. Contains over 30 original theoretical, historical, andhistoriographic essays by renowned and emergent scholars. Covers the vibrancy of medieval art from both thematic andsub-disciplinary perspectives. Features an international and ambitious range - from reception,Gregory the Great, collecting, and pilgrimage art, to gender,patronage, the marginal, spolia, and manuscript illumination.

Sometimes enjoying considerable favor, sometimes less, iconography has been an essential element in medieval art historical studies since the beginning of the discipline. Some of the greatest art historians - including Mâle, Warburg, Panofsky, Morey, and Schapiro - have devoted their lives to understanding and structuring what exactly the subject matter of a work of medieval art can tell. Over the last thirty or so years, scholarship has seen the meaning and methodologies of the term considerably broadened. This companion provides a state-of-the-art assessment of the influence of the foremost iconographers, as well as the methodologies employed and themes that underpin the discipline. The first section focuses on influential thinkers in the field, while the second covers some of the best-known methodologies; the third, and largest section, looks at some of the major themes in medieval art. Taken together, the three sections include thirty-eight chapters, each of which deals with an individual topic. An introduction, historiographical evaluation, and bibliography accompany the individual essays. The authors are recognized experts in the field, and each essay includes original analyses and/or case studies which will hopefully open the field for future research.

This work replaces Harold Osborne's Oxford Companion to Art (1970), which has been continuously in print for thirty years. Though originally commissioned as a new edition of Osborne's book, it is effectively a completely new work, planned and written afresh for new generations of art lovers.Apart from a handful of classic articles by Harold Osborne mainly on aesthetics, and a few others which needed only minor change, the text is entirely new. Unlike Osborne, it focuses on Western art rather than the whole of world art, concentrating primarily on painting, sculpture, and the graphicarts, leaving architecture to be covered separately. With not only a tighter focus but also a greater extent than Osborne's, the new Companion offers far deeper coverage of the subject than previously; it includes many more artists and their works, and also pays proper attention to new topics ofinterest focused on patronage, taste, theory and criticism, materials and techniques, and the new art history. There are over 2600 entries, alphabetically arranged. Almost half of them cover artists, from classical times to the twentieth century. Other entries discuss art styles and movements, art forms (such as battle painting, landscape, caricature, or stained glass), specialist terms, and materials andtechniques in all media. There is strong emphasis on location as a focus for art: not only are there regional and cultural surveys, but also entries on specific places of importance such as Paris or Urbino; and, in addition, entries on museums and galleries are arranged under the their city headwordso that the reader can easily survey the major sites within a particular locality, such as New York, Boston, or Madrid. Patronage receives imaginative treatment: here, rather than focusing on a limited number of individual patrons, the Companion has entries on towns and cities as centres ofpatronage and collecting - such as Nuremberg, Dresden, or Prague. In addition, there is a novel series of entries on the critical fortunes of the art of the major European countries, covering, for example, patronage and collecting of Italian art in France, Spain, Britain, Germany and Central Europe,the USA, and in Italy itself. A further category of entry covers topics in the theory of art, such as iconography, perspective, and synaesthesia; and there is wide-ranging coverage too of art scholarship and criticism from Aristotle and Pausanius to Sartre, Panofsky, and Michel Foucault. All this issupplemented by entries on general topics as varied as reproduction, anatomy, guilds and confraternities, frames, and the conservation and restoration of paintings and sculpture. This is a work for everyone who loves art, whether actively engaged in the subject professionally or as one of the countless amateurs visting sites and cities, galleries, and exhibitions, churches, libraries, country houses, and palaces in pursuit of beauty and cultural enrichment.

"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology. Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars. Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young