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He was a rich source of inspiration in all three faiths for artists of the medieval period. His life narrative from birth to death is richly recorded in a variety of media dating from the early Christian period to the end of the sixteenth century. As varied as they are numerous, the images in all three faiths show Abraham as father, husband, lover, warrior, politician, refugee, and traveler but most importantly as the symbol par excellence of steadfastness in faith. Featuring the extensive files from the Index of Christian Art, this volume also includes contributions from The Bezalel Narkiss Index of Jewish Art by Ariella Amar and Michel Sternthal and a catalogue of Islamic imagery compiled by Rachel Milstein.\u003c\/p\u003e \u003cp\u003eThis is the first volume from the Index of Christian Art to include not only images from the rich Christian holdings but also from Judaism and Islam. 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Even though this division was initially applied to Italian art, it was not long before it gained more widespread currency. All of the other arts--such as ivory carving, glass, enamels, and goldsmiths' work--were lumped together into a secondary group that took on pejorative associations, especially in the eighteenth and nineteenth centuries. Other labels have been used over time to describe these minor arts, and we have spoken of them as the decorative, applied, ornamental, luxury, sumptuous, or even mechanical arts. This collection explores the way in which these minor arts have fought back to gain wider acceptance in our holistic approach to studying the arts of the Middle Ages. No longer considered secondary, they are now firmly incorporated into our studies. This collection, written by some of the most eminent scholars in the field, looks at minor media from a historiographical perspective and shows how they are gaining wider acceptance.\u003c\/p\u003e \u003cp\u003eThe contributors are David S. Areford, Brigitte Bedos-Rezak, Frédéric Billiet, Paul Binski, John Cherry, Michael W. Cothren, Thomas E. Dale, Sharon Gerstel, Cynthia Hahn, Jos Koldeweij, Welleda Muller, Alan M. 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This catalogue documents the occurrence of the Virtues and Vices in well over 1,000 works of art produced between the fifth and the fifteenth centuries.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":50277592138001,"sku":"GOR010656448","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":52816531947793,"sku":"CIN0691050376VG","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0691050376.jpg?v=1751394218"},{"product_id":"insular-and-anglo-saxon-art-and-thought-in-the-early-medieval-period-book-colum-hourihane-9780983753704","title":"Insular and Anglo-Saxon Art and Thought in the Early Medieval Period","description":"\u003cp\u003eCovering the arts of Ireland and England with some incursions onto mainland Europe, where the same stylistic influences are found, the terms \"Insular\" and \"Anglo-Saxon\" are two of the most problematic in medieval art history. Originally used to define the manuscripts of ninth- and tenth-century Ireland and the north of England, \"Insular\" is now more widely applied to include all of the media of these and earlier periods. It is a style that is closely related to the more narrowly defined Anglo-Saxon. Stretching from the sixth or seventh centuries possibly to the late eleventh century, these styles are two of the most innovative of the Middle Ages. The studies in this volume, which were undertaken by some of the most eminent scholars in the field, highlight the close interaction between the two worlds of Ireland and England in the early medieval period. Studies deal with topics as diverse as the Books of Kells and Durrow, the high cross, reliquaries, and shrines as well as issues of reception, liturgy, color, performance, and iconography.\u003c\/p\u003e \u003cp\u003eThe contributors are Herbert R. Broderick III, Michelle P. 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The study of the organisation and schools of masonry and the typology of marks, is followed by a comprehensive catlogue with illustrations of the marks.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51236873535761,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51236873863441,"sku":"NIN9781841711324","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52456406548753,"sku":"NLS9781841711324","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1841711322.jpg?v=1750767147"},{"product_id":"patronage-power-and-agency-in-medieval-art-book-colum-hourihane-9780983753742","title":"Patronage, Power, and Agency in Medieval Art","description":"\u003cp\u003eAlthough the concept of patronage has long been central to medieval studies, it is still not well understood. In order to identify the person or institution responsible for the work, scholars have attempted to impose principles across a broad range of works to which they may or may not apply. In many cases this has prevented a full understanding of the work. As the essays in this volume demonstrate, the key to understanding patronage is to realize that a variety of contexts and situations may exist that prevent one definition from being imposed. The concept of patronage relates to issues such as gender, social and economic history, as well as the world of politics, and the many possible roles of the patron can range from paying for the work to designing it to using it. But we do not know what input the artist had, or how influential he or she may have been. 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Stretching in time from the early thirteenth to the middle of the sixteenth century and in space from the western shores of Ireland to the eastern borders of Europe, it is a style with many subdivisions and dialects. These papers--the fruits of a two-day conference at Princeton University--bring together some of the foremost scholars in the field and celebrate Willibald Sauerländer, the doyen of Gothic studies. Covering a variety of media, from glass to manuscripts to ivories, and all of Europe, they deal with such issues as reception, methodology, nationalism, and scholasticism as well as historiography. Accompanying these studies are some innovative iconographical papers on topics as diverse as the Miracle at Cana and Synagoga and Ecclesia.\u003c\/p\u003e \u003cp\u003eThe contributors are Michelle P. Brown, Caroline Bruzelius, Madeline H. Caviness, Danielle Gaborit-Chopin, Charles T. 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Drawing upon the expansive scholarship in the celebrated Grove Dictionary of Art and adding hundreds 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 field of 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 the development of the arts in major regions. 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