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Joan A. HOLLADAY (University of Texas at Austin)
Andreas BRÄM (University of Freiburg)
Béla Zsolt SZAKÁCS
 
PUBLIC LECTURES
  Wednesday, 19 April, 2006

JOB SEARCH - Part-time Teaching position in Medieval Art History

Gellner Room

 




9:00 - 9:15
Members of the Search Committee meet all applicants

9:15 - 10:00
Andreas Bräm - lecture

10:00 - 10:45
Béla Zsolt Szakács - lecture

10:45 - 11:30
Joan A. Holladay - lecture
Joan A. HOLLADAY (University of Texas at Austin)


Edward I and the Structure of the Past
English Royal Genealogies and the Claim to Scotland



Since the 1970s scholars of literature and historians have studied the development and roles of textual genealogies in medieval political and social thought; indeed one historian has noted the medieval “tendency . . . to see areas of feeling and experience through kinship colored glasses.” Yet art historians have hardly examined the prevalence, variety, and functions of genealogical diagrams and series that one could actually see. This talk represents part of the chapter of a book-in-progress devoted to visual representations of genealogy.

The majestic vertical chart known as Bodley Rolls 3 (Oxford, Bodleian Library, Bodley Rolls 3) forms the focus of this talk. Nearly five meters long, Bodley Rolls 3 diagrams the succession of the kings of England from their mythological beginnings. After examining how the five parts of the chart invite the viewer to read them in different ways, we will turn to the issue of the contexts – political, documentary, and finally physical – in which the roll might have been used and viewed. I support and further develop the traditional suggestion that relates Bodley Rolls 3 to Edward I’s claim to Scotland after 1296, by looking at the divergences of the narrative and the genealogical series in the first parts of the role from their textual sources, the nature of the compilation, and the exact format of the family tree at the end. An earlier, more modest type of genealogical roll, hardly noticed in the scholarly literature, can, I argue, also be associated with English claims to Scotland.




Andreas BRÄM (University of Freiburg)


Romanesque Artists: Some considerations about their legs

Artists of the Romanesque period are sometimes pictured with crossed legs. I would like to show - through a representative corpus of examples - who actually crosses his legs when sitting, and in doing
so, I hope to list some clues towards the decipering of the different meanings that the pose might convey. In the second part, I shall try to relate actual portraits of artists who pose with their crossed legs with Theophilus’ treatise on diverse arts, and to suggest some explanations to the phenomenon.



Béla Zsolt SZAKÁCS


Painted Saints in Courtly Service: Legitimacy and Artistic Patronage in Late Medieval Hungary

The ideal image of Ladislas, the holy ruler and knightly saint, was created and perpetuated by medieval Hungarian rulers to publicize their legitimate claims to the throne. The longest image cycles representing the life of St Ladislas is found in two illuminated manuscripts of the 14th century. Their iconographic analysis reveals interesting deviations from the illustrated texts; the Angevin Legendary incorporates stories from the chronicle while the Illuminated Chronicle includes legendary elements. Combining two different aspects of the same figure, the ideal image of Ladislas, the holy ruler and knightly saint, was created. Both manuscripts originated from the court of the Hungarian Anjous, who utilised the veneration of Ladislas for their legitimacy propaganda. Coins and seals demonstrate similar tendencies. The next ruler, Sigismund of Luxemburg, also facing legitimacy problems, continued the traditions of the Angevin court in his artistic patronage, however, adding new elements. Church foundations and reliquiaries attest his interest in the holy rulers, which was imitated by the Hungarian aristocracy. Wall-paintings of castle chapels and parish churches, with special attention to their architectural context and state of preservation, will illustrate this point.



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