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000889954 010__ $$a  2018955380
000889954 019__ $$a1102474015
000889954 020__ $$a0300241437$$q(hardcover)
000889954 020__ $$a9780300241433$$q(hardcover)
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000889954 035__ $$a889954
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000889954 050_4 $$aNB180$$b.B558 2019
000889954 08204 $$a734.25$$223
000889954 1001_ $$aBinski, Paul,$$eauthor.
000889954 24510 $$aGothic sculpture /$$cPaul Binski.
000889954 264_1 $$aNew Haven, Connecticut :$$bPublished for the Paul Mellon Centre for Studies in British Art by Yale University Press,$$c[2019]
000889954 300__ $$avii, 287 pages :$$billustrations ;$$c27 cm
000889954 336__ $$atext$$btxt$$2rdacontent
000889954 336__ $$astill image$$bsti$$2rdacontent
000889954 337__ $$aunmediated$$bn$$2rdamedia
000889954 338__ $$avolume$$bnc$$2rdacarrier
000889954 504__ $$aIncludes bibliographical references and index.
000889954 5050_ $$aAcknowledgments -- Introduction -- Part I Stone -- 1 Occasion and agency -- 2 Figure and affect -- 3 Eulogy and technique -- Part II Wood, flesh and bone -- 4 Material, style, representation -- 5 The poetics of material -- 6 The wild and the dead -- Epilogue -- Notes -- Bibliography -- Photograph credits -- Index.
000889954 5208_ $$aIn this beautifully illustrated study, Paul Binski offers a new account of sculpture in England and northwestern Europe between c. 1000 and 1500, examining Romanesque and Gothic art as a form of persuasion. Binski applies rhetorical analysis to a wide variety of stone and wood sculpture from such places as Wells, Westminster, Compostela, Reims, Chartres, and Naumberg. He argues that medieval sculpture not only conveyed information but also created experiences for the subjects who formed its audience. Without rejecting the intellectual ambitions of Gothic art, Binski suggests that surface effects, ornament, color, variety, and discord served a variety of purposes. In a critique of recent affective and materialist accounts of sculpture and allied arts, he proposes that all materials are shaped by human intentionality and artifice, and have a "poetic." Exploring the imagery of growth, change, and decay, as well as the powers of fear and pleasure, Binski allows us to use the language and ideas of the Middle Ages in the close reading of artifacts.
000889954 650_0 $$aSculpture, Gothic.
000889954 650_0 $$aSculpture, Gothic$$zEngland.
000889954 650_0 $$aSculpture, Medieval.
000889954 650_0 $$aChurch architecture$$zEngland.
000889954 650_0 $$aChurch architecture$$zEurope.
000889954 85200 $$bgen$$hNB180$$i.B558$$i2019
000889954 909CO $$ooai:library.usi.edu:889954$$pGLOBAL_SET
000889954 980__ $$aBIB
000889954 980__ $$aBOOK