Items
Details
Title
Gothic sculpture / Paul Binski.
Author
Binski, Paul, author.
ISBN
0300241437 (hardcover)
9780300241433 (hardcover)
9780300241433 (hardcover)
Published
New Haven, Connecticut : Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, [2019]
Language
English
Description
vii, 287 pages : illustrations ; 27 cm
Call Number
NB180 .B558 2019
Dewey Decimal Classification
734.25
Summary
In 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.
Note
In 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.
Bibliography, etc. Note
Includes bibliographical references and index.
Record Appears in
On-Campus Resources > Books
All Resources
All Resources
Table of Contents
Acknowledgments
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.
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.