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Visual & Performing Arts
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Analyze of Gothic Ivories
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OBJECTIVE: Define the form of a successful professional paper based upon actual papers presented in a juried publication. (A juried publication has recognized authorities in the field review articles for accuracy and originality.) Paper DUE DATE 24 FEBRUARY 2014 AT 4:00 P.M. You are responsible for a 5-page analysis of a professional art-journal article in the list below. Your paper should identify the general theme of the article, establish the main ideas and their substantiating evidence, and then discuss the organization of the paper so that you have a record of how a good idea should be presented in a published article. The double-spaced paper should have 1-1/2” margin on the left, 1” margin on the right, 1” margins top and bottom. Do not insert paragraph line breaks
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Analysis of Gothic Ivories
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Analysis of Gothic Ivories
Title of art-journal article: Meaningful Spectacles: Gothic Ivories Staging the Divine
Author and year: Guerin, Sarah M. 2013
The art-journal article is basically focusing on the history of Gothic ivories in the Catholic Church during the Middle Ages. The author provides a discussion of the mixture of micro-architecture and carved elephant ivory, how the micro-architecture worked to symbolize church’s role in eschatology, and the role of the church in accessing saints of Catholic as well as the phrase tabernaculum to denote Gothic ivories. The author continues to offer a discussion of the fame of sacrament dwellings as protecting covers for the Eucharist in France, the metaphors that are related to ivory and the Virgin Mary, as well as the relationship that King Solomon had to the metaphor. In essence, the is the strategic utilization of micro-architectural frames in consecrated and revered ivory carvings of 13th century Western Europe.
Main ideas and their substantiating evidence
The author examines the underlying principle behind the enveloping usage of microarchitectural forms on ivory carvings from the Middle Ages. In the article, the author mentions various earlier scholars and their perspectives on the subject of interest: the usage of microarchitectural frames in thirteenth century Western Europe. These earlier scholars include Ernst Gombrich and Panofsky. Referring to Gombrich, Sarah Guerin affirms that ivory diptychs were amongst the objects, which were inertly embellished and decorated with the fashionable architectural ornaments of the thirteenth century. The use of microarchitectural frames was a prevalent phenomenon during the Gothic period. The author points out that the notion of Panofsky was that the Scholastic intellectual formation did shape a mental habit which produced what is presently known as Gothic architecture. In Gothic scholasticism and architecture, Panofsky redefined the period’s aesthetic inclination and its style by essentially replacing Zeitgeist with the habit of the mind, or habitus. In looking at microarchitecture as a bearer of meaning and in assigning it a semiological role, Sarah Guerin moves away from both Gombrich and Panofsky’s stylistic discourse, and away also from the conventional discussion of microarchitecture as ornament.
In the article, ornament is defined as a facet of decoration which does not have any other purpose rather than to enhancing its carrier. Sarah Guerin asserts that to see ornament generally and especially microarchitecture as a formal aspect superfluous of a work disregards the semiotic functions of ornament and mainly concentrates on terpnopoietic aspects, that is, the pleasure-bringing attribute of ornament. The author states that examining Gothic ivories from a dissimilar viewpoint shows that a governing metaphor has formed their configuration and thereby determining their composition, format and iconography, and even integrating the materiality of ivory itself. Sarah Guerin asserts that 3-dimensional statuettes of ivory were also initially presented with microarchitectural frames. For instance, in Pisa, the Duomo commissioned a towering altar in the year 1298 from Giovanni Pisano that sheltered 2 angels and blessed Virgin ivory statuettes.
Sara Guerin states that it was amidst the mid 13th century eagerness for formulating techniques to stage the divine that Gothic ivories became known or emerged. The underlying principle behind the amalgamation of the material form of ivory with microarchitectural forms, therefore partakes in an extensive visual discourse. The author adds that in order to investigate this point, adducing works in other media is essential, such as the illuminated manuscripts that were commissioned for the royal family of France, inventive reliquaries, the structure of the Ste-Chapelle, as well as the liturgical objects which were intended to satisfy Lateran IV’s needs. The mixture of microarchitecture and ivory was an especially early innovation of the carvers of Gothic ivory. It is of note that the Soissons group of ivory triptychs and diptychs, well-known as the initial grouping of Gothic ivories dated 1...
Student:
Professor:
Course title:
Date:
Analysis of Gothic Ivories
Title of art-journal article: Meaningful Spectacles: Gothic Ivories Staging the Divine
Author and year: Guerin, Sarah M. 2013
The art-journal article is basically focusing on the history of Gothic ivories in the Catholic Church during the Middle Ages. The author provides a discussion of the mixture of micro-architecture and carved elephant ivory, how the micro-architecture worked to symbolize church’s role in eschatology, and the role of the church in accessing saints of Catholic as well as the phrase tabernaculum to denote Gothic ivories. The author continues to offer a discussion of the fame of sacrament dwellings as protecting covers for the Eucharist in France, the metaphors that are related to ivory and the Virgin Mary, as well as the relationship that King Solomon had to the metaphor. In essence, the is the strategic utilization of micro-architectural frames in consecrated and revered ivory carvings of 13th century Western Europe.
Main ideas and their substantiating evidence
The author examines the underlying principle behind the enveloping usage of microarchitectural forms on ivory carvings from the Middle Ages. In the article, the author mentions various earlier scholars and their perspectives on the subject of interest: the usage of microarchitectural frames in thirteenth century Western Europe. These earlier scholars include Ernst Gombrich and Panofsky. Referring to Gombrich, Sarah Guerin affirms that ivory diptychs were amongst the objects, which were inertly embellished and decorated with the fashionable architectural ornaments of the thirteenth century. The use of microarchitectural frames was a prevalent phenomenon during the Gothic period. The author points out that the notion of Panofsky was that the Scholastic intellectual formation did shape a mental habit which produced what is presently known as Gothic architecture. In Gothic scholasticism and architecture, Panofsky redefined the period’s aesthetic inclination and its style by essentially replacing Zeitgeist with the habit of the mind, or habitus. In looking at microarchitecture as a bearer of meaning and in assigning it a semiological role, Sarah Guerin moves away from both Gombrich and Panofsky’s stylistic discourse, and away also from the conventional discussion of microarchitecture as ornament.
In the article, ornament is defined as a facet of decoration which does not have any other purpose rather than to enhancing its carrier. Sarah Guerin asserts that to see ornament generally and especially microarchitecture as a formal aspect superfluous of a work disregards the semiotic functions of ornament and mainly concentrates on terpnopoietic aspects, that is, the pleasure-bringing attribute of ornament. The author states that examining Gothic ivories from a dissimilar viewpoint shows that a governing metaphor has formed their configuration and thereby determining their composition, format and iconography, and even integrating the materiality of ivory itself. Sarah Guerin asserts that 3-dimensional statuettes of ivory were also initially presented with microarchitectural frames. For instance, in Pisa, the Duomo commissioned a towering altar in the year 1298 from Giovanni Pisano that sheltered 2 angels and blessed Virgin ivory statuettes.
Sara Guerin states that it was amidst the mid 13th century eagerness for formulating techniques to stage the divine that Gothic ivories became known or emerged. The underlying principle behind the amalgamation of the material form of ivory with microarchitectural forms, therefore partakes in an extensive visual discourse. The author adds that in order to investigate this point, adducing works in other media is essential, such as the illuminated manuscripts that were commissioned for the royal family of France, inventive reliquaries, the structure of the Ste-Chapelle, as well as the liturgical objects which were intended to satisfy Lateran IV’s needs. The mixture of microarchitecture and ivory was an especially early innovation of the carvers of Gothic ivory. It is of note that the Soissons group of ivory triptychs and diptychs, well-known as the initial grouping of Gothic ivories dated 1...
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