5 edition of Sienese Altarpieces, 1215-1460: Form, Content, Function found in the catalog.
Sienese Altarpieces, 1215-1460: Form, Content, Function
H. W. Van Os
by John Benjamins Pub Co
Written in English
|The Physical Object|
|Number of Pages||261|
Andrea di Bartolo (painter) Sienese, active from - died Christ on the Cross [reverse] c. / tempera on panel painted surface: 30 × cm (11 13/16 × 7 5/16 in.). here considered as together they form the ‘devotional.’ 6 The focus of van Os’s research has been on the development and function of altarpieces, particularly in Siena. See his Sienese Altarpieces – Form, Content, and Function (Groningen: Egbert Forsten, ).Author: Lesley T Stone.
The Beheading of Saint John the Baptist depicts the henchmen of Queen Herodias placing his head on a golden platter. The execution has just occurred; blood spews profusely from the elongated neck of the saint. Sienese Altarpieces, Form, Content, Function, vol. 2, (Groningen, ), pp. 89, n. from a Book of. Since the early s, a great deal of literature has been written on the altarpiece as a format and on its function as a liturgical object. (5) The last twenty years of research have focused on the altarpiece as a type that is defined by its function, and that function is in turn conditioned by our understanding of the users.
The painting shows the Madonna seated frontally on an elaborate, curved, two-tier, wooden throne of circular plan.  She is supporting the blessing Christ child on her left arm according to the iconographic tradition of the Hodegetria.  Mary is wearing a red mantle over an azure dress. The Adoration of the Shepherds Bartolo di Fredi Italian Once the central panel of an altarpiece, this painting simultaneously depicts the Adoration of the Christ Child and the Annunciation to the Shepherds, shown in the upper right.
Letters from the Peace
history of Restoration drama, 1660-1700
A journal of the three months royal campaign of His Majesty in Ireland
Whirlwind is a ghost dancing
Seed set and the proportion of progeny due to self-fertilization in a Douglas-fir seed orchard
Care of the Mentally Handicapped
Police forces in the European Union
Integrating into the French sector
Soviet conduct in world affairs.
The face of trespass
vintage collection of typefaces, initials, ornaments and borders made between the years 1920-1935 and now available as reproduction proofs.
Evening in Spring
Mystical and mythological explanatory works of Assyrian and Babylonian scholars.
: Sienese Altarpieces, Form, Content, Function: (Mediaevalia Groningana, Fasciculus 4) (English and Swedish Edition) ( Get this from a library. Sienese altarpieces, Sienese Altarpieces, content, function. [H W van Os]. Sienese Altarpieces, v. 1 by Henk Van OS,available at Book Depository with Content delivery : Henk Van OS.
Sienese altarpieces, form, content, function / Vol. Function book, / with a contribution by Kees van der Ploeg 'on architectural and liturgical aspects of Siena Cathedral in the middle ages' ; [transl.
from the Dutch by Michael Hoyle]. Get this from a library. Sienese alterpieces form, content, function. [H W van Os; Gail Aronow]. Os, H. van.Sienese altarpieces, form, content, function / Henk van Os ; [translated into English by Michael Hoyle] Bouma's Boekhuis Groningen Wikipedia Citation Please see Wikipedia's template documentation for further citation fields that may be required.
Sienese Altarpieces, Form, Content, Function. Vol 1: Sienese Altarpieces, Form, Content, Function. Vol 1: (シエナの祭壇画、：フォーム、コンテンツ、機能。第1巻：). Buy Sienese Altarpieces, v. 1: Form, Content, Function New edition by Os, Henk van (ISBN: ) from Amazon's Book Store.
Everyday low prices and free delivery on eligible : Henk van Os. The Miraculous Communion of Saint Catherine of Siena. as was traditional in Sienese altarpieces, but of these there is no record.
All of the small panels were subsequently purchased in Siena by the German painter and collector, J. Ramboux, in (Merzenich ). – Form, Content, Function. Vol. 2, – Groningen. Perhaps the best-known of these studies is van Os's two-volume work, Sienese Altarpieces,13 which was concerned with understanding the imagery of Sienese Form, Content, Function, Medievalia Groningana 4 and 9 (Groningen, ).
Altarpieces altarpieces in the light of their context and function. In the first volume van Os. 1 Henk van Os, Sienese Altarpieces, – Form, Content, Function (Groningen: Bouma’s Boekhuis, ); Peter Humfrey, The Altarpiece in Renaissance Venice (New Haven: Yale University Press, ); Judith Berg Sobré, Behind the Altar Table: The Development of the Painted Retable in Spain, – (Columbia: University of Missouri.
Sienese Altarpieces, – Form, Content, Function. Vol. 2, – Groningen,pp. 83–84, fig. 69, sees the influence of Sassetta in the asymmetrical music-making angels, and that of Gentile da Fabriano in the mantle with dotted lining and brocade dress of the Madonna.
Katharine Baetjer. Search the catalogue for collection items held by the National Library of Australia. The Ghent altarpiece and the art of Jan van Eyck Princeton University Press Princeton, Sienese altarpieces, form, content, function / Henk van Os.
According to Os (), the main panel would have been flanked by two large standing saints, as was traditional in Sienese altarpieces, but of these there is no record. All of the small panels were subsequently purchased in Siena by the German painter and collector, J.
Ramboux, in (Merzenich ). Sienese Altarpieces – form, content, function –, Mediaevalia Groningana 9, Bouma Boejhuis, Groningen Ousterhout, R ‘Temporal structuring in the Chora Parekklesion’, Gesta, 34, 63 – 76Cited by: 2.
Sienese AltarpiecesForm, Content, Function, Vol. I: by Henk van Os (pp. ) Review by: Ellen Callmann.
Title: Architectural and Liturgical Apects of Siena Cathedral in the Middle Ages: Published in: Sienese Altarpieces Form, Content, Function, vol. 1:- Author: Kees van der Ploeg, H.W.
van Os. Sienese Altarpieces, – Form, Content, Function. Vol. 2, – Groningen,pp. 48–50, 53, nn. 32, 34, figs. 23 (obverse), 24 (reverse), doubts that the female saint is Monica. Jill Dunkerton et al.
Giotto to Durer: Early Renaissance Painting in the National Gallery. New Haven,p. fig. 25a, state that it is. ‘ Altarpieces in Italy in the thirteenth century ’, Institutum Romanum Norwegiae: Acta et Archaeologiam et Artium Historium Pertinentia, 11, 37 – 45 Meiss, M Painting in Florence and Siena after the Black Death: The Arts, Religion, and Society in the Mid-Fourteenth Century, Princeton, N JCited by: 2.
On the compositional scheme prescribed for altarpieces in Siena Cathedral, beginning with that of Sant’Ansano painted by Simone Martini (Sienese, active from ; died ) and Lippo Memmi (Sienese, active /) in (now in the Uffizi, Florence) and continuing through the fourteenth century, see Kavin Frederick, “A Program of.
Henk van Os, Sienese AltarpiecesGroningen, and ; Donal Cooper, “Franciscan Choir Enclosures and the Function of Double-Sided Altarpieces in Pre-Tridentine Umbria”, Journal of the Warburg and Courtauld Institutes,  No.€, Fogg Art Museum, Cambridge, MA.
Hendrik W. van Os, Sienese Altarpieces – Form, Content, Function, vol.€1, – (Groningen, ), 85–87, recognized the painting as the central panel of the San Vittore altarpiece in Siena Cathedral. Van Os identified its laterals in two panels, one.