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Research Tutorial Fall 2012
1. Recognize and identify major artifacts and monuments of the ancient world by period and title (and artist if known)
2. Describe, analyze, and compare major works of art from the ancient world using art historical methods such as iconographic analysis and formal analysis
3. Explain the relationship between works of art and the social, political, and religious context in which they were made
4. Draw connections between works of art from different cultures and time periods
5. Use online and library resources to locate and evaluate information relevant to the study of art history
Course Objectives: Upon successful completion of this course you will be able to
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The University of Chicago Press International Center of Medieval Arthttp://www.jstor.org/stable/767148 .
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Reading Romanesque Sculpture: The Iconography and Reception of the South Portal Sculpture at Santiago de Compostela* KAREN ROSE MATHEWS University of Colorado at Denver
Abstract
Although recent scholarship and reception theory have demonstrated the importance of audience in the actualization of meaning in images and texts, more concerted attention is necessary to understand the polyvalent iconographic readings of Romanesque sculpture. Imagery on the south portal of the cathedral of Santiago conveyed messages of ecclesiastical authority to specific audiences, namely the cathedral chapter and inhabitants of the town. The unseverable link between the cathedral of Santiago and pilgrimage, however, has caused scholars to overlook the importance of the local population as an audience for the cult of St. James and the art patronage program of the cathedral's bishop, Diego Gelmirez (1100- 1140). This paper will explore the reception of the iconogra- phy of the cathedral's south portal by various audiences in the twelfth century. The cathedral canons and townspeople may have responded to the imagery in a manner diametrically op- posed to the prescribed reading of this sculptural ensemble commissioned by the bishop. The audiences' multiple readings, mis-readings, and non-readings of the south portal imagery demonstrate the indeterminacy inherent in the iconography of Romanesque sculpture and highlight the importance of the di- alectical relationship between production and reception to its understanding.
For centuries Santiago de Compostela has been famed for its connection to pilgrimage1 (Fig. 1). The Liber Sancti Iacobi or Codex Calixtinus, the medieval text centered on the cult of St. James and the pilgrimage to his church, depicts the pilgrims visiting Santiago as a devout, enthusiastic, and thor- oughly satisfied audience for the cult. Recent studies, how- ever, have begun to analyze the central role played by other social groups in the orchestration of James's cult in Santiago and the benefits which these other audiences hoped to derive from the booming economic enterprise of the medieval cult of saints.2
Unlike the visiting pilgrims, the local population, par- ticularly the townspeople and the cathedral canons, were ambivalent about the pilgrimage industry generated in Santi- ago by their ambitious bishop, Diego Gelmirez (1100-1140). Gelmirez combined the construction of a massive new cathe- dral, the acquisition of ecclesiastical honors for himself and his church, and the implementation of religious reform to increase the flow of pilgrims, to enhance the status and dig-
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nity of his cathedral, and to present Santiago as a center of piety and pilgrimage equal to Rome.3 The canons and townspeople of Santiago were at best reluctant participants in this grandi- ose plan, and at worst Gelmirez's most trenchant opponents.4
This paper will address the local inhabitants' responses to the central artistic enterprise undertaken by Gelmirez in
GESTA XXXIX/1 @ The International Center of Medieval Art 2000 3
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Giotto di Bondone
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Evaluating Web Resources
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• You must therefore evaluate your resources to determine their validity
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1. Authority 2. Accuracy 3. Coverage 4. Objectivity 5. Currency
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Recommended Sources
• Metropolitan Museum Heilbrunn Timeline of Art History
http://www.metmuseum.org/toah/hd/iptg/hd_iptg.htm
Recommended Sources
• Artcyclopedia links to other museum resources
http://www.artcyclopedia.com/artists/giotto_di_bondone.html
Recommended Sources
• Smarthistory
http://smarthistory.khanacademy.org/st.-francis-of-assisi-receiving-the-stigmata.html
http://www.wga.hu/frames-e.html?/html/g/giotto/index.html
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Required information includes: Author or agency Title of article Site name or original source Date created and publisher Date of access URL
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Required information includes: Author or agency Title of article Site name or original source Date created and publisher Date of access URL
Melissa Hall, “Gothic Art,” Art 108 Ancient to Medieval, Fall 2012 (November 26, 2012) http://wccart108.wordpress.com/lectures/week-14-15-romanesque-and-gothic/gothic-art/
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