| Description |
1 online resource |
| Physical Medium |
polychrome |
| Description |
text file |
| Summary |
"This book focuses on one of the most attractive yet poorly understood features of late-medieval manuscript illumination: the portrait of the book owner at prayer within the pages of her own prayer-book"-- Provided by publisher. |
| Bibliography |
Includes bibliographical references and index. |
| Contents |
Cover; Vision, Devotion, and Self-Representation in Late Medieval Art; Title; Copyright; Contents; List of Illustrations; Acknowledgments; Introduction: Self-Reflection, Devotion, and Vision in the Image of the Book Owner at Prayer; Chapter One Saving Face: The Veronica and the Visio Dei; The Veronica and Matthew Paris; Visual Prayers: Uses of the Veronica; Portrait as Proof: The Holy Face and the Visio Dei Controversy; Appendix: The Text of the "Office of Innocent III" and Ave facies praeclara; Chapter Two From Memoria to Visio: Revising the Donor. |
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Patrons, Authors, Scribes: The Visual Vocabulary of Portraiture before 1200From Authentication to Reflection: Author and Owner in the Context of Devotion; Envisioning David, Embodying Prayer; Conclusions; Chapter Three Framing Vision: The Image of the Book Owner and the Reflexive Mode of Seeing; Intimate Spectacle: The Rise of Reflexive Imagery in the Book of Hours; From the Margins to the Center: Staging Visual Devotion in the Full-Page Owner Portrait; Reflexive Portraits and Aristocratic Identity; Chapter Four Domesticating Devotion: Body, Space, and Self. |
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Spiritual Places: Portability and VisibilityBlazons: Identity, the Body, and Space; Situating the Book Owner; Conclusion: Power and the Portrait: Negotiating Gender; A Distant Mirror of Devotion; Visible Invisibility -- the Problem of Gender; Notes; Introduction Self-Reflection, Devotion, and Vision in the Image of the Book Owner at Prayer; One. Saving Face: The Veronica and the Visio Dei; Two. From Memoria to Visio: Revising the Donor; Three. Framing Vision: The Image of the Book Owner and the Reflexive Mode of Seeing; Four. Domesticating Devotion: Body, Space, and Self. |
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Conclusion. Power and the Portrait: Negotiating GenderBibliography; Manuscripts Cited; Admont, Austria; Amiens; Baltimore; Bamberg; Besançon; Brussels; Cambrai; Cambridge, England; Cologne; Darmstadt; Evreux; Lisbon; London; Longleat House, Wiltshire, England; Marseille; Metz; Munich; New Haven, Connecticut; New York; Nuremberg; Oxford; Paris; Prague; San Marino; Santa Monica; Trier; Venice; Vienna; Primary Sources; Secondary Sources; Index; Plates. |
| Local Note |
eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - North America |
| Subject |
Portraits, Medieval -- England.
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Portraits, Medieval. |
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England. |
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Portraits, Medieval -- France.
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France. |
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Women -- England -- Portraits.
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Women. |
| Genre/Form |
Portraits.
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| Subject |
Women -- France -- Portraits.
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Illumination of books and manuscripts, Medieval -- England.
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Illumination of books and manuscripts, Medieval. |
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Illumination of books and manuscripts, Medieval -- France.
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Prayer books -- England.
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Prayer books. |
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Prayer books -- France.
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| Genre/Form |
Electronic books.
|
| Subject |
Women. |
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Womyn. |
| Genre/Form |
Portraits.
|
| Other Form: |
Print version: Sand, Alexa Kristen. Vision, devotion, and self-representation in late medieval art 9781107032224 (DLC) 2013027299 (OCoLC)854512624 |
| ISBN |
9781107731950 (electronic book) |
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110773195X (electronic book) |
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9781139424769 (electronic book) |
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1139424769 (electronic book) |
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9781107032224 |
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1107032229 |
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9781107723832 |
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1107723833 |
|
