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Versions of Pygmalion in
the Illuminated Roman de
la Rose (Oxford, Bodelian
Library, Ms. Douce 195):
The Artist and the Work
of Art
Marian Bleeke
Ms. Douce 195, a late fifteenth-century copy of the
Roman de la Rose, contains an unusual sequence of nine
images for the poems Pygmalion digression, the work
of the illuminator Robert Testard. This paper focuses
on differences between the story of Pygmalion as it is
told in the text of the Rose and in Testards miniatures.
Building on scholarship on the Rose that sees the
Pygmalion digression along with the poems Narcissus
episode as the poets reflections on poetry itself, and
on representations of images and the use of frames
in miniatures throughout Ms. Douce 195, the paper
argues that the Pygmalion sequence likewise represents
Testards reflections on the changing status of the artist
and the work of art.
Marian Bleeke is Assistant Professor of Art History at Cleveland State
University. Her other publications include Sheelas, sex, and significance
in Romanesque sculpture: The Kilpeck Corbel Series, Studies in
Iconography, 26, 2005, and George Petrie, the ordnance survey, and
nineteenth-century constructions on the Irish past, in Medieval Art
and Architecture after the Middle Ages (Cambridge Scholars
Press, 2009).The present essay represents the beginning of a project on
representations of sculptures in medieval manuscript illuminations.
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Matthew Bowman lectures in Contextual Studies at Colchester Institute and
works for Arts on 5 at the University of Essex. His interests are focused on the
relationship between art criticism and art history, and notions of temporality, and
he is a co-founding editor of Rebus: Journal of Art History and Theory.
Richard Thomson holds the Watson Gordon Chair of Fine Art at the University
of Edinburgh. Founding director of theVisual Arts Research Institute Edinburgh,
he was Slade Professor at the University of Oxford in 2009. He is a specialist on
late-nineteenth-century French art.
Sarah Monks is a lecturer in Art History at the University of East Anglia,
specialising in British art of the eighteenth and nineteenth centuries. She recently
completed a book on the representation of the sea in British art.
Keith Moxey is Ann Whitney Olin Professor of Art History at Barnard College
and Columbia University in NewYork. He has published extensively on the
historiography and philosophy of art history, as well as on sixteenth-century
painting and prints in Northern Europe.
Kallirroe Linardou lectures on Byzantine Art in the Department of Theoretical
Studies on Art, at Athens School of Fine Arts. She has published on the
relationship between images and texts in byzantine illuminated manuscripts and
co-edited a book on Byzantine Studies.
Gerard Foekema studied physics in Amsterdam. His interest in the architectural
history of India has resulted in two large monographs on Indian temples.
In 2003, he obtained a PhD in Art History from Leiden University.
Aris Sarafianos teaches art history at Ioannina University in Greece. He has been
a research fellow at the University of Manchester, the Huntington Library, and
UCLAs Center for Seventeenth- and Eighteenth-Century Studies. His work on
art, literature, and the life sciences has appeared in Representations, Art
Bulletin, and Journal of the History of Ideas.
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Medieval Armenian
Rulership in Context
Kallirroe Linardou
Between Islam and Byzantium: Aghtamar and the
Visual Construction of Medieval Armenian Rulership
by Lynn Jones, Aldershot: Ashgate, 2007, ixvi + 144
pp., 46 b. & w. illus., 55.00
185
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1 Church of the Holy Cross,Aghtamar Island, Lake Van,Turkey, tenth century. Photo Paul Magdalino.
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