Kim W. Woods – författare

Renaissance Art Reconsidered showcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement. A major new anthology, bringing to life the places, works, media, and issues that define Renaissance artIdeal for use on Renaissance studies courses and for reference by students of art historyMoves beyond the borders of Italy to consider European, Mediterranean, and post Byzantine art, widening the traditional focus of Renaissance artIncludes letters, treatises, contracts, inventories, and other public documents, many of which are translated into English for the first time in this volumeShowcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement, providing crucial insight into the art and the context in which it was produced.

Renaissance Art Reconsidered showcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement. A major new anthology, bringing to life the places, works, media, and issues that define Renaissance artIdeal for use on Renaissance studies courses and for reference by students of art historyMoves beyond the borders of Italy to consider European, Mediterranean, and post Byzantine art, widening the traditional focus of Renaissance artIncludes letters, treatises, contracts, inventories, and other public documents, many of which are translated into English for the first time in this volumeShowcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement, providing crucial insight into the art and the context in which it was produced.

Speaking Sculptures in Late Medieval Europe explores medieval sculptors’ motif of the open mouth. The speech mode, as it is called in this book, is more than an illusionistic device or an affective ploy to foster the emotional response of the viewer. Here it is shown to have a deeper significance as an agent of engagement and persuasion. Through the evocation of sound, speaking sculptures fostered imaginatively an aural relationship between the sculpture and the viewer.Exploring a wide range of geographies, this work demonstrates that the speech mode in sculpture was not an isolated phenomenon but a familiar device in many areas of Late Gothic Europe. By highlighting 14th-, 15th- and early 16th-century examples, as well as key 13th-century precedents, Speaking Sculptures in Late Medieval Europe explores the uses and purposes of this silent rhetoric, and the agency it implies within the period eye and the period ear of pre-Reformation Catholic Europe.