Feminae: Medieval Women and Gender Index


7 Record(s) Found in our database

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1. Record Number: 11456
Author(s): Tilghman, Carla.
Contributor(s):
Title : Giovanna Cenami's Veil: A Neglected Detail [The author analyzes the woman's veil in Van Eyck's "Wedding of Arnolfini." Evidence in other artworks suggests that this ruffled veil had its heyday in the mid-to-late fourteenth century. In 1434 Van Eyck may have used the old fashioned veil to signal a ceremonial occasion in which the betrothed young woman by her headress and clothing conveyed dignity and a prosperous social status. Tilghman wove some linen samples to determine the best methods for making ruffled edges. The veil would have had to be a single length without seams approximately six yards long. It would probably have been a specialty item and would have been costly. Tilghman speculates that it might have been a family treasure passed down to Giovanna Cenami. Title note supplied by Feminae.].
Source: Medieval clothing and textiles. Vol. 1.   Edited by Robin Netherton and Gale R Owen-Crocker .   Boydell Press, 2005.  Pages 155 - 172.
Year of Publication: 2005.
2. Record Number: 12272
Author(s): Zeman, Georg.
Contributor(s):
Title : Eine altniederländische Silberstiftzeichnung und ihre Bedeutung für Jan van Eycks Dresdner Marienaltar [The author explains the relationship between van Eyck's drawing "Madonna with Child" (Leipzig) and the triptych Altar of St. Mary (Dresden), suggesting a draft drawing. Title note supplied by Feminae.].
Source: Zeitschrift für Kunstgeschichte , 65., 1 ( 2002):  Pages 91 - 104.
Year of Publication: 2002.
3. Record Number: 14835
Author(s): Hamburger, Jeffrey.
Contributor(s):
Title : Seeing and Believing: The Suspicion of Sight and the Authentication of Vision in Late Medieval Art [Late medieval art and visionary theology both reveal an ambivalence about the role of corporeal sight in religion. A desire for direct vision of the divine was coupled with skepticism about claims to bodily sight. Images that aped bodily experience, especially in Flemish art, also gave some theologians cause for concern. Title note supplied by Feminae.].
Source: Imagination und Wirklichkeit: Zum Verhältnis von mentalen und realen Bilder in der Kunst der frühen Neuzeit.   Edited by Alessandro Nova and Klaus Krüger .   Von Zabern, 2000. Zeitschrift für Kunstgeschichte , 65., 1 ( 2002):  Pages 47 - 70.
Year of Publication: 2000.
4. Record Number: 3954
Author(s): Gifford, E. Melanie.
Contributor(s):
Title : Van Eyck's Washington "Annunciation" : Technical Evidence for Iconographic Development
Source: Art Bulletin (Full Text via JSTOR) 81,1 (March 1999): 108-116. Link Info
Year of Publication: 1999.
5. Record Number: 3955
Author(s): Purtle, Carol J.
Contributor(s):
Title : Van Eyck's Washington "Annunciation" : Narrative Time and Metaphoric Tradition
Source: Art Bulletin (Full Text via JSTOR) 81,1 (March 1999): 117-125. Link Info
Year of Publication: 1999.
6. Record Number: 9548
Author(s): Gaggi, Silvio.
Contributor(s):
Title : The Tie that Binds: "Arnolfini's Wedding" and Ideology [Van Eyck's painting has been interpreted as legal documentation of a consensual marriage. The artist's signature is documentary in nature. Although portraits had no evidentiary value in law, Van Eyck depicted the values of merchants who tried to reconcile religion with their focus on property transactions. Title note supplied by Feminae.].
Source: Word and Image , 8., 4 (October-December 1992):  Pages 344 - 350.
Year of Publication: 1992.
7. Record Number: 12745
Author(s): Harbison, Craig.
Contributor(s):
Title : Sexuality and Social Standing in Jan van Eyck's Arnolfini Double Portrait [The painting of Giovanni Arnolfini and his wife Giovanna Cenami depict the couple holding hands while standing in the bedroom, but the rest of the iconography and inscriptions throughout the image do not necessarily suggest that the double portrait is the visual equivalent of a marriage certificate or contract. The visual representation of husband and wife (including gestures and iconography) is instead a more generalized image of marriage that reflects the importance of fertility and defined sexual roles for men and women. Furthermore, the artist's detailed depiction of domestic space projects the social status, courtly aspirations, and religious values of the merchant class Arnolfini couple. Title note supplied by Feminae.].
Source: Renaissance Quarterly , 43., 2 (Summer 1990):  Pages 249 - 291.
Year of Publication: 1990.