Bøger af Andrew Griebeler

"This book traces the history of botanical illustration in the premodern Mediterranean from antiquity to the early modern period. By examining Greek, Latin, and Arabic botanical inquiry in this early era, Andrew Griebeler shows how diverse and sophisticated modes of plant depiction emerged and ultimately gave rise to many practices now recognized as central to modern botanical illustration. The material is remarkable and varied, and the author draws on a vast range of manuscript material across Europe and the Mediterranean, over a long span of time. Lavishly illustrated, Botanical Icons assembles ample evidence for a dynamic and critical tradition of botanical inquiry and nature observation in the late antique and medieval Eastern Mediterranean. The author reveals how many of the critical practices characteristic of modern botanical illustrations and manuscript culture actually appear in premodern manuscripts. Consequently, he demonstrates that the distinctions between pre- and early modern botanical illustration center more on the advent of print, and the narrowing of the range of accepted forms of illustration, than on the novel invention of critical and observational practices exclusive to modernity. Griebeler's emphasis on continuity, intercultural collaboration, and the gradual transformation of Mediterranean traditions of critical botanical illustration persuasively counters previously prevalent narratives of rupture and Western European exceptionalism in the histories of art and sciences"--

This volume explores the relationship between temporality and presence in medieval artworks from the third to the sixteenth centuries. It is the first extensive treatment of the interconnections between medieval artworks' varied presences and their ever-shifting places in time. The volume begins with reflections on the study of temporality and presence in medieval and early modern art history. A second section presents case studies delving into the different ways medieval artworks once created and transformed their original viewers' experience of the present. These range from late antique Constantinople, early Islamic Jerusalem and medieval Italy, to early modern Venice and the Low Countries. A final section explores how medieval artworks remain powerful and relevant today. This section includes case studies on reconstructing presence in medieval art through embodied experience of pilgrimage, art historical research and museum education. In doing so, the volume provides a first dialog between museum educators and art historians on the presence of medieval artifacts. It includes contributions by Hans Belting, Keith Moxey, Rika Burnham and others.