".A marker of the shared enterprise of the contributors to this volume was their formation of the common goal, that of producing a work that was not simply an accumulation of evidence for feminine agency in the making of medieval art, but a step towards an understanding of the way the study of women as “makers” can produce meaning, and be understood in the larger context of making art in the Middle Ages. Rodrigues, Jane Tibbetts Schulenburg, Stefanie Seeberg, Miriam Shadis, Ellen Shortell, Loretta Vandi, and Nancy L. Katz, Katrin Kogman-Appel, Pierre Alain Mariaux, Therese Martin, Eileen McKiernan González, Rachel Moss, Jenifer Ní Ghrádaigh, Felipe Pereda, Annie Renoux, Ana Maria S. Carroll, Nicola Coldstream, María Elena Díez Jorge, Jaroslav Folda, Alexandra Gajewski, Loveday Lewes Gee, Melissa R. Here twenty-four scholars examine secular and religious art from across medieval Europe to demonstrate that a range of studies is of interest not just for a particular time and place but because, from this range, overall conclusions can be drawn for the question of medieval art history as a whole.Ĭontributors are Mickey Abel, Glaire D. At times this denotes the individual whose hands produced the work, but it can equally refer to the person whose donation made the undertaking possible. Today’s standard division of artist from patron is not seen in medieval inscriptions-on paintings, metalwork, embroideries, or buildings-where the most common verb is 'made' ( fecit). These volumes propose a renewed way of framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women.
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