Published in conjunction with an exhibition at the Royal Academy of Arts, London 1987 from November 6 1987 to March 6 1988.

Age of Chivalry: Art in Plantagenet England 1200-1400

History

PAUL BINSKI

Jonathan Alexander

Europe

Orion Publishing Co

Westminster Abbey and the Plantagenets. Kingship and the Representation of Power 1200 - 1400

Yale University Press for the Paul Mellon Centre for Studies in British Ar

Medieval Death: Ritual and Representation, by Paul Blinski

MEDIEVAL DEATH (PAPERBACK)

BRITISH MUSEUM

Medieval churches glowed with the colours of painted walls, altarpieces, and screens. Although much of this art has been lost, enough survives to illuminate this fascinating account of the methods and motivation of the medieval painter.
Within the Church, the painters worked to illustrate doctrine as well as to beautify God's house, but as the medieval economy prospered they translated their skills to the adornment of domestic architecture too. Combining documentary evidence with a study of surviving paintings, the author is able to reconstruct in detail the processes involved in creating the works of art. He also examines who the painters were, how they chose their images, and the social and economic background to their creativity.

Painters (Medieval Craftsmen)

Arts & Photography

History & Criticism

University of Toronto Press

If you have only the slightest of interest in the decoration of Medieval Manuscripts you should be planning a visit to Cambridge before the end of the year; actually before December 11th, for that is when this most fantastic of exhibitions closes. Prompted perhaps by the recent acquisition of the newly discovered Macclesfield Psalter, the University has assembled the best of its manuscripts and those of its colleges in a double exhibition, partly in the Fitzwilliam Museum and partly in the University Library. There, in suitably subdued lighting, the Illuminations of the Middle Ages shine brightly forth - the skilful handiwork of master craftsmen-artists spanning a thousand years. The manuscripts range from the Gospels that Augustine brought with him to Canterbury at the end of the sixth century to the letters patent, writs and charters issued to the University and its Colleges by the later Medieval and Tudor monarchs. It is a breathtaking collection. The manuscripts and the catalogue are cleverly arranged thematically according to their contents and function: The Coming of Christianity, The Bible and its Study, Liturgy and the Offices, Private Devotion, Humanistic manuscripts, and so on, and chronologically within each section. What do I mention next? Will my favourites be yours? The vivid coloured drawings in the Eadwine Psalter, the intense blues and greens of the Bury Bible, countless lively and intricate miniatures in Books of Hours and Psalters, many with floriated backgrounds to inspire William Morris, or Athelstan presenting a book to Saint Cuthbert; and there are musical and scientific and zoological illuminations; and a fine picture of Tully; and, of course, the Macclesfield Psalter itself. The Macclesfield Psalter is Cambridge's latest spectacular acquisition; and it has a room to itself. Described as "the most important medieval illuminated manuscript found in Britain in living memory" it was written and illuminated in East Anglia about 1330. Its illumination is a combination of refined beauty and ribald humour, all depicted in glowing gold and rare pigments. The Psalter has been taken apart which allows the leaves to be displayed separately, and a large number of illuminations to be viewed in the exhibition hence the gallery to itself. It is a once-in-lifetime opportunity to see so much of this spectacular manuscript at one time. This catalogue is filled with authoritative descriptions by Paul Binski, Rosamund McKitterick, Teresa Webber, Nigel Morgan, Jonathan Alexander, Christopher de Hamel, Nicolas Rogers and Stella Panayotova.

The Cambridge Illuminations: Ten Centuries of Book Production in the Medieval West (Studies in Medieval And Early Renaissance Art History)

S Panayotova

Collections, Catalogs & Exhibitions

Harvey Miller

The Westminster Retable, now in the Museum of Westminster Abbey, is widely acknowledged to be one of the central masterpieces of late 13th-century European art. Its importance has been enhanced after its conservation by the Hamilton Kerr Institute, completed in 2005, and exhibition at the National Gallery. Yet the fate of the Retable - both historically and in the literature - has been haphazard: no proper monograph has ever been devoted to it. This book offers as full as possible an account of the art history of the Retable, and publishes the data that emerged from the conservation in a form appropriate to the very high levels of investigation involved. The conservation has added greatly to our knowledge of the panel's history, date, function and manufacture. The consensus is that the Retable was the high altarpiece of Henry III's Abbey church, in place for the dedication in 1269. The wide-ranging conclusions will be of great interest to the community of scholarship of medieval panel painting and art generally. Its contributors are the leading experts in the field. The plan falls into four parts, following a synopsis and general introduction: Art History; History and Historical Treatments; Manufacture, Technical Analysis, Treatment; Documentation.

The Westminster Retable: History, Technique, Conservation (PAINTING AND PRACTICE)

Harvey Miller Publishers

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Books by PAUL BINSKI