内容（「MARC」データベースより）
ファン・エイク作の画中の男女の手の身ぶりに注目、ヨーロッパ中世の結婚法と儀式、婚約の制度に関する資料を精査した上で、その同時代における意味を解明する。身ぶりの歴史文化史的な研究の有効性を問い直す意欲的研究。
Book Description
Commonly known as the "Arnolfini Wedding" or "Giovanni Arnolfini and His Bride," Jan van Eyck's double portrait, painted in 1434, is probably the most widely recognized panel painting of the fifteenth century. One of the great masterpieces of early Flemish art, this enigmatic picture has also aroused intense speculation as to its precise meaning. Edwin Hall
's accessible studyfirmly grounded in Roman and canon law, theology, literature, and the social history of the periodoffers a compelling new interpretation of this wonderful painting. Instead of depicting the sacrament of marriage, Hall argues, the painting commemorates the alliance between two wealthy and important Italian mercantile families, a ceremonious betrothal that reflects the social conventions of the time. Hall not only unlocks the mystery that has surrounded this work of art, he also makes a unique contribution to the fascinating history of betrothal and marriage custom, ritual, and ceremony, tracing their evolution from the late Roman Empire through the fifteenth century and providing persuasive visual evidence for their development. His illuminating view of Van Eyck's quintessential work is a striking example of how art continues to endure and engage us over the centuries.
--このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
's accessible studyfirmly grounded in Roman and canon law, theology, literature, and the social history of the periodoffers a compelling new interpretation of this wonderful painting. Instead of depicting the sacrament of marriage, Hall argues, the painting commemorates the alliance between two wealthy and important Italian mercantile families, a ceremonious betrothal that reflects the social conventions of the time. Hall not only unlocks the mystery that has surrounded this work of art, he also makes a unique contribution to the fascinating history of betrothal and marriage custom, ritual, and ceremony, tracing their evolution from the late Roman Empire through the fifteenth century and providing persuasive visual evidence for their development. His illuminating view of Van Eyck's quintessential work is a striking example of how art continues to endure and engage us over the centuries.--このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
From the Back Cover
"In an informed, independent and innovative interpretation, Hall argues that the meaning of this celebrated panel is as transparent as its pellucid oil surface. In the process, he successfully sweeps away much of the mystification with which other scholars have surrounded it." (Jeffrey Hamburger, Oberlin College)
--このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
--このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
About the Author
Edwin Hall is Professor of History at Wayne State University. He is the author of Sweynheym & Pannartz and the Origins of Printing in Italy: German Technology and Italian Humanism in Renaissance Rome (1991).
--このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
is Professor of History at Wayne State University. He is the author of Sweynheym & Pannartz and the Origins of Printing in Italy: German Technology and Italian Humanism in Renaissance Rome (1991).--このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。