Push Me, Pull You

Imaginative, Emotional, Physical, and Spatial Interaction in Late Medieval and Renaissance Art

Series:

Editors: Sarah Blick and Laura Gelfand
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometimes conflicted with the Church’s prescribed devotional models, and in some cases it complemented them. Artists and patrons responded to the desire for both spontaneous and sanctioned interactions by creating original ways to amplify devotional experiences. The authors included here study the provocation and the reactions associated with medieval and Renaissance art and architecture. These essays trace the impetus towards interactivity from the points of view of their creators and those who used them.

Contributors include: Mickey Abel, Alfred Acres, Kathleen Ashley, Viola Belghaus, Sarah Blick, Erika Boeckeler, Robert L.A. Clark, Lloyd DeWitt, Michelle Erhardt, Megan H. Foster-Campbell, Juan Luis González García, Laura D. Gelfand, Elina Gertsman, Walter S. Gibson, Margaret Goehring, Lex Hermans, Fredrika Jacobs, Annette LeZotte, Jane C. Long, Henry Luttikhuizen, Elizabeth Monroe, Scott B. Montgomery, Amy M. Morris, Vibeke Olson, Katherine Poole, Alexa Sand, Donna L. Sadler, Pamela Sheingorn, Suzanne Karr Schmidt, Anne Rudloff Stanton, Janet Snyder, Rita Tekippe, Mark Trowbridge, Mark S. Tucker, Kristen Van Ausdall, Susan Ward.
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Biographical Note

Sarah Blick, Ph.D. (1994) in Art History, University of Kansas, is Professor of Art History at Kenyon College. Her research focuses on medieval pilgrimage art and English parish churches. She is editor-in-chief of Peregrinations: Journal of Medieval Art and Architecture.

Laura D. Gelfand, Ph.D. (1994) in Art History, Case Western Reserve University, is Professor of Art History at The University of Akron. She has published widely on the art and architecture of the Northern Renaissance with a particular focus on reception.

Review Quotes

‘’The articles in this anthology represent both well-worn and novel ideas that the authors put to the test in their studies. The variety of subjects and methodologies, as well as each contributor’s conclusions, creates a nicely inclusive model of scholarly inquiry. As such, the project is an excellent example of the types of collaborative scholarship many are now turning to in an attempt to build a more complex understanding of the late middle ages and the early modern period. The matrix assembled here is rich and interesting, and Push Me, Pull You is a welcome addition to the ongoing discourse on lay piety and the role of devotional images, spaces, and objects in late medieval and early modern Europe.’’
John R. Decker, Georgia State University. In: Renaissance Quarterly, Vol. 66, No. 2, Summer 2013, p. 604.

Table of contents

IMAGINATIVE VOLUME, Volume I

CONTENTS

Acknowledgements
List of Contributors
Illustrations …
Introduction


PART I: SHIFTING PERSPECTIVES: TEXT, IMAGE, AND INTERACTION

Chapter 1 Encountering a Dream-Vision: Visual and Verbal Glosses to Guillaume
de Digulleville’s Pelerinage Jhesucrist
Robert Clark & Pamela Sheingorn

Chapter 2 Dangerous Passages and Spiritual Redemption in the Hortus
Deliciarum
Elizabeth Monroe

Chapter 3 Turning the Pages: Marginal Narratives and Devotional Practice
in Gothic Prayerbooks
Anne Stanton

Chapter 4 Exploring the Border: the Breviary of Eleanor of Portugal
Margaret Goehring

Chapter 5 Inhabiting Alphabetic Space: Early Modern Architectural and
Human Alphabets
Erika Boeckler

PART II: IMAGINED PILGRIMAGE AND SPIRITUAL TOURISM

Chapter 6 Still Walking: Spiritual Pilgrimage, Early Dutch Painting
and the Dynamics of Faith
Henry Luttikhuizen

Chapter 7 Pilgrimage through the Pages: Pilgrims’ Badges in Late
Medieval Devotional Manuscripts
Megan Foster-Campbell

PART III: INDULGENCES AND INTERACTIVITY

Chapter 8 Prayers and Promises: The Interactive Indulgence Print in the
Later Middle Ages
Walter Gibson

Chapter 9 Art and Advertising: Late Medieval Altarpieces in Germany
Amy Morris

Chapter 10 Who Sees Christ? An Alabaster Panel of the Mass of St. Gregory
Susan Ward

PART IV: PERFORMATIVITY AND EMPATHIC DEVOTIONAL PRACTICE

Chapter 1 The Well of Moses and Roland Barthes’ ‘Punctum’ of Piety
Donna Sadler

Chapter 12 Sin and Redemption in Late-Medieval Art and Theater: The
Magdalen as Role Model in Hugo van der Goes’s Vienna Diptych
Mark Trowbridge

Chapter 13 Communicating with the Eucharist: Sacramental Images
and Spiritual Communion
Kristen Van Ausdall

Chapter 14 The Visual and Verbal Rhetoric of Royal Private Piety in Renaissance
Spain
Juan Luis González García

PART V: REFLECTIONS IN MIRRORS, WALLS, AND INTERSTICES

Chapter 15 The fairest of them all: Reflections on Some Fourteenth-Century Mirrors
Alexa Sand

Chapter 16 Bones and Stones: Imaging Sacred Defense in Medieval Cologne
Scott Montgomery

Chapter 17 The Middle of Diptychs
Al Acres


PHYSICAL VOLUME, Volume II

CONTENTS

Acknowledgements
List of Contributors
Illustrations
Introduction


PART I: MANIPULATING OBJECTS, MANIPULATIVE OBJECTS

Chapter 1 Hugging the Saint: Improvising Ritual on the Pilgrimage to Santiago de Compostela
Kathleen Ashley

Chapter 2 Votives, Images, Interaction, and Pilgrimage to the Tomb and Shrine of St. Thomas Becket, Canterbury Cathedral
Sarah Blick

Chapter 3 Cradling Power: Female Devotions and Early Netherlandish
Jésueaux
Annette LeZotte

PART II: INSISTENT IMAGES AND SPACES

Chapter 4 Illusionism and Interactivity: Medieval Installation Art, Architecture and
Devotional Response
Laura Gelfand

Chapter 5 Consorting with stone: The figure of the speaking and moving statue in
early modern Italian writing
Lex Hermans

Chapter 6 Images, Efficacy & Ritual in the Renaissance: Burning the Devil and
Dusting the Madonna
Fredericka Jacobs

PART III: REVEALING AND CONCEALING

Chapter 7 Everybody’s Darling. Transformation of value and transformation of
meaning in the veneration of St. Elizabeth of Thuringia
Viola Belghaus

Chapter 8 The Pilgrim’s Progress: Devotional Journey through the Holy Womb
Elina Gertsman

Chapter 9 Memento Mori: The Deadly Art of Interaction
Suzanne Karr Schmidt


PART IV: PAINTING, SPECTACLE, AND PERFORMATIVITY

Chapter 10 Preparing the Mind. Preparing the Soul. The Fusion of Franciscan
Thought into the Daily Lives of Friars in the Sacristy Decoration of Santa Croce, Florence
Michelle Erhardt

Chapter 11 Parallelism in Giotto’s Santa Croce Frescoes
Jane Long

Chapter 12 The Guiding Illusions of the Morrison Triptych
Mark Tucker and Lloyd De Witt

Chapter 13 Christian Crusade as Spectacle: The Cavalieri di Santo Stefano and
the Audiences for the Medici Weddings of 1589 and 1608
Kathryn Poole

PART V: LIMINALITY, RECEPTION, AND THE MEANING OF MOVEMENT

Chapter 14 Intellectual Projection, Liminal Penetration: Programmed Entry and
the Tympanum-less Portals of Western France and Northern Spain
Mickey Abel

Chapter 15 Bodies under Wraps, Revealed: Interaction in
twelfth-century French sculpture
Janet Snyder

Chapter 16 Movement, Metaphor and Memory: The Interactions Between
Pilgrims and Portal Programs
Vibeke Olson

Chapter 17 The Grand Procession at Tournai: the Community Writ Large
Rita Tekippe

Bibliography
Index







Readership

Those interested in pan-European art history of the Middle Ages and Renaissance, visual and material culture, history, religious studies, reception theory, performance, pilgrimage, and patronage.

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