A Wider Trecento: Studies in 13th- and 14th-century European by Robert Gibbs Louise Bourdua
By Robert Gibbs Louise Bourdua
Julian Gardners preeminent function in British reports of the artwork of the thirteenth and 14th centuries, relatively the interplay of papal and theological matters with its creation and on each side of the Alps, is widely known in those reviews via his students. They talk about Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, in addition to monochrome dado portray as much as Giotto, Duccios representations of proskynesis, a Parisian reliquary in Assisi, Riminese portray for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of affection at Sabbionara, the cult of city V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardners occupation itself.The members to the quantity are Serena Romano, Jill Bain, Claudia Bolgia, Louise Bourdua, Joanna Cannon, Roberto Cobianchi, Anne Dunlop, Jill Farquhar, Robert Gibbs, Virginia Glenn, Dillian Gordon, John Osborne and Martina Schilling.
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Extra info for A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner
By the 1980s students from other universities where those first researchers now taught joined this expanding circle 2 louise bourdua and robert gibbs of acolytes, reaching by the 1990s from the Courtauld Institute to Aberdeen and Belfast, not to mention Texas and Ottawa. We hope that Julian’s interests in what one might call the ‘Wider and Longer Duecento and Trecento’, involving the tastes and patronage of prelates from England and France as well as Italy within an ever flexible view of Roman art, their seals and tombs as well as the painting and sculpture of traditional art history, are suitably reflected in the scope of the papers presented here.
Like a Vasarian Life, Julian’s teaching career has undergone three phases: the earliest at the Courtauld, Reading and at Warwick, where he began teaching undergraduates while supervising PhD students still registered at the Courtauld. By the 1980s, PhD candidates began registering at Warwick and the twenty-five years that followed saw broadly two generations – a smattering in the mid 80s and a burst in the 1990s onward. Thus began the heroic era of the Warwick Trecento Seminar at which Julian’s first generation of postgrads and his new Warwick research students were not only kept in touch with each other but with those studying with other major scholars such as John White, Andrew Martindale, Robin Cormack, who Julian knew so well.
M. Andaloro, Rome, 163–79. ‘Friars on the Façade: the Franciscans and Gothic sculpture’, in Medioevo mediterraneo: lʼOccidente, Bisanzio e lʼIslam. ed. Quintavalle, Milan, I Convegni di Parma 7, 696–705. R. Calderoni Masetti, C. Dufour Bozzo, G. Wolf, Venice, 209–22. ‘Stone Saints: Commemoration and Likeness in Thirteenth-Century Italy, France, and Spain’, in Contemporary encounters with the medieval face: selected papers from The Metropolitan Museum of Art symposium “Facing the Middle Ages” held in honor of the fiftieth anniversary of the ICMA 14– 15 October 2006, ed.