Book Series Trecento Forum , vol. 4

Portable Panel Paintings at the Angevin Court of Naples

Mobility and Materiality in the Trecento Mediterranean

Sarah Kozlowski

  • Pages: 292 p.
  • Size:216 x 280 mm
  • Illustrations:11 b/w, 132 col., 2 tables b/w., 1 maps b/w
  • Language(s):English
  • Publication Year:2022

  • € 135,00 EXCL. VAT RETAIL PRICE
  • ISBN: 978-2-503-59695-2
  • Hardback
  • Available


Sarah K. Kozlowski’s new study of panel painting in fourteenth-century Naples explores the materialities and mobilities of the medium at and beyond the Angevin court, and reframes trecento art in the broader context of artistic circulation, exchange, and transformation across the late medieval and early Renaissance world.

BIO

Sarah K. Kozlowski (BA Wheaton College, MA Williams College, PhD Yale University) is Associate Director of the Edith O’Donnell Institute of Art History at the University of Texas at Dallas, and Director of the Centro per la Storia dell’Arte e dell’Architettura delle Città Portuali at the Museo di Capodimonte in Naples. Her research centers on medieval and Renaissance southern Italy in its broader cultural and geographic contexts, and explores how artworks’ mobilities, materialities, and formats generate meaning.

Summary

This book explores the mobilities and materialities of panel painting at and beyond the Angevin court of Naples in the context of objects, materials, patrons, and painters on the move through the fourteenth-century world. It asks how panel paintings participated in and thematized patterns of circulation and exchange; how they extended the artistic and political geography of the court far beyond Naples itself; how their materialities intersected with other mediums from woven silk to precious metalwork to stone; and how painters’ formal and technical experimentation combined with painted panels’ real and imagined itineraries to create meaning.

The volume traces a series of painted panels through networks of patronage, production, gift giving, transport, and replication. It locates the making, movement, and meaning of these works in the overlapping contexts of Angevin dynastic and territorial ambitions, including the family’s stakes in the Holy Land; patterns of collecting and adapting authoritative icons; practices of royal female patronage; and painters’ engagement with the limits of the medium of panel painting itself. Each chapter weaves together sustained analysis of paintings’ pictorial and material structures, close reading of primary sources, and questions of art’s materialities and mobilities. Moving between single objects and larger patterns, between the local and the global, this study presents new research on individual works even as it reframes trecento art in the broader context of artistic circulation, exchange, and transformation across the late medieval and early Renaissance world.

TABLE OF CONTENTS

Chapter 1. Panel Painting in and beyond Fourteenth-Century Naples: Mobility and Materiality

Chapter 2. Mobility and Materiality in Simone Martini’s Saint Louis of Toulouse Crowning Robert of Anjou

Chapter 3. Icons in Angevin Naples between Past and Present, the Monumental and the Mobile

Chapter 4. Artists, Patrons, and Objects on the Move: Diptychs for the Angevin Court

Chapter 5. Paint, Stone, Flesh: Portable Multipart Panel Paintings with Porphyry Exteriors

Chapter 6. Portable Panel Paintings, Royal Women as Patrons, and Court Art beyond the Court

Chapter 7. Materiality, Mobility, and Revelation in the Stuttgart Apocalypse Panels

Conclusion

Bibliography