By Robert Gibbs Louise Bourdua
Julian Gardners preeminent position in British reports of the paintings of the thirteenth and 14th centuries, quite the interplay of papal and theological matters with its construction and on both sides of the Alps, is widely known in those reports through 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 participants 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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Additional resources for A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner
Introduction’, in M. Bonanni, Il Monumento Funebre ai Genitori del Cardinal Partino di Montefiore dellʼAso, Ascoli Piceno 8–10. ‘Prophet Dedications in Medieval and Renaissance Venice’, in Der unbestechliche Blick, ed. M. Gaier, Trier, 31–9. ‘Epilogue: “From Hence Your Memory Death Cannot Take"’, in Care for the Here and the Hereafter, ed. T. van Bueren, Turnhout, 291–6. ‘Arnolfo di Cambio e l’Europa’, in Arnolfo alle Origini del Rinascimento Fiorentino, ed. E. Neri Lusanna, Florence, 55–67. xxviii 2006 2007 2008 2009 2010 julian gardner’s published works ‘The Influence of Ugo Procacci as a Scholar Outside Italy’, in Ugo Procacci a Cento Anni dalla Nascita (1905–2005), ed.
Quintavalle, Milan, I Convegni di Parma 10, 669–80. ‘Curial narratives: the Seals of Cardinal Deacons 1280–1305’, in Good Impression : Image and Authority in Medieval Seals, eds N. Adams, J. Cherry and J. Robinson, London, 85–90. ‘Painting in Florence and Siena after the Cold War’, in Medioevo: arte e storia, ed. Quintavalle, Milan, I Convegni di Parma 10, 662–8. Arnolfoʼs moment: acts of an international conference, Florence, Villa I Tatti, May 26–27, 2005 eds D. Friedman, J. Gardner, M. Haines, Florence.
This volume presents papers by some of them. They, and hopefully their own students in turn, are deeply indebted to the breadth and flexibility of his approach, as Serena Romano has so vividly expounded in her appreciation. This is evident both in the scope of the papers here presented and in their numerous references to Julian’s own work. Those who studied with Julian have not only learned from their teacher but from each other in a true spirit of collegiality; as teaching academics, museum curators, consultants, editors, they have pursued his ideas and concerns in many different ways, yet with an awareness of the range of possibilities that his teaching opened up that constitutes an undeniable tradition within the broader field of medieval studies.
A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner by Robert Gibbs Louise Bourdua