Eliza Garrison

Cet ouvrage reunit quatorze essais sur l'utilisation des livres enlumines medievaux dans le cadre d'actions, de comportements et de relations politiques au sein des societes europeennes, entendant ici par "politique" l'exercice du pouvoir a travers ses multiples manifestations. En analysant les liens entre le livre enlumine et le fait politique, les auteurs ont etudie les raisons des commanditaires et des concepteurs des manuscrits dans leurs contextes historiques et sociaux de realisation, la vie des livres comme objets dotes d'une valeur a la fois economique et symbolique, leur utilisation comme moyen de communication ainsi que leur posterite.

Ottonian Imperial Art and Portraiture represents the first art historical consideration of the patronage of the Ottonian Emperors Otto III (983-1002) and Henry II (1002-1024). Author Eliza Garrison analyzes liturgical artworks created for both rulers with the larger goal of addressing the ways in which individual art objects and the collections to which they belonged were perceived as elements of a material historical narrative and as portraits. Since these objects and images had the capacity to stand in for the ruler in his physical absence, she argues, they also performed political functions that were bound to their ritualized use in the liturgy not only during the ruler's lifetime, but even after his death. Garrison investigates how treasury objects could relay officially sanctioned information in a manner that texts alone could not, offering the first full length exploration of this central phenomenon of the Ottonian era.

Ottonian Imperial Art and Portraiture represents the first art historical consideration of the patronage of the Ottonian Emperors Otto III (983-1002) and Henry II (1002-1024). Author Eliza Garrison analyzes liturgical artworks created for both rulers with the larger goal of addressing the ways in which individual art objects and the collections to which they belonged were perceived as elements of a material historical narrative and as portraits. Since these objects and images had the capacity to stand in for the ruler in his physical absence, she argues, they also performed political functions that were bound to their ritualized use in the liturgy not only during the ruler's lifetime, but even after his death. Garrison investigates how treasury objects could relay officially sanctioned information in a manner that texts alone could not, offering the first full length exploration of this central phenomenon of the Ottonian era.