Vision, Devotion, and Self-Representation in Late Medieval Art

Alexa Sand

doi:10.1017/CBO9781139424769

This book investigates the 'owner portrait' in the context of late medieval devotional books primarily from France and England. These mirror-like pictures of praying book owners respond to and help develop a growing concern with visibility and self-scrutiny that characterized the religious life of the laity after the Fourth Lateran Council in 1215. The image of the praying book owner translated pre-existing representational strategies concerned with the authority and spiritual efficacy of pictures and books, such as the Holy Face and the donor image, into a more intimate and reflexive mode of address in Psalters and Books of Hours created for lay users. Alexa Sand demonstrates how this transformation had profound implications for devotional practices and for the performance of gender and class identity in the striving, aristocratic world of late medieval France and England.

'Sand’s valuable contribution to the field of medieval art history offers an exemplary entrée for students and scholars who seek insight into the visual potency of illuminated manuscripts.'

Source: The American Historical Review

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Vision, Devotion, and Self-Representation in Late Medieval Art

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Contents

Vision, Devotion, and Self-Representation in Late Medieval Art - Half title page
pp i-ii

Vision, Devotion, and Self-Representation in Late Medieval Art - Title page
pp iii-iii

Copyright page
pp iv-iv

Contents
pp v-vi

List of Illustrations
pp vii-xii

Acknowledgments
pp xiii-xvi

Introduction
pp 1-26

Chapter One - Saving Face
pp 27-83

Chapter Two - FromMemoriatoVisio: Revising the Donor
pp 84-148

Chapter Three - Framing Vision: The Image of the Book Owner and the Reflexive Mode of Seeing
pp 149-210

Chapter Four - Domesticating Devotion
pp 211-264

Conclusion
pp 265-292

Notes
pp 293-358

Bibliography
pp 359-398

Index
pp 399-408

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Vision, Devotion, and Self-Representation in Late Medieval Art

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