Originally a blog detailing the ramblings of an OU art undergraduate in search of a subject for and execution of 4,500 word essay, now with occasional additions as other Blacks are discovered.
Sunday, 29 June 2008
A Day at the National Art Library and the British Libary
I had the opportunity to visit both in one day so it was a chance to compare them first hand.
Rules
NAG and BL are two very different institutions with their own idiosyncrasies. Neither allows bags in, both offer transparent plastic bags to carry your stuff. The BL is very formal – need your card to get in and bag check to get out of its reading room. The NAL just walk in obtain a seat and your off, you do need your card to get your books like the BL.
In the BL no eating (I was told off for chewing) and pencils only ( I saw a reader being told off for using a biro, by what can only be described as a floor walker whose job was make sure we readers were using the books appropriately). NAL not so rigorously policed – I’m sure they are watching you but not so obviously.
Photocopying and Photographing
The BL inspects all books before you can use the photocopier if they think it’s too big or small or delicate or whatever to copy you have to let them to do it for you and this takes time (days!). Absolutely no photographing at the BL, NAL is a bit more relaxed, you can photograph in fact they offer excellent stands, book supports and weights (see picture) to let you photography – photographing seems positively encouraged.
Book Covers
The BL only gives you the book only – no jacket , the NAL gives you the book with its jacket! This is real joy as this how I discovered the image of St Maurice in Cologne on the cover Vol2 of the Black Image in Western Art. Also makes the book more of a book when it has its jacket. Having said that the NAG doesn’t bind the cover in plastic so it’s taking a risk of the cover being destroyed by handling.
Lunch
Both have splendid out door spaces to have lunch – if you like water the NAG has a lovely paddling pool but it is surrounded by the weirdest green plastic things. The BL has a great plaza in front of it , very roomy.
Hard to say which is the best – BL has a bigger choice of course as it says this is ‘the world’s knowledge’ while the NAL is only about art. On balance I liked the NAL as you could photograph the books and take your stuff with you there and then!
Friday, 20 June 2008
Much closer to the final question
I like this as it follows the course and gives structure with a background. I'll present this at the IE outline review tutorial this morning to see if it works:
This outline should last a maximum of 5 minutes and typically covers your working title, your chosen work to be viewed first hand, the course theme(s) you will address and the key questions you will be investigating. You may also wish to comment on available literature. This will be followed by 5 minutes of feedback from myself and other students.
Themes
Making
- Panel painting
- Gothic structure cf altar pieces
- Devonshire Rood screens
- The origin of the black magi
- Movement of the idea across Europe
- Germany > Antwerp > England
- purpose images on panel screen
Thursday, 19 June 2008
Still working on the question
The making, locating and viewing of an early sixteenth century Devonshire Rood Panel - The Adoration and of the Magi Panel catalogue number W.54-1928
too dull, very boring, far too matter of fact but it does give the essay structure.
I'm leaning towards:
What is the purpose of Black Magi in the early sixteenth century Devonshire Rood Panel - The Adoration and of the Magi Panel V & A catalogue number W.54-1928?
Sets the scene right upfront. I'll think about it. My plan is to close on the question by tomorrow in time for the tutorial.
Off Topic But What the Heck...
It's St Maurice in Magdeburg Cathederal you can see him here and find out more about him here.
The Piece and the Question
The making, locating and viewing of an early sixteenth century Devonshire Rood Panel - ‘The adoration and of the Magi Panel’ catalogue number W.54-1928.
Tuesday, 17 June 2008
The Ear Ring
This is my piece...now my IE question. I don't wont to compare it with anything as it's not a good picture but discussing how and why it was made , what it represents and it's purpose seems reasonable basis for the IE.
So, I was thinking of..
What was the function of the Black in the early sixteenth century Devonshire Rood Screen from the V&A collection ?
....or something thing like that as I'd like to link a discussion of Gothic Rood screens (LOCATING/MAKING Renaissance Art ) and the Black (VIEWING).
Sunday, 15 June 2008
Alabaster Magi Out
At the AA315 V&C study day at the V&A I had the chance to have a close look at the Alabaster Magi. I don’t like it. Further there’s something not quite right about the polychrome. The worn gilding on the left edge looks real – aged by time and some mis-use but the green background and the black magi …..don’t look original to me. The colours perhaps were a later addition to enhance the piece and make it easier to sell.
That black – not only is his colour ‘wrong’ but the facial characteristics are too European. On the last point I know it may have been sculptured by someone who had never seen a real Black and was working within the Magi iconography in which a black is there to represent Africa. So, having not seen one he simply sculpts a European featured face and then paints it black. See for your self in the close up
So tomorrow’s the big day I get see the Rood Screen
Thursday, 12 June 2008
All Turned Around
With the Rood Screen I’m even getting to see the documentation before I see the work. I’m attending a Study Day at the V&A this Saturday so I’ve arranged for them to leave copes of primary and secondary source stuff on the Rood Screen at reception for me to collect.
So now I’ve two nice pieces to look at the challenge is to close on an essay title.
What purpose does the Black presence play in the form and function on the Rood Screen?
OR
What purpose does the Black presence play in the form and function on the Alabaster Piece?
Wednesday, 11 June 2008
Cold feet.......
Hmmmm so this could bring me back to the begining.
There again I could do Magnificence and the Moors head…….
What is the significance of the Moors head in The Martrdom of Saint Sebastian by the Pollaiuolo brothers
OR
What does the Moors head in The Martrdom of Saint Sebastian by the Pollaiuolo brothers reveal about 1thth century Florentine magnificence ?
I'll give it till the weekend then decide.
Sunday, 8 June 2008
Some background on Rood Screens
Spent some time to trawlling JSTOR for artiles on the V&A piece - couldn't find any. Broaden the search ro Rood Screens in general found some even some pictures of one or two screens at a very informative site
Medieval Creation and Re-Creation
which produced a bibliography :
Lasko, P and Morgan, N.J., Medieval Art in East Anglia, Norwich 1974
Anderson, M.D., Drama and Imagery in English Medieval Churches, Cambridge 1963
Pevsner, N. and Wilson, B., The Buildings of England: Norfolk 1, London 1997
for further study.
Friday, 6 June 2008
News.....well sort of...
Having said that the issue is documentation and provenance if I have both then I’m sorted.
She promised to get back to me on the amount of supporting documentation there is with The Rood Screen. I spent sometime explaining to her (and myself!) the IE is an investigation, it is not research it is not synthesis it’s more analysis so I will tread an established path.
She promised to get back to me Monday…. fingers crossed or thumbs pressed as they say I Germany.
Wednesday, 4 June 2008
Heard Nothing.....But Found Something...
Hmmm...
Have I put too much trust in the V&A ?....
On the plus side found a great source.....
Journal of Medieval and Early Modern Studies
for the medieval black prescence - it had a whole issue on race so the day's not lost. The 'issue' now is what to write about!Tuesday, 3 June 2008
Still not there...
I’ve been corresponding with the V&A, free lance author and an academic for more detail.
Asked the V&A to see the Rood Screen as it’s not on display. Received a prompt informative reply from the author. The academic also replied with some information, sadly not all I wanted. Finding a piece along with primary sources is proving to be challenging.
If the Rood Screen is the one then it’s The Back Magi still, I like the Black Servant as I admire the Carpaccio so much. Decision time is looming!
I could still do The Germany Stained Glass Black Magi and Attendant which would cover both - would this be a bit to much ??
Needs some thought....
Monday, 2 June 2008
And then there was one...
I'm afraid to say that, at present, the Della Robbia altarpiece is in 12 sections having been dismantled from a previous location where it was set into the wall. It is now in an object store which is currently inaccessible to the public due to health and safety reasons as conservation work and treatments are being carried out there. It is due to have its second phase conservation later this year for the forthcoming Medieval and Renaissance Galleries, which will open in November 2009, but is sadly not possible to view until then.
So now I'm left with only the Rood screen
Sunday, 1 June 2008
Now There's Two
Now it’s a two horse race – the della Robbia or the Rood screen I can’t help but express a preference for the former. Why?
Well The Rood screen has a well worn topic – the Magi – there is no ‘white’ magi piece I particularly like to compare it with it . Both Northern with the proliferation of Black magi and Italian Magi /Nativity are ,for me, a bit dull. There is however one Northern Black Magi I really like that’s the on a piece of stained glass in the V& A. I saw it the other day. The colours are truly magnificent. Colour ideally dramatic, vivid ,colour , is an important part of the art I like. Yes, I know as an historian one should be agnostic but this is my IE so, I’m going to have ‘colour’ in it in both senses of the word! That Magi has both two chances for me to use it
1 The Black Magi – the noble king complete with slave referencing earring
2 The Black servant or attendant - the little fellow at the front
As my essay is to be a comparison I want a counterweight to the piece I chose. So, this could be that counterweight. But that would mean comparing the Rood Screen to Black Magi possible but not so much fun as Rood Screen with Breughel’s Adoration or Gozzoli's magnificent fresco for the Medici place in Florence