The trees of the cross : wood as subject and medium in the art of late medieval Germany /
"In late medieval Germany, wood was a material laden with significance. It was an important part of the local environment and economy, as well as an object of religious devotion in and of itself. Gregory C. Bryda examines the multiple meanings of wood and greenery within religious art-- as a ma...
| Main Authors: | , |
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| Format: | Book |
| Language: | English |
| Published: |
New Haven ; London :
Yale University Press,
2023
New Haven ; London : [2023] |
| Subjects: |
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| 100 | 1 | |a Bryda, Gregory C |e author. |0 http://viaf.org/viaf/1616166360564807070002 | |
| 100 | 1 | |a Bryda, Gregory C., |e author |0 (SIRSI)4123149 | |
| 100 | 1 | |a Bryda, Gregory C., |e author |4 http://id.loc.gov/vocabulary/relators/aut | |
| 100 | 1 | |a Bryda, Gregory C., |e author | |
| 245 | 1 | 4 | |a The trees of the cross : |b wood as subject and medium in the art of late medieval Germany / |c Gregory C. Bryda |
| 246 | 3 | 0 | |a Wood as subject and medium in the art of late medieval Germany |
| 264 | 1 | |a New Haven ; |a London : |b Yale University Press, |c 2023 | |
| 264 | 1 | |a New Haven ; |a London : |b Yale University Press, |c [2023] | |
| 264 | 4 | |c ©2023 | |
| 300 | |a ix, 213 pages : |b illustrations (chiefly color) ; |c 28 cm | ||
| 300 | |a ix, 213 pages : |b illustrations (chiefly color) ; |c 29 cm | ||
| 336 | |a still image |b sti |2 rdacontent | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 500 | |a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC |5 CTY | ||
| 500 | |a "Published with assistance from the International Center of Medieval Art and the Samuel H. Kress Foundation"--Title page verso | ||
| 500 | |a "Published with assistance from the International Center of Medieval Art and the Samuel H. Kress Foundation"-Title page verso | ||
| 500 | |a "Published with assistance from the International Center of Medieval Art and the Samuel H. Kress Foundation”—Title page verso | ||
| 504 | |a Includes bibliographical references (pages 173-204) and index | ||
| 505 | 0 | 0 | |g Introduction -- |g Chapter 1 |t The vegetable saint -- |g Chapter 2. |t The spiritual maypole -- |g Chapter 3. |t Grünewald's greenery in spring and summer -- |g Chapter 4. |t The spiritual vintage -- |g Epilogue. |t The Protestant reflection of spiritual greenery. |
| 505 | 0 | 0 | |g Introduction -- |g Chapter 1 |t The vegetable saint -- |g Chapter 2. |t The spiritual maypole -- |g Chapter 3. |t Grünewald's greenery in spring and summer -- |g Chapter 4. |t The spiritual vintage -- |g Epilogue. |t The protestant reflection of spiritual greenery |
| 505 | 0 | 0 | |g Introduction -- |g Chapter 1 |t The vegetable saint -- |g Chapter 2. |t The spiritual maypole -- |g Chapter 3. |t Grünewald's greenery in spring and summer -- |g Chapter 4. |t The spiritual vintage -- |g Epilogue. |t The Protestant reflection of spiritual greenery. |
| 505 | 0 | 0 | |g Introduction -- |g Chapter 1 |t The vegetable saint -- |g Chapter 2. |t The spiritual maypole -- |g Chapter 3. |t Grünewald's greenery in spring and summer -- |g Chapter 4. |t The spiritual vintage -- |g Epilogue. |t The protestant reflection of spiritual greenery |
| 520 | 8 | |a "In late medieval Germany, wood was a material laden with significance. It was an important part of the local environment and economy, as well as an object of religious devotion in and of itself. Gregory C. Bryda examines the multiple meanings of wood and greenery within religious art-- as a material, as a feature of agrarian life, and as a symbol of the cross, whose wood has resonances with other iconographies in the liturgy. Bryda discusses how influential artists such as Matthias Grünewald, known for the Isenheim Altarpiece, and the renowned sculptor Tilman Riemenschneider exploited wood's multivalent nature to connect spiritual themes to the lived environment outside church walls. Exploring the complex visual and material culture of the period, this lavishly illustrated volume features works ranging from monumental altarpieces to portable pictures and offers a fresh understanding of how wood in art functioned to unlock the mysteries of faith and the natural world in both liturgy and everyday life."--Dust jacket | |
| 520 | 8 | |a "In late medieval Germany, wood was a material laden with significance. It was an important part of the local environment and economy, as well as an object of religious devotion in and of itself. Gregory C. Bryda examines the multiple meanings of wood and greenery within religious art-- as a material, as a feature of agrarian life, and as a symbol of the cross, whose wood has resonances with other iconographies in the liturgy. Bryda discusses how influential artists such as Matthias Grünewald, known for the Isenheim Altarpiece, and the renowned sculptor Tilman Riemenschneider exploited wood's multivalent nature to connect spiritual themes to the lived environment outside church walls. Exploring the complex visual and material culture of the period, this lavishly illustrated volume features works ranging from monumental altarpieces to portable pictures and offers a fresh understanding of how wood in art functioned to unlock the mysteries of faith and the natural world in both liturgy and everyday life"-- |c Dust jacket | |
| 520 | 8 | |a "In late medieval Germany, wood was a material laden with significance. It was an important part of the local environment and economy, as well as an object of religious devotion in and of itself. Gregory C. Bryda examines the multiple meanings of wood and greenery within religious art-- as a material, as a feature of agrarian life, and as a symbol of the cross, whose wood has resonances with other iconographies in the liturgy. Bryda discusses how influential artists such as Matthias Grünewald, known for the Isenheim Altarpiece, and the renowned sculptor Tilman Riemenschneider exploited wood's multivalent nature to connect spiritual themes to the lived environment outside church walls. Exploring the complex visual and material culture of the period, this lavishly illustrated volume features works ranging from monumental altarpieces to portable pictures and offers a fresh understanding of how wood in art functioned to unlock the mysteries of faith and the natural world in both liturgy and everyday life."--Dust jacket | |
| 520 | 8 | |a "In late medieval Germany, wood was a material laden with significance. It was an important part of the local environment and economy, as well as an object of religious devotion in and of itself. Gregory C. Bryda examines the multiple meanings of wood and greenery within religious art-- as a material, as a feature of agrarian life, and as a symbol of the cross, whose wood has resonances with other iconographies in the liturgy. Bryda discusses how influential artists such as Matthias Grünewald, known for the Isenheim Altarpiece, and the renowned sculptor Tilman Riemenschneider exploited wood's multivalent nature to connect spiritual themes to the lived environment outside church walls. Exploring the complex visual and material culture of the period, this lavishly illustrated volume features works ranging from monumental altarpieces to portable pictures and offers a fresh understanding of how wood in art functioned to unlock the mysteries of faith and the natural world in both liturgy and everyday life"-- |c Dust jacket | |
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