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Informationen zum Autor Jaroslav Folda is the N. Ferebee Taylor Professor of the History of Art, Emeritus, at the University of North Carolina, Chapel Hill. His major publications include The Art of the Crusaders in the Holy Land, 1098–1187 (Cambridge University Press, 1995), Crusader Art in the Holy Land, From the Third Crusade to the Fall of Acre, 1187–1291 (Cambridge University Press, 2005) and Crusader Art: The Art of the Crusaders in the Holy Land, 1099–1291 (2008). Klappentext Jaroslav Folda traces the appropriation of the Byzantine Virgin and Child Hodegetria icon by thirteenth-century Crusader and central Italian painters. Zusammenfassung Jaroslav Folda traces the appropriation of the Byzantine Virgin and Child Hodegetria icon by thirteenth-century Crusader and central Italian painters and explores its transformation by the introduction of chrysography on the figure of the Virgin in the Crusader Levant and in Italy. Inhaltsverzeichnis 1. Introduction: radiance and reflection: chrysography in Byzantine icons; 2. The radiance of Byzantine icons: the reinvention of chrysography after iconoclasm; 3. The introduction of chrysography on Crusader icons; 4. Icon or altarpiece in the Latin East and Tuscany: innovative panels in the third quarter of the thirteenth century; 5. Images of the Virgin and Child Hodegetria enthroned with chrysography by central Italian painters: Coppo di Marcovaldo to Guido da Siena; 6. Images of the Virgin and Child Hodegetria enthroned with chrysography by central Italian painters: Duccio and Cimabue; 7. Techniques for chrysography in thirteenth-century panel painting Lucy J. Wrapson; Addendum: chrysography investigation: report summary on XRF tests conducted at the National Gallery of Art on three panels Adele Wright.
