Directory

Lisa Mahoney | DePaul University - Academia.edu

Skip to main content

Lisa Mahoney

DePaul University, History of Art and Architecture, Faculty Member

Followers

157

Following

165

Co-authors

48

Public Views

Sheilagh Ogilvie

University of Oxford

Stefan Heidemann

University of Hamburg

Armando Marques-Guedes

UNL - New University of Lisbon

University of Florida

A. Bernard Knapp

University of Glasgow

Darius von Guttner

Australian Catholic University

National & Kapodistrian University of Athens

Antonio Musarra

Sapienza University of Roma

Johannes Preiser-Kapeller

Austrian Academy of Sciences

jelena bogdanovic

Vanderbilt University

InterestsView All (12)

Uploads

Books by Lisa Mahoney

The Eloquence of Art: Essays in Honour of Henry Maguire

by Andrea Olsen Lam, Rossitza Schroeder, Lynn Jones, Robert S Nelson, Elena Boeck, Lisa Mahoney, Robert Ousterhout, and Linda Safran

The Eloquence of Art: Essays in Honour of Henry Maguire, 2020

For those within the fields of art history and Byzantine studies, Professor Henry Maguire needs n... more For those within the fields of art history and Byzantine studies, Professor Henry Maguire needs no introduction. His publications transformed the way art historians approach medieval art through his insightful integration of rhetoric, poetry and non-canonical objects into the study of Byzantine art. His ground-breaking studies of Byzantine art that consider the natural world, magic, and imperial imagery, among other themes, have re-defined the ways medieval art is interpreted. From notable monuments to small-scale and privately-used objects, Maguire’s work has guided a generation of scholars to new conclusions about the place of art and its function in Byzantium. In this volume, twenty-three of Henry Maguire’s colleagues and friends have contributed papers in his honour, resulting in studies that reflect the broad range of his scholarly interests.

The Visual Culture of Later Byzantium (c.1081–c.1350), parts 1 & 2.

ISBN: 9781108483056 Series: Sources for Byzantine Art History 3 In this book the beauty and m... more ISBN: 9781108483056
Series: Sources for Byzantine Art History 3

In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.

France and the Holy Land: Frankish Culture at the End of the Crusades, ed. with Daniel H. Weiss (Baltimore: Johns Hopkins University Press, 2005).

Papers by Lisa Mahoney

The Missing Pages: The Modern Life of a Medieval Manuscript, from Genocide to Justice by Heghnar Zeitlian Watenpaugh

Manuscript Studies: A Journal of the Schoenberg Institute for Manuscript Studies, 2020

France and the Holy land : Frankish culture at the end of the crusades

Few periods in history have captured the public imagination than the Crusades. The Crusaders cut ... more Few periods in history have captured the public imagination than the Crusades. The Crusaders cut a rakish, Romantic image, as chivalrous knights go off to liberate the Holy Land, to make the world a safer place for Christian pilgrims. But who, really, were the Crusaders? In this exciting, interdisciplinary volume, many aspects of Frankish Crusader culture are explored by some of the leading researchers. Here we examine the art, poetry, and architecture of Crusader Paris; look at the imprint the Frankish knights left on the Levant, and upon the city of Acre in particular. The manuscript also examines cultural exchange, not only with those from Byzantium, but also with Muslims. This book presents thoughtful, provocative essays from leading medievalists that will profoundly influence our understanding of the Crsuades and Crusader culture.

Art and efficacy in an icon of St George *

The Church of the Nativity and “Crusader” Kingship

Crusading in Art, Thought and Will

Apart from the actual exercise of military might, ruling power expresses itself, and thereby exis... more Apart from the actual exercise of military might, ruling power expresses itself, and thereby exists, in two main modes: in the rituals, on the one hand, and in the works of art and architecture, on the other, that declare and sometimes justify dominion. Indeed, within the very first kingdoms known to history the latter mode has been identified in such well-known and well-studied objects as the Palette of Narmer (Egypt, c. 3200 bce) and the Stele of Naram-Sin (Mesopotamian Akkad, c. 2250 bce), both of which were clearly tasked with announcing who reigned where and by what right. These objects are useful not only because they so readily make manifest a long history of faith in the efficacy of pictorial material, but also because they so readily make manifest a subtending category distinction related to audience. The palette, which was buried in a temple to Horus, was aimed at a singular and restricted audience (Horus) while the stele, which seems to have been displayed above ground within the temple precinct of Shamash, was aimed at a decidedly less singular and less restricted audience (Shamash and all those who entered his precinct).1 With the longstanding interdependence of rule and its material expression, and with the possibility of important differences in intended audience in mind, I would like to turn to the Latin Kingdom of Jerusalem. In general, the art and architecture made within its boundaries has long been analyzed in terms of its original artistic impulses, that is in terms of its debt to western Christian, eastern Christian, and Islamic traditions, and in terms of what these impulses indicate about taste, marketplace, workforce, and cultural assimilation or a lack of cultural assimilation.

“The Art of Excess as a Medieval Aesthetic,” in The Edinburgh Critical History of Middle Ages and Renaissance Philosophy, ed. Richard A. Lee and Andrew LaZella (Edinburgh: University of Edinburgh, 2020), 58-73

“Art and Efficacy in an Icon of St. George,” in The Eloquence of Art: Studies in Honor of Henry Maguire, ed. Andrea Olsen Lam and Rossitza Schroeder (Birmingham: Taylor and Francis, 2020), 188-203

“The Church of the Nativity and ‘Crusader’ Kingship,” in Crusading in Art, Thought, and Will, ed. Matthew E. Parker, Ben Haliburton, and Anne Romine (Leiden: Brill Publishers, 2018), 9-36

"The Frankish Icon: Art and Devotion in the Latin Kingdom of Jerusalem," in Crusades and Visual Culture, ed. Elizabeth Lapina, April Morris, Susanna Throop, and Laura Whatley (Farnham, Surrey: Ashgate, 2015), 15-34.

"A Byzantine Pedigree: The Design of Coins and Seals in the Latin East," in Medieval Coins and Seals: Constructing Identity, Signifying Power, ed. Susan Solway (Turnhout: Brepols, 2015): 131-52.

"The Histoire ancienne and Dialectical Identity in the Latin Kingdom of Jerusalem," Gesta 49 (2010): 31-52.

"T'oros Roslin and the Representation of Pagan Threat," The Journal of the Walters Art Museum 68-69 (2010-2011): 67-76.

The Eloquence of Art: Essays in Honour of Henry Maguire

by Andrea Olsen Lam, Rossitza Schroeder, Lynn Jones, Robert S Nelson, Elena Boeck, Lisa Mahoney, Robert Ousterhout, and Linda Safran

The Eloquence of Art: Essays in Honour of Henry Maguire, 2020

For those within the fields of art history and Byzantine studies, Professor Henry Maguire needs n... more For those within the fields of art history and Byzantine studies, Professor Henry Maguire needs no introduction. His publications transformed the way art historians approach medieval art through his insightful integration of rhetoric, poetry and non-canonical objects into the study of Byzantine art. His ground-breaking studies of Byzantine art that consider the natural world, magic, and imperial imagery, among other themes, have re-defined the ways medieval art is interpreted. From notable monuments to small-scale and privately-used objects, Maguire’s work has guided a generation of scholars to new conclusions about the place of art and its function in Byzantium. In this volume, twenty-three of Henry Maguire’s colleagues and friends have contributed papers in his honour, resulting in studies that reflect the broad range of his scholarly interests.

The Visual Culture of Later Byzantium (c.1081–c.1350), parts 1 & 2.

ISBN: 9781108483056 Series: Sources for Byzantine Art History 3 In this book the beauty and m... more ISBN: 9781108483056
Series: Sources for Byzantine Art History 3

In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.

France and the Holy Land: Frankish Culture at the End of the Crusades, ed. with Daniel H. Weiss (Baltimore: Johns Hopkins University Press, 2005).

The Missing Pages: The Modern Life of a Medieval Manuscript, from Genocide to Justice by Heghnar Zeitlian Watenpaugh

Manuscript Studies: A Journal of the Schoenberg Institute for Manuscript Studies, 2020

France and the Holy land : Frankish culture at the end of the crusades

Few periods in history have captured the public imagination than the Crusades. The Crusaders cut ... more Few periods in history have captured the public imagination than the Crusades. The Crusaders cut a rakish, Romantic image, as chivalrous knights go off to liberate the Holy Land, to make the world a safer place for Christian pilgrims. But who, really, were the Crusaders? In this exciting, interdisciplinary volume, many aspects of Frankish Crusader culture are explored by some of the leading researchers. Here we examine the art, poetry, and architecture of Crusader Paris; look at the imprint the Frankish knights left on the Levant, and upon the city of Acre in particular. The manuscript also examines cultural exchange, not only with those from Byzantium, but also with Muslims. This book presents thoughtful, provocative essays from leading medievalists that will profoundly influence our understanding of the Crsuades and Crusader culture.

Art and efficacy in an icon of St George *

The Church of the Nativity and “Crusader” Kingship

Crusading in Art, Thought and Will

Apart from the actual exercise of military might, ruling power expresses itself, and thereby exis... more Apart from the actual exercise of military might, ruling power expresses itself, and thereby exists, in two main modes: in the rituals, on the one hand, and in the works of art and architecture, on the other, that declare and sometimes justify dominion. Indeed, within the very first kingdoms known to history the latter mode has been identified in such well-known and well-studied objects as the Palette of Narmer (Egypt, c. 3200 bce) and the Stele of Naram-Sin (Mesopotamian Akkad, c. 2250 bce), both of which were clearly tasked with announcing who reigned where and by what right. These objects are useful not only because they so readily make manifest a long history of faith in the efficacy of pictorial material, but also because they so readily make manifest a subtending category distinction related to audience. The palette, which was buried in a temple to Horus, was aimed at a singular and restricted audience (Horus) while the stele, which seems to have been displayed above ground within the temple precinct of Shamash, was aimed at a decidedly less singular and less restricted audience (Shamash and all those who entered his precinct).1 With the longstanding interdependence of rule and its material expression, and with the possibility of important differences in intended audience in mind, I would like to turn to the Latin Kingdom of Jerusalem. In general, the art and architecture made within its boundaries has long been analyzed in terms of its original artistic impulses, that is in terms of its debt to western Christian, eastern Christian, and Islamic traditions, and in terms of what these impulses indicate about taste, marketplace, workforce, and cultural assimilation or a lack of cultural assimilation.

“The Art of Excess as a Medieval Aesthetic,” in The Edinburgh Critical History of Middle Ages and Renaissance Philosophy, ed. Richard A. Lee and Andrew LaZella (Edinburgh: University of Edinburgh, 2020), 58-73

“Art and Efficacy in an Icon of St. George,” in The Eloquence of Art: Studies in Honor of Henry Maguire, ed. Andrea Olsen Lam and Rossitza Schroeder (Birmingham: Taylor and Francis, 2020), 188-203

“The Church of the Nativity and ‘Crusader’ Kingship,” in Crusading in Art, Thought, and Will, ed. Matthew E. Parker, Ben Haliburton, and Anne Romine (Leiden: Brill Publishers, 2018), 9-36

"The Frankish Icon: Art and Devotion in the Latin Kingdom of Jerusalem," in Crusades and Visual Culture, ed. Elizabeth Lapina, April Morris, Susanna Throop, and Laura Whatley (Farnham, Surrey: Ashgate, 2015), 15-34.

"A Byzantine Pedigree: The Design of Coins and Seals in the Latin East," in Medieval Coins and Seals: Constructing Identity, Signifying Power, ed. Susan Solway (Turnhout: Brepols, 2015): 131-52.

"The Histoire ancienne and Dialectical Identity in the Latin Kingdom of Jerusalem," Gesta 49 (2010): 31-52.

"T'oros Roslin and the Representation of Pagan Threat," The Journal of the Walters Art Museum 68-69 (2010-2011): 67-76.