Il programma dell'ambone di Klosterneuburg e Gerhoch von Reichersberg, L’influenza delle riforme ecclesiastiche del XII secolo sull’arte d’oltralpe: Austria

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dc.contributor.advisor Riccioni, Stefano it_IT
dc.contributor.author Niederdoeckl, Elisabeth <1995> it_IT
dc.date.accessioned 2021-04-12 it_IT
dc.date.accessioned 2021-07-21T07:45:38Z
dc.date.available 2021-07-21T07:45:38Z
dc.date.issued 2021-05-10 it_IT
dc.identifier.uri http://hdl.handle.net/10579/18871
dc.description.abstract My Thesis studies the ambo of Nicholas of Verdun (activity 1180-1205) from a paleographical, iconographical, epigraphical, and theological standpoint. Successive to a study on the state of the literature, I established and distinguished the role attributed to the ambo in the XII century romanesque basilica of Klosterneuburg. Moreover, by examining the employed materials and technique, I identified the origin, the role of the artist, as his workshop, for this particular commission. It follows the paleographic analysis of the redialed commissioner inscription, which revealed similarities with manuscripts realized in abbeys located nearby, which, like the one of Klosterneuburg, were restored in those years following the gregorian reform: this circumstantial aspect allowed me to question the discussion on the existence of a reformed art (arte riformata). Furthermore, to understand the purpose the commission of the Verduner Altar had, I opposed the literary production of the local theologian Gerhoch von Reichersberg ( 1098-1168) combined with the ones of the main theologians known at that time, as Ugo of St. Victor (1096-1141) and Honorius Augustodunensis (1080-1151), with the complex program of the representations as to the inscriptions of the Verduner Altar. The results of this comparison gave me the possibility to mark the potential existence of a reformed art in the XII century and by acknowledging that the abbey of Klosterneuburg was a double one, I parse the role of the Virgin and the other women throughout those particular circumstances of reformations and contingencies. Consequently, my entire thesis is based on a comparative study that underlines how and why one may actually acknowledge the existence of reformed art in Austria. My research becomes a new chapter within the studies of art by identifying the phenomena of Reformed Art as an international one, spread in more than just a few communities. it_IT
dc.language.iso it it_IT
dc.publisher Università Ca' Foscari Venezia it_IT
dc.rights © Elisabeth Niederdoeckl, 2021 it_IT
dc.title Il programma dell'ambone di Klosterneuburg e Gerhoch von Reichersberg, L’influenza delle riforme ecclesiastiche del XII secolo sull’arte d’oltralpe: Austria it_IT
dc.title.alternative Il programma dell'Ambone di Klosterneuburg e Gerhoch von Reichersberg, l'influenza delle riforme ecclesiastiche del XII secolo sull'arte d'oltralpe: Austria, it_IT
dc.type Master's Degree Thesis it_IT
dc.degree.name Storia delle arti e conservazione dei beni artistici it_IT
dc.degree.level Laurea magistrale it_IT
dc.degree.grantor Scuola in Conservazione e Produzione dei Beni Culturali it_IT
dc.description.academicyear 2019-2020, sessione straordinaria LM it_IT
dc.rights.accessrights openAccess it_IT
dc.thesis.matricno 874181 it_IT
dc.subject.miur L-ART/01 STORIA DELL'ARTE MEDIEVALE it_IT
dc.description.note it_IT
dc.degree.discipline it_IT
dc.contributor.co-advisor it_IT
dc.date.embargoend it_IT
dc.provenance.upload Elisabeth Niederdoeckl (874181@stud.unive.it), 2021-04-12 it_IT
dc.provenance.plagiarycheck Stefano Riccioni (stefano.riccioni@unive.it), 2021-04-26 it_IT


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