A Feast for the Eyes: Art, Performance, and the Late by Christina Normore

By Christina Normore

To learn debts of overdue medieval banquets is to go into a fantastical international the place reside lions protect nude statues, gilded stags burst into music, and musicians play from inside pies. we will be able to nearly listen the clock sound from inside of a pitcher citadel, style the fire-breathing roast boar, and odor the rose water cascading in a miniature fountain. Such bright artworks and function required collaboration between artists in lots of fields, in addition to the participation of the audience.

A ceremonial dinner for the Eyes is the 1st book-length research of the courtroom banquets of northwestern Europe within the fourteenth and 15th centuries. Christina Normore attracts on an array of artistic endeavors, archival files, chroniclers’ money owed, and cookbooks to re-create those occasions and reconsider the past due medieval visible tradition during which banquets have been staged. banquet members, she exhibits, constructed subtle methods of appreciating inventive ability and getting to their very own procedures of notion, thereby forging a courtroom tradition that overjoyed within the workout of good aesthetic judgment.

not easy glossy assumptions in regards to the nature of inventive construction and reception, A ceremonial dinner for the Eyes yields clean perception into the lengthy background of multimedia paintings and the complicated relationships among spectacle and spectators.

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Indeed, the concepts of collaboration and ambiguity that are celebrated in the entremet extended even further once these object-event-dishes were mobilized within the feast itself, as the following chapters will show. ) Jacques Derrida, The Truth in Painting, trans. Geoff Bennington and Ian McLeod (Chicago: University of Chicago Press, 1987), 15–147; Patricia Fumerton, Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament (Chicago: University of Chicago Press, 1991). ) On the history of entremets in modern French dining, see Odile Redon, Françoise Sabban, and Silvano Serventi, The Medieval Kitchen: Recipes from France and Italy, trans.

All Rights Reserved. com/page/privacy-policy). ) On Cockaigne, see Herman Pleij, Dreaming of Cockaigne: Medieval Fantasies of the Perfect Life, trans. Diane Webb (New York: Columbia University Press, 2001). For marginalia, see Lillian Randall, Images in the Margins of Gothic Manuscripts (Berkeley: University of California Press, 1966), 83–84, 220. ) Philip Slavin, “Chicken Husbandry in Late-Medieval Eastern England, c. 1250–1400,” Anthropozoologica 44 (2009). Pichon claims instead that sweets and fowl form the bulk of entremets, at least within Le Ménagier de Paris (ed.

C) Copyright University of Chicago Press, 2016. All Rights Reserved. com/page/privacy-policy). , 48. Tellingly, much art-historical ink has been shed attempting to characterize Beauneveu as either a sculptor or a painter in order to avoid reference to intermediality in his production: Jim Harris, “(Re-)Making Beauneveu: The Scholarly Construction of a ‘Great Artist,’” in No Equal in Any Land, ed. Nash. ) Joubert, “Peintres du Voeu du Faison,” 194–95. com). (c) Copyright University of Chicago Press, 2016.

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