How To Cut Alabaster

How To Cut Alabaster – Cut in Alabaster is the first comprehensive study of alabaster sculpture in Western Europe in the late Middle Ages and Renaissance.

While marble is associated with Renaissance Italy, alabaster was the material commonly used elsewhere in Europe and had its own characteristics, traditions and meanings. Alabaster gained particular popularity as a sculptural material during the two centuries between 1330 and 1530, when sculpture was produced for both domestic consumption and export. Focusing specifically on England, Burgundy, the Netherlands, and Spain, three regions closely linked through trade routes, diplomacy, and cultural exchange, this book explores and compares the material practice and visual culture of alabaster sculpture in late medieval Europe. In alabaster charts, from hearth to contexts of use, the sculptures explore practitioners, markets and functions, as well as consumption, display and material meaning. It provides a detailed examination of tombs, altars and sculptures, both elite and popular, from high-status commissioned commissions to small, inexpensive carvings produced commercially for a more popular clientele.

How To Cut Alabaster

How To Cut Alabaster

Kim Wood is a Senior Lecturer in Art History at the Open University and a specialist in Northern European Late Gothic sculpture. It combines an object-oriented approach with an interest in material and cultural exchange. His one-author book, Imported Paintings (Donington, 2007), focused on wood sculpture. He has been working on alabaster ever since. Open University distance learning materials include the volumes Renaissance Art Reconsidered (Yale, 2007) and Medieval to Renaissance (Tate Publishing, 2012).

Sorrelli Square Cut Mint Alabaster Crystal Set

Amelia Roche Hyde holds an MA from the Courtauld Institute of Art, where she studies the cross-cultural artistic traditions of medieval Spain and researches the context and role of Spanish ivory in sacred spaces. His favorite medieval art objects are those that need to be handled and touched, and he has explored ivories, textiles and illuminated manuscripts at the Metropolitan Museum of Art and the British Museum. Amelia is a research fellow at The Met Cloisters. view more posts

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