Fragmented devotion : medieval objects from the Schnütgen Museum, Cologne
Author(s)
Bibliographic Information
Fragmented devotion : medieval objects from the Schnütgen Museum, Cologne
McMullen Museum of Art, Boston College : Distributed by the University of Chicago Press, c2000
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Note
Essays and catalog issued in conjunction with an exhibition held at the McMullen Museum of Art, Boston College, from February 7 to May 22, 2000
Includes bibliographical references
Contents of Works
- Collecting, re/collecting, contextualizing and recontextualizing : devotion to fragments of the Middle Ages / Nancy Netzer
- Fragments of ritual : the liturgical use of objects in the collection of Alexander Schnütgen / Patricia DeLeeuw
- Religious life and material culture in Medieval and Reformation Cologne / Virginia Reinburg
- Alexander Schnütgen's devotion to the Middle Ages / Hiltrud Westermann-Angerhausen
- Father Schnütgen's Catholic Germany / Donald Dietrich
- Where was Mary? : a post-Holocaust inquiry / James Bernauer
- Catalogue of objects in the exhibition / Ulrike Mathies
Description and Table of Contents
Description
Mediaeval art survives today as fragments of larger works, usually displayed by historical period, geographic location, artistic medium or iconographic theme. "Fragmented Devotion" is the first exhibition to explore the meanings these fragments have in our understanding of mediaeval art and religious life from the Middle Ages to the present. Most of these objects have bever been shown before in North America, and many have not been published since the beginning of the 20th century. The catalogue includes essays by historians, art historians, philosophers and theologians. The writings discuss the meanings these objects had in mediaeval religious practice. The essays then go on to trace how those original meanings changed when the objects were collected and installed by Alexander Schnutgen within the larger context of Catholicism and nationalism in 19th-century Germany. Finally, the contributors look at the 1920s and 1930s when the objects were installed in a museum-like setting and consider this installation in light of the developments in mediaeval art history and the policies of national socialism.
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