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Anja Rathmann-Lutz: Public Relations
Public Relations
(p. 189 – 204)

Anja Rathmann-Lutz

Public Relations
Eyewitnesses in 14th-Century French Royal Manuscripts

PDF, 16 pages

Within a group of manuscripts, made in the circle around Jeanne II of Navarre in the 1330's (BnF, Ms. fr. 5716; BnF, Ms. n. a. lat. 3145; Ms. fr. 13568), several miniatures show distinguished figures that not only appear as witnesses inside the pictured scene but also serve as links between the manuscripts. The motivations of some of these figures lies beyond the content of the depicted scenes or the logic of pictorial composition, which leads to the conclusion that these figures convey the political intentions of their patroness. By means of those figures, who function as eye-witnesses, the article traces Jeanne's influence on the image of St. Louis as well as the relations between the audiences within and without the miniatures.

  • gaze
  • iconography
  • Islamic art
  • art history
  • eye
  • antiquity
  • painting
  • observer
  • public sphere
  • Middle ages
  • Byzantium

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Anja Rathmann-Lutz

is historian and art historian. She received her PhD from the University of Hamburg and is currently based at the Department of History at the University of Basel (Switzerland) as Assistant Professor. Her research concentrates on the cultural history of the Middle Ages and the Renaissance, especially on the perception of change in the high Middle Ages, the political use of images and questions of visibility, the history of late medieval cities and questions of temporality and time-and-space relations.

Beate Fricke (ed.), Urte Krass (ed.): The Public in the Picture / Das Publikum im Bild

The invention of depicting figures participating in an event — nameless bystanders, beholders, and onlookers — marks an important change in the ways artists addressed the beholder of the artworks themselves. This shift speaks to a significant transformation of the relationship between images and their audience. The public in the picture acts as mediator between times, persons, and contents. The contributions of this volume describe this moment from a diachronic and transcultural perspective, while each of them focuses on a specific group of works revealing a new moment in this history. They explore the cultural contexts of the political and religious public, and relate the rise of the public in the picture to the rise of perspectival representation (Panofsky’s space-box and Kemp’s Chronotopos).

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