Professor Emeritus Madeline Harrison Caviness | |
---|---|
Born | 1938 (age 85–86) |
Awards | FMAoA, FRS |
Academic background | |
Alma mater | University of Cambridge and Harvard University |
Academic work | |
Discipline | Art history |
Sub-discipline | |
Institutions | Tufts University |
Madeline Harrison Caviness, FMAoA, FSA (born 1938) is a British-American scholar of European medieval art, and an expert on glass painting and medieval women as viewers of art. She is a Professor Emeritus at Tufts University in Medford, Massachusetts.
Caviness attended Cambridge University, earning a bachelor's degree in 1959 and a master's degree in 1963. She earned her Ph.D. in fine arts from Harvard University in 1970. [1]
Caviness is a Professor Emeritus at Tufts University. [2] She is considered an expert on European medieval stained glass. [3] She has participated in efforts to find and catalog stained glass works that were collected by Americans. Some of the earliest pieces she has discovered in the United States date back to the 12th century. [3]
Caviness was president of Corpus Vitrearum, an international scholarly organization dedicated to the study of medieval stained glass, from 1987 to 1995. [4] She served as president of the Medieval Academy of America from 1993 to 1994. [5]
Caviness's contributions to the study of medieval art were celebrated in the collection The Four Modes of Seeing: Approaches to Medieval Imagery in Honor of Madeline Harrison Caviness, edited by Evelyn Staudinger Lane, Elizabeth Carson Pastan, and Ellen Shortell, and published by Ashgate in 2009. [6]
Caviness's 1980s academic inference that 4 stained glass panels in Canterbury Cathedral predated others and a destructive fire was confirmed by technology in 2021. [7]
Caviness has contributed over 1400 images of stained glass to the Artstor Digital Library. [5]
Caviness has contributed photographs to the Conway Library at the Courtauld Institute of Art. [9]
Caviness was appointed Fellow of the American Academy of Arts and Sciences. [2] She is an elected member of the Society of Antiquaries in London (1980) [10] and a Fellow of the Medieval Academy of America. [5] Caviness has been the recipient of the John Nicholas Brown Prize and the Haskins Medal of the Medieval Academy of America. [11]
George Zarnecki, CBE, FBA, FSA was a Polish Professor of the History of Art. He was a scholar of Medieval art and English Romanesque sculpture, an area of study in which he did pioneering research. From 1961 to 1974 he was a deputy director of the Courtauld Institute of Art, University of London.
Hedwig glasses or Hedwig beakers are a type of glass beaker originating in the Middle East or Norman Sicily and dating from the 10th-12th centuries AD. They are named after the Silesian princess Saint Hedwig (1174–1245), to whom three of them are traditionally said to have belonged. So far, a total of 14 complete glasses are known. The exact origin of the glasses is disputed, with Egypt, Iran and Syria all suggested as possible sources; if they are not of Islamic manufacture they are certainly influenced by Islamic glass. Probably made by Muslim craftsmen, some of the iconography is Christian, suggesting they may have been made for export or for Christian clients. The theory that they instead originate from Norman Sicily in the 11th century was first fully set out in a book in 2005 by Rosemarie Lierke, and has attracted some support from specialists.
Alixe Bovey FSA is a Canadian medieval art historian and Dean and Deputy Director at the Courtauld Institute of Art, a college of the University of London. Her research has been chiefly concerned with pictorial narratives and their cultural and literary context. She has also written on medieval monsters.
Hilary Godwin Wayment OBE, FSA (1912–2005) was a British author and historian of stained glass.
Dame Rosemary Jean Cramp, was a British archaeologist and academic specialising in the Anglo-Saxons. She was the first female professor appointed at Durham University and was Professor of Archaeology from 1971 to 1990. She served as president of the Society of Antiquaries of London from 2001 to 2004.
Jonathan James Graham Alexander, FBA, known in print as J. J. G. Alexander, is a medievalist and expert on manuscripts, "one of the most profound and wide-ranging of all historians of illuminated manuscripts".
Nancy Margaret Edwards, is a British archaeologist and academic, who specialises in medieval archaeology and ecclesiastical history. From 2008 to 2020, she was Professor of Medieval Archaeology at Bangor University; having retired, she is now emeritus professor.
Thomas Alexander "Sandy" Heslop,, publishing as T. A. Heslop, is a British academic who specialises in the art and architecture of medieval England. He is Professor of Visual Arts at the University of East Anglia (UEA). He was Slade Professor of Fine Art at the University of Cambridge for the 1997/1998 academic year.
Rachel M. Koopmans is an American–Canadian academic and author specializing in medieval history. She is an associate professor of history at York University and a member of the College of New Scholars of the Royal Society of Canada. She was part of a research team that discovered that two stained glass panels at the Canterbury Cathedral, thought to be late Victorian panels, instead dated to the 1180s.
Peter Kidson was a British Emeritus Professor and Honorary Fellow at the Courtauld Institute of Art, where he lectured on Medieval Architecture until 1990. In his obituary in The Telegraph, he was described as “the most influential historian of medieval architecture of his generation in the English-speaking world”.
Margaret Alison Stones, FSA, is a British/American medievalist and academic. She has held the position of professor emerita of history of art and architecture at University of Pittsburgh since 2012. Her work has been published in national and international academic journals and she has contributed to international exhibitions.
Roger Andrew Stalley is a scholar and teacher in medieval architecture and sculpture. His speciality is Early Gothic and Romanesque architecture and sculpture in England and Western Europe with a particular focus on Irish architecture and art. He has published numerous papers and books including Cistercian Monasteries of Ireland in 1987, for which he was awarded the Alice Davis Hitchcock Medallion in 1988 by the Society of Architectural Historians of Great Britain, and Early Medieval Architecture in 1999 for the Oxford History of Art series. He is noted for his innovative teaching practices for example, The Medieval Architecture Online Teaching Project, and is recognised in the 2021 publication Mapping New Territories in Art and Architectural Histories, Essays in Honour of Roger Stalley.
Carolyn Marino Malone is an American medievalist and academic. She is professor of art history and history at USC Dornsife College, Los Angeles, California, with a PhD in Art History and Medieval Studies (1973) from the University of California, Berkeley. Her research interests are English and French Romanesque and Gothic architecture and sculpture. She has published books on sculptural finds at Canterbury Cathedral, the abbey of St Bénigne in Dijon, the façade of Wells Cathedral, and monastic life in the Middle Ages. She served as Vice-President (1996-1997) and President (1999) of Art Historians of Southern California; Domestic Advisor to the Board of Directors of the International Center of Medieval Art (1984-1987); and was on the board of directors of the Medieval Association of the Pacific (1986-1989). She is a member of the Society of Architectural Historians.
Nicola Coldstream, FSA, is a British architectural historian and academic with special interests in the 13th and 14th centuries. Coldstream studied History and Fine Arts at Cambridge University and obtained her PhD at the Courtauld Institute of Art.
Peter Anthony Newton (1935–1987) was a British academic and collector specialising in medieval stained glass.
Deborah Kahn is an American art historian, author, and academic, specializing in European Medieval art and architecture. She is an eminent figure in the study of Canterbury Cathedral collection. Kahn has acted as a consultant on sculpture and conservation to Canterbury Cathedral and Lincoln Cathedral. She became Visiting Assistant Professor, Department of Art History at Columbia University from 1986 to 1987. She went on to work at Princeton University, from 1989 to 1991; before joining Boston University in 1996, where she is currently Associate Professor, in the department of art history. She is the author of two books, as well as numerous articles and conference papers.
Sydney Alfred Pitcher FRPS was a photographer with a special interest in medieval ecclesiastical architecture, particularly stained glass windows. In his 1926 book on English Stained Glass, the art historian and critic, Sir Herbert Read, acknowledged that the illustration of the book would have been difficult “without the co-operation of Mr Sydney Pitcher of Gloucester” to whom “all students of stained glass and of medieval art in general, are under a great debt for the enthusiastic zeal with which he is recording the remains of church art in England”.
Richard Marks, is a British art historian. He has held a number of curating and academic posts in art history in the United Kingdom and researched and written extensively on medieval religious images in a variety of media, including stained glass and illuminated manuscripts.
Galyon Hone was a glazier from Bruges who worked for Henry VIII of England at Hampton Court and in other houses making stained glass windows. His work involved replacing the heraldry and ciphers of Henry VIII's wives in windows when the king remarried.
John Prudde was the leading English glass painter of the mid 15th century. He held the office of King's Glazier from 1440 until his death. He worked on a variety of high-profile projects, both public and private, but the only work of his now known to survive is in the Beauchamp Chapel of St Mary's Church, Warwick. This has been described as having "a glittering effect unmatched within the British Isles", the result of his mastery of the technically demanding art of inserting brightly-coloured "jewels" of painted glass into the middle of panes of glass.
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