Westminster Abbey's Quattrocento Altarpieces: Three Ornaments and Their “Worship” in the Twentieth Century
Between 1935 and 1948, three devotional paintings, all Italian and from the fifteenth century, were installed in London’s Westminster Abbey. While these pictures are individually well known to art historians, it has yet to be asked how and why they came to be displayed in the modern church. This pap...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
2021
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| In: |
Religion and the arts
Year: 2021, Volume: 25, Issue: 3, Pages: 263-295 |
| Standardized Subjects / Keyword chains: | B
Gozzoli, Benozzo 1420-1497
/ Bicci, di Lorenzo 1373-1452
/ Stefano, d'Antonio di Vanni 1407-1483
/ Vivarini, Bartolomeo 1430-1491
/ Altar-piece
/ Devotional picture
/ Westminster Abbey (London)
/ History 1935-1948
/ Catholicism
/ Christian art
/ Anglicanism
|
| IxTheo Classification: | CE Christian art KBF British Isles |
| Further subjects: | B
Arthur Lee of Fareham
B Art and Anglicanism B Jocelyn Perkins B Benozzo Gozzoli B Kenneth Clark B Westminster Abbey B Pietro Torrigiani B Bartolomeo Vivarini B Bicci di Lorenzo |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a Between 1935 and 1948, three devotional paintings, all Italian and from the fifteenth century, were installed in London’s Westminster Abbey. While these pictures are individually well known to art historians, it has yet to be asked how and why they came to be displayed in the modern church. This paper reconstructs that history and interrogates the motivations of those involved. It also asks what liturgical functions, if any, were assigned to these erstwhile Roman Catholic objects in their adopted Anglican surroundings. The findings show that a confluence of antiquarian sensibilities, a specific vein of Anglicanism, and patronal motivations that recall the original commissioning of these works of art, all came to bear on what were remarkable episodes in the afterlives of these pictures and in the history of Westminster Abbey. | ||
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