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4 books about Camille, Michael
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4 books about Camille, Michael
The Gargoyles of Notre-Dame
Medievalism and the Monsters of Modernity
Michael Camille
University of Chicago Press, 2009
Most of the seven million people who visit the cathedral of Notre Dame in Paris each year probably do not realize that the legendary gargoyles adorning this medieval masterpiece were not constructed until the nineteenth century. The first comprehensive history of these world-famous monsters, The Gargoyles of Notre-Dame argues that they transformed the iconic thirteenth-century cathedral into a modern monument.
Michael Camille begins his long-awaited study by recounting architect Eugène Viollet-le-Duc’s ambitious restoration of the structure from 1843 to 1864, when the gargoyles were designed, sculpted by the little-known Victor Pyanet, and installed. These gargoyles, Camille contends, were not mere avatars of the Middle Ages, but rather fresh creations—symbolizing an imagined past—whose modernity lay precisely in their nostalgia. He goes on to map the critical reception and many-layered afterlives of these chimeras, notably in the works of such artists and writers as Charles Méryon, Victor Hugo, and photographer Henri Le Secq. Tracing their eventual evolution into icons of high kitsch, Camille ultimately locates the gargoyles’ place in the twentieth-century imagination, exploring interpretations by everyone from Winslow Homer to the Walt Disney Company.
Lavishly illustrated with more than three hundred images of its monumental yet whimsical subjects, The Gargoyles of Notre-Dame is a must-read for historians of art and architecture and anyone whose imagination has been sparked by the lovable monsters gazing out over Paris from one of the world’s most renowned vantage points.
Michael Camille begins his long-awaited study by recounting architect Eugène Viollet-le-Duc’s ambitious restoration of the structure from 1843 to 1864, when the gargoyles were designed, sculpted by the little-known Victor Pyanet, and installed. These gargoyles, Camille contends, were not mere avatars of the Middle Ages, but rather fresh creations—symbolizing an imagined past—whose modernity lay precisely in their nostalgia. He goes on to map the critical reception and many-layered afterlives of these chimeras, notably in the works of such artists and writers as Charles Méryon, Victor Hugo, and photographer Henri Le Secq. Tracing their eventual evolution into icons of high kitsch, Camille ultimately locates the gargoyles’ place in the twentieth-century imagination, exploring interpretations by everyone from Winslow Homer to the Walt Disney Company.
Lavishly illustrated with more than three hundred images of its monumental yet whimsical subjects, The Gargoyles of Notre-Dame is a must-read for historians of art and architecture and anyone whose imagination has been sparked by the lovable monsters gazing out over Paris from one of the world’s most renowned vantage points.
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Image on the Edge
The Margins of Medieval Art
Michael Camille
Reaktion Books, 2004
What do they all mean – the lascivious ape, autophagic dragons, pot-bellied heads, harp-playing asses, arse-kissing priests and somersaulting jongleurs to be found protruding from the edges of medieval buildings and in the margins of illuminated manuscripts? Michael Camille explores that riotous realm of marginal art, so often explained away as mere decoration or zany doodles, where resistance to social constraints flourished.
Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.
Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.
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Mirror in Parchment
The Luttrell Psalter and the Making of Medieval England
Michael Camille
University of Chicago Press, 1998
What is the status of visual evidence in history? Can we actually see the past through images? Where are the traces of previous lives deposited? Michael Camille addresses these important questions in Mirror in Parchment, a lively, searching study of one medieval manuscript, its patron, producers, and historical progeny.
The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.
In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.
In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
[more]
Mirror In Parchment
The Luttrell Psalter and the Making of Medieval England
Michael Camille
Reaktion Books, 1998
What is the status of visual evidence in history? Can we actually see the past through images? Where are the traces of previous lives deposited? Michael Camille addresses these important questions in Mirror in Parchment, a lively, searching study of one medieval manuscript, its patron, producers, and historical progeny.
The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.
In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.
In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
[more]
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