Of Corpses, Constables and Kings: The<i>Danse Macabre</i>in Late Medieval and Renaissance Culture

Oosterwijk, Sophie

doi:10.1179/jba.2004.157.1.61

Cited by 4 publications

(1 citation statement)

References 1 publication

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“…Among the studies published recently on the Danse macabre, it is worth citing Massip-Kovács 2004a;Oosterwijk 2004;Gertsman 2010;Oosterwijk-Knöll ed. 2011.…”

Section: "Danse Macabre" and Its Transmissionmentioning

confidence: 99%

The fifteenth-century Catalan translation of the French "Danse macabre": A critical edition and English translation, from manuscript Miscel·lània 26, Arxiu de la Corona d’Aragó, Barcelona

Zvonareva

2015

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“…Among the studies published recently on the Danse macabre, it is worth citing Massip-Kovács 2004a;Oosterwijk 2004;Gertsman 2010;Oosterwijk-Knöll ed. 2011.…”

Section: "Danse Macabre" and Its Transmissionmentioning

confidence: 99%

The fifteenth-century Catalan translation of the French "Danse macabre": A critical edition and English translation, from manuscript Miscel·lània 26, Arxiu de la Corona d’Aragó, Barcelona

Zvonareva

2015

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Anatomical knowledge among medieval folk artists: osteological interpretation of two Dance of Death motifs

et al. 2013

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Anatomy has a long history that started with dissection of animals and then expanded and flourished thanks to dissections performed on human bodies. Artists had a crucial role in uncovering the secrets of human anatomy. While most studies have focused on the influence of famous Renaissance artists on human anatomy studies, the anatomical drawings by pre-Renaissance artists and local craftsmen have remained in their shadow. One of the most popular artistic genres in which complete or parts of human skeletons appear is the Dance of Death (Danse Macabre). This article is an anthropological study of two medieval Dance of Death frescoes that are unusual in being relatively early as well as accurately datable. A comparative morphological analysis of the two late 15th century works present in Istria has been conducted. The two works were painted by two local masters and show how the artists filled the gaps in their knowledge of human anatomy mostly with insights into animal bones and imagination. Their artworks, even though only 16 years apart, demonstrate substantial differences in the representation of the skeletons. The article argues that the history of medicine and of art could make good use of osteology and physical anthropology in attempts to define and understand how anatomical knowledge developed among pre-Renaissance and post-Renaissance artists and local people.

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Caricaturizing “Cosmopolitan” Pera: Play, Critique, and Absence in Yusuf Franko's Caricatures, 1884–1896

Kentel¹

2018

Journal of the Ottoman and Turkish Studies Association

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This article explores a unique series of caricatures made between 1884 and 1896 by Yusuf Franko Kusa, a high-ranking Ottoman bureaucrat and a venerated member of fin-de-siècle Pera's high society. Yusuf Franko's hitherto unstudied caricatures were comparable to contemporary European caricatures in style, but their subject matter was very local, as he exclusively represented the elite networks that built and enjoyed "cosmopolitan" Pera, one of the central districts of late Ottoman Istanbul, in his art. These caricatures were never published, but bound as an album by the artist himself and circulated among Yusuf Franko's entourage, members of elite society of Pera. Through close scrutiny of Yusuf Franko's drawings and especially of the absences in them, the article provides a visual mapping of Pera's social topography and explores what images can show that is sometimes ignored in textual sources. It is argued that the satirical form and the inter-visual references employed by Yusuf Franko to represent his inner circle promise to unravel the complexities embedded in Pera's society, with more nuanced criticisms towards his fellow elite members than the conventional literature on Pera. Yusuf Franko appears not only as an illustrator of urban life in fin-de-siècle Pera, but also an active participant in the making of this urban life through his playful acts of elite community-building, i.e., the informal and underground circulation of the images within high society. This article thus attempts to show one particular way in which visual sources can be treated as historical agents themselves, as well as serving as sources for (urban) history-writing.

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Of Corpses, Constables and Kings: TheDanse Macabrein Late Medieval and Renaissance Culture

Cited by 4 publications

References 1 publication

The fifteenth-century Catalan translation of the French "Danse macabre": A critical edition and English translation, from manuscript Miscel·lània 26, Arxiu de la Corona d’Aragó, Barcelona

The fifteenth-century Catalan translation of the French "Danse macabre": A critical edition and English translation, from manuscript Miscel·lània 26, Arxiu de la Corona d’Aragó, Barcelona

Anatomical knowledge among medieval folk artists: osteological interpretation of two Dance of Death motifs

Caricaturizing “Cosmopolitan” Pera: Play, Critique, and Absence in Yusuf Franko's Caricatures, 1884–1896

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