Later Byzantine Painting: Art, Agency, and Appreciation (Variorum Collected Studies)

Cover
Series
Title
Copyright
Contents
Introduction
Acknowledgements
I. LATER BYZANTINE PAINTING
	The Church of the Chora and Talaiologan Art
		I Taxation with representation. Visual narrative and the political field of the Kariye Camii Art History 22. Oxford, 1999
		II The Chora and the Great Church: intervisuality in fourteenth-century Constantinople
		III Heavenly allies at the Chora Gesta 43. New York, 2004, pp. 31-10
		IV Tales of two cities: the patronage of early Palaeologan art and architecture in Constantinople and Thessaloniki
	Manuscript Illumination
		V Theoktistos and associates in twelfth-century Constantinople: an illustrated New Testament of A.D. 1133 The J. Paul Getty Museum Journal 15. Los Angeles, CA, 1987, pp. 53—78
		VI Relative size and comparative value in Byzantine illuminated manuscripts: some quantitative perspectives (with Jerry L. Bona)
		VII The Palaeologina group: additional manuscripts and new questions (with John Lowden)
		VIII Paris, Gr. 117 and the beginnings of Palaeologan illumination Wiener Jahrbuch für Kunstgeschichte 37. Vienna, 1984
		IX A thirteenth-century Byzantine miniature in the Vatican Library Gesta XX, New York, 1981, pp. 213—222
II. AGENCY
	X Michael the monk and his Gospel book Actes du XVe Congrés international d’études byzantines II. Athens, 1981
	XI The discourse of icons, then and now
	XII To say and to see: ekphrasis and vision in Byzantium Visuality Before and Beyond the Renaissance: Seeing as Others Saw, ed. Robert S. Nelson, Cambridge: Cambridge University Press; 2000
III. APPRECIATION
	XIII The manuscripts of Antonios Malakes and the collecting and appreciation of illuminated books in the early Palaeologan period
	XIV The Italian appreciation and appropriation of illuminated Byzantine manuscripts, ca. 1200—1450
	XV Living on the Byzantine borders of Western art Gesta 35. New York, 1996, pp. 3—11
Addenda
Index