List of Illustrations
Acknowledgments
A Note on Terminology and Nomenclature
Introduction
1 The Life, Times, and Art of an International Queen
2 Systems of Exchange: Moving Art and Material Culture
3 The Body, the Altar, and the Table: Possessions and Sites of Identity Proclamation
4 The Queen’s Manuscripts and Identity
5 Gift Giving in the Gothic World
6 The Queen and Ritual Gift Giving
7 Gifts to Individuals, Near and Far
Conclusion: Good and Glorious Exchange
Appendix 1: The Testament of Clémence de Hongrie
Appendix 2: The Inventory of Clémence de Hongrie
Appendix 3: Glossary
Notes
Bibliography
Index
Mariah Proctor-Tiffany is Associate Professor of Art History at California State University, Long Beach.
“Mariah Proctor-Tiffany’s long-awaited and meticulously researched
and argued book makes an important contribution to the growing body
of scholarship that sits at the nexus of archival art history,
feminist cultural history, and the development of object- and
thing-based theoretical models for the practice of art
history.”—Alexa Kristen Sand Royal Studies Journal
“In focusing on Clémence’s use of art objects to assert her
identity as queen, Proctor-Tiffany contributes to a growing body of
scholarship that argues for medieval women’s agency in relationship
to works of art.”—Marian Bleeke CAA.Reviews
“Proctor-Tiffany’s emphasis on the mobility of such noble women,
and the objects they owned, makes a key contribution to medieval
studies.”—Alexandra Gajewski Burlington Magazine
“The study by Proctor-Tiffany demonstrates in an exemplary manner
how the two sources of inventory and will can be made fruitful for
art historical research and what rich information they provide for
object research (medieval subject culture in general, book,
treasure and textile art in particular) ready.”—Susanna
Blaser-Meier Sehepunkte
“Richly illustrated and written in clear and accessible language,
this study will be of interest to many different readers for its
engaging analysis of the possessions and gifts of a medieval
queen.”—Camille Serchuk French Studies
“This study highlights how a careful and intelligent reading of
such documents as inventories and wills can be so useful for
opening up areas that could easily be overlooked. Clémence de
Hongrie may have been one of the more obscure queens of France but
the survival of these documents has provided us with an insight
into her career and a wardrobe that might otherwise be overlooked.
Mariah Proctor-Tiffany must be commended for bringing these
documents to the attention of the English-speaking world and for
drawing out so much insightful material from them.”—Judith Collard
Parergon
“Proctor-Tiffany’s pathbreaking study of the art of Clémence de
Hongrie, queen of France (1293–1328), argues convincingly that
queens were crucial bearers of culture in medieval Europe.
Proctor-Tiffany’s expertise as an art historian is evident on every
page. Especially innovative is her use of urban cartography and
geospatial mapping to track the sources of raw materials and their
movement to the artists who created objects for personal delight,
bodily adornment, spiritual devotion, or public display.”—Theresa
Earenfight, author of Queenship in Medieval Europe
“Billed as a ‘microhistory,’ Medieval Art in Motion is expansive,
using understudied primary sources related to one woman to explore
networks across Europe. Clémence de Hongrie’s remarkable
manuscript inventory proves a treasure, in and of itself. Examining
sacred and secular contexts and encompassing luxury media from
bejeweled, enameled goldwork and illuminated manuscripts to
coconuts and fossilized shark teeth, this beautifully produced
volume restores to these works—and their impressive
owner—physicality, materiality, and dynamism.”—Asa Simon Mittman,
author of Maps and Monsters in Medieval England
“By reconstituting Clémence de Hongrie’s long-lost collection, this
meticulous and yet expansive study of the queen’s detailed
inventory adds a significant chapter to our understanding of female
royal patronage. Medieval Art in Motion excels in mapping the
vibrant social life of things, the trajectories of materials
sourced from distant lands, and courtly practices of
gift-giving.”—Brigitte Buettner, author of Boccaccio's Des Cleres
Et Nobles Femmes: Systems of Signification in an Illuminated
Manuscript
“Clémence de Hongrie is a particularly inviting subject as both her
testament and the inventory made after her death in 1328 still
exist. Mariah Proctor-Tiffany enlivens these texts by considering
the idea of movement: provenance of materials in the objects the
queen commissioned, the sources of gifts she received, and the
destinations of those she bestowed on others. This study, as finely
detailed as the documents and the objects they describe, goes
beyond the case study to enrich our understanding of the nature and
functions of collecting and the bonds created by exchange, among
women and with men, in France and across Europe.”—Joan A. Holladay,
author of Illuminating the Epic: The Kassel Willehalm Codex and the
Landgraves of Hesse in the Early Fourteenth Century
“A well-written and richly illustrated volume of topical interest
especially to scholars of medieval art and history, women’s
studies, and digital mapping, the work of Mariah Proctor-Tiffany
reflects a lively image of late medieval Europe as a place of
international connections and exchanges in which art was used
intentionally to express and buttress women’s individual and social
identity.”—Sabina Zonno Comitatus
“With Medieval Art in Motion, Mariah Proctor-Tiffany modifies
scholarly approaches to aristocratic women by pointing out the
economic components of their collections and the consequences of
the circulation of luxurious objects. Her analysis demonstrates the
importance, for female patrons, of the inventory, a document
usually associated with men.”—Diane Antille Peregrinations: Journal
of Medieval Art & Architecture
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