Monthly Archives: September 2011

The Pretzels and the Fishes: Marginalia in Our Manuscript Facsimile Collection

Beneath the Lamentation of Christ, a stocky peasant man has pulled down his trousers and is mooning the audience.

A man in the margins of the illuminated manuscript The Hours of Simon de Varie.

He offers no explanation for his presence. Neither does the man standing—or rather, blossoming from a flower—to the right of the dead Christ.  His silence may be explained by the fact that he has both hands in his mouth, pulling it open to stick out his tongue in a gesture recognizable across the ages.

Another man and his gesture, from the margins of The Hours of Simon de Varie.

These characters are just two of the many striking grotesques parading through the margins of The Hours of Simon de Varie, an illuminated book of hours from 15th century France.  Here at the Art Library, we have a facsimile of it in our illuminated manuscript facsimile collection.

Perhaps as interesting as the images themselves is the fact that, at some point in the manuscript’s history, one of its owners evidently disapproved of the mooning man.  It is the only image in the text that seems to have been intentionally marred, his twin cheeks barely visible beneath the streaks of paint.  The outrageous cheekiness of this image make it an obvious target for elimination. Remarkably, though, most of the other grotesques remain untouched.  A tour through some of our facsimiles of books of hours shows a similarly bold presence of secular, bizarre, and even crass imagery in the pages of holy texts.

A book of hours is a book created for personal worship.  It was typically used as a kind of plug-and-pray prayer reference book, filling needs such as “to pray for the dead or dying,” “to ask for forgiveness from sins,” “to ask for the intercession of saints,” and many other categories of devotions.

As with most other illuminated manuscripts, books of hours were luxury items possessed only by the richest members of society.  A book that is both a practical prayer manual and a status symbol seems like an unlikely place to find the whimsical creations of an illuminator, but some carried a subtler, more pointed message than those in The Hours of Simon de Varie.

In The Hours of Catherine of Cleves, a life-like rosary frames the page.

Unlike the “mooner and friend”, most of the strange creatures and objects in The Hours of Catherine of Cleves appear in frames encircling pages in the second half of the manuscript.  These are usually executed in a trompe l’oeil style, so that the items that make up the frames appear as if they are lying on top of the page rather than painted on it.  On one page, a rosary lies around the text as if just dropped by the reader.

Some of the items in these frames have more distinct, symbolic meanings. A scene of St. Sebastian’s martyrdom by a firing squad of bowmen is surrounded by a frame made up of bows and arrows. Another saint is surrounded by a chain of fish eating each other.

Mmmmmmm, fish.

A cannibalistic fish fest may not seem very holy, but the image of a larger fish eating a smaller one was a common metaphor during the medieval period for the rich “consuming” the poor.

Hang on to that pretzel.

Other items seem to have been included purely on a whim.  For example: pretzels, which appear in this image along with communion wafers.  Although you might not think that delicious salty snacks would have hidden theological significance, pretzels were evidently a symbol of the arms of the Father.  Mysterious objects that appear on other pages include mussels filled with gold, and crabs.

It seems like an unfair tease to tell you now that “there are many more of these creatures, and you should come see them for yourself,” but a full listing of every unique grotesque in every book of hours we have would tax even the greatest attention span.  There are too many boars playing harps and ghostly faces emerging from cadelles in The Hours of Mary of Burgundy, for one, and too many men wearing ox yokes and beasts in bishop’s miters in The Hours of Jeanne d’Evreux to discuss in one blog post.  So take a look at what we have here, and come in prepared to squint.

– Eva Sclippa

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Filed under Illuminated manuscripts, Manuscript facsimiles, Special collections in the Art Library

From the Studio to the Stacks (and Beyond!)

Talking about research with MFA student Neill Prewitt

If there’s one thing I’ve learned from talking with UNC graduate students in studio art, it’s that their research process knows no bounds.  From colleagues to community members to obscure volumes in far corners of the UNC Chapel Hill library system, these students take an ambitious and tentacular approach to source gathering.

Working at Sloane, I’ve been lucky enough to witness small moments in this unfolding narrative. Curious about the bigger picture, I will be writing a series of blog posts about MFA students and their research – both in the library and beyond.

Dream Acts (installation view) at the former Chapel Hill Museum

Neill Prewitt, a second year MFA student, recently co-organized the exhibition “Dream Acts.” “Dream Acts” was a project featuring art made by and with residents of the Abbey Court apartment complex in Carrboro. The show was held at the former Chapel Hill Museum in June and July, and featured a wide variety of media.  Walls were covered with portraits of Abbey Court residents posing in front of fantastical backdrops. Fully furnished living rooms evoked a sense of home, while video footage made in collaboration with children from Abbey Court danced over walls and floors.  On the night of the opening, the space was filled with the sounds of celebration and sharing – communities meeting in a liminal, creative space.

I asked Prewitt how he prepared for the project: “There was a lot of primary research, visiting Abbey Court two or three times a week for a while before we started,” he explained.  He and collaborators Eleanor Blake and Lincoln Hancock also worked with UNC professors from a variety of disciplines.  Judith Blau, a professor of sociology at UNC who also serves as director of the Chapel Hill and Carrboro Human Rights Center, was a particularly important resource. The Center, which is located right at Abbey Court, has collaborated with residents on projects such as festival-planning, computer literacy programs, and fair housing advocacy.  Prewitt feels strongly about learning through interaction and dialogue: “So much comes out of it – it’s a living relationship that just grows and grows.”

Yuxtapongo Translucence, The Block Gallery, 2009

When Prewitt heads to the library for resources, he casts a wide net. “It’s hard to know what’s going to be useful…  I’m a big fan of checking out like 12 items and then maybe one of them might work out.” Though he reads a wide variety of literature (at the time of our conversation he was looking at two Bertolt Brecht plays and “The Shadow Factory” by James Bamford), there are particular sections of the Art Library that he frequents for both targeted and serendipitous finds.  “It’s important for information to be online but there’s no substitute for being in an environment like this [where you can] stumble across something on your way to getting what you were looking for.”

Hot tub for checkout.* (*Not yet available at time of publication...)

In an ideal world, what else would he like to check out from the library? “I would love a tool-sharing library along the lines of the tech shop in Durham – though that would require instruction.”  On a more serious note:  “I want to check out a hot tub for the weekend.”

-Madeline Veitch

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Filed under MFA student work, Patron interviews

Coming up on Tuesday, Sept. 13th: Hanes Visiting Artist lecture by Thomas Nozkowski

Thomas Nozkowski, Untitled (8-135), 2010, oil on linen on panel, 22 x 28 inches (55.9 x 71.1 cm), copyright Thomas Nozkowski, courtesy The Pace Gallery, Photo by: G.R. Christmas, courtesy The Pace Gallery

Event details:
Thomas Nozkowski
Tuesday, September 13th
Hanes Auditorium, Hanes Art Center
6:00 pm

Although he started out working in sculpture, Thomas Nozkowski has built his career around small-scale abstract paintings. His compact pictures are filled with lively organic and geometric forms. His works reward close looking — trying to understand their inventive and whimsical compositions can feel a bit like peering through a microscope or a kaleidoscope.

The brightly colored canvases seem strangely familiar, perhaps because Nozkowski finds inspiration in the real world. He is always on the lookout for a truly bizarre subject, though, from a state of mind to a road map. For example, in An Autobiography — included in the artist’s vertical file at the Sloane Art Library — works by Nozkowski on the right-hand side of the page respond to map fragments and photographs of New York on the left. In Flare, Nozkowski collaborated with poet Cole Swensen to develop prints that responded to the written word.

Unlike many abstract painters, Nozkowski chooses to work on a small scale. Many of his paintings are 16 by 20 inches, allowing him to experiment with forms in a single session. In an interview with BOMB magazine, Nozkowski described his process:

“Every time I work on a painting, I’ll make sure the entire surface is opened up with a wash of pigment or has been rubbed down so that everything is put back in question. If you see a painting that I worked on for fifteen years, what you’re actually seeing is the final day’s work. The entire surface of the painting has been worked on in that last session.”

To Nozkowski, painting is a process of discovery, of finding forms and relations that you never could have predicted at the start. His goal is to create a truly energized space, something interesting and beautiful — though you may not be able to explain why it’s beautiful.

Nozkowski will give a 30 minute introduction to his work, which will be followed by a conversation with Cary Levine, Assistant Professor of Contemporary Art, and a Q&A with the audience. Reception to follow.

For more detail, see the Art Department’s announcement.

– Laura Fravel

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