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The Fantasy of the Middle Ages: An Epic Journey through Imaginary Medieval Worlds
This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture.
From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators.
This volume aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars.
This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022.
From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators.
This volume aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars.
This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022.
153 pages, Kindle Edition
First published July 19, 2022
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Displaying 1 - 30 of 46 reviews
May 14, 2022
“The Venn diagram of “medieval” and “fantasy” so closely overlap that they are almost inextricable.”The premise was interesting, especially since I enjoy both medieval history and medieval-inspired stories many of which were mentioned here — but it just failed to click with me. And the main reason was probably how earnestly didactic it was.
A bit too dry and too repetitive, with very superficial explanations — I suppose that as an accompanying book to the exhibition at J. Paul Getty Museum it really needed to serve as just an overview, but it left me wanting much more.
But the illustrations were great, although a bit too many of the modern medievalist-inspired ones rather than actual old ones. But still — those I enjoyed quite a bit more than the accompanying text.
2.5 stars — but I’ll definitely see that exhibition if I have a chance.
—————
Thanks to NetGalley and Getty Publications for providing me with a digital ARC in exchange for an honest review.
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Also posted on my blog.
November 1, 2022
Another beautifully published book from the J. Paul Getty Museum in Los Angeles, in support of an exhibition. The central focus is the representation made over the centuries of the European Middle Ages. The book starts from the observation that the fascination for the European Middle Ages is still very much alive. This is evidenced by the success of the Game of Throne series (and its recently launched prequel), as well as numerous historical films (mostly about the King Arthur stories). This book goes into detail about that, and also shows how ‘medieval mania’ has even permeated Japanese manga’s and TikTok videos.
It also demonstrates well how distortion and appropriation are inevitably involved in all those performances: a certain image of the Middle Ages actually says something about the time in which that representation was created. This adaptation and distortion already started in the Middle Ages themselves, when monks and other writers produced stories and illustrators presented a specific image in manuscripts, for example of a knight's tournament. According to the authors, it is mainly the stories and visual representations from the 14th and 15th centuries – so rather late – that came to determine our later image of the Middle Ages. Fascinating, especially because that information is extensively illustrated in this book.
Another merit is that the authors point to the need for a more inclusive approach and representation of the Middle Ages. There is nothing wrong with that, on the contrary: there is certainly a need for a correction to the inevitably colored image that was given in the Middle Ages themselves, but also afterwards: too masculine, too white, too elitist, too European, etc. That correction has been going on for some time now: in recent decades, historical studies have been constantly published that nuance the classic picture of the homogeneous Christian Europe in the Middle Ages, and that point to the diversity of beliefs, values and norms, behavior, but also to the forms of discrimination (racial , gender, etc.) that have so far been underexposed. It is a good thing that attention is being paid to this.
But then the authors apparently find it necessary to go one step further. They even make a direct plea not to take historical reality too serious and to approach the past 'audience-driven', i.e. to bend to the values and norms of the present time. Look, call me old-fashioned, but I do have a problem with that. Hence the lower rating. More on this in my History-account in Goodreads: https://www.goodreads.com/review/show....
Thanks to Netgalley and the publisher for this ARC
It also demonstrates well how distortion and appropriation are inevitably involved in all those performances: a certain image of the Middle Ages actually says something about the time in which that representation was created. This adaptation and distortion already started in the Middle Ages themselves, when monks and other writers produced stories and illustrators presented a specific image in manuscripts, for example of a knight's tournament. According to the authors, it is mainly the stories and visual representations from the 14th and 15th centuries – so rather late – that came to determine our later image of the Middle Ages. Fascinating, especially because that information is extensively illustrated in this book.
Another merit is that the authors point to the need for a more inclusive approach and representation of the Middle Ages. There is nothing wrong with that, on the contrary: there is certainly a need for a correction to the inevitably colored image that was given in the Middle Ages themselves, but also afterwards: too masculine, too white, too elitist, too European, etc. That correction has been going on for some time now: in recent decades, historical studies have been constantly published that nuance the classic picture of the homogeneous Christian Europe in the Middle Ages, and that point to the diversity of beliefs, values and norms, behavior, but also to the forms of discrimination (racial , gender, etc.) that have so far been underexposed. It is a good thing that attention is being paid to this.
But then the authors apparently find it necessary to go one step further. They even make a direct plea not to take historical reality too serious and to approach the past 'audience-driven', i.e. to bend to the values and norms of the present time. Look, call me old-fashioned, but I do have a problem with that. Hence the lower rating. More on this in my History-account in Goodreads: https://www.goodreads.com/review/show....
Thanks to Netgalley and the publisher for this ARC
Read
October 21, 2024My apologies for the length of the following epistle, but this book clearly has touched a sensitive nerve.
For me, the past is a reality that is definitely connected with our present (because that present is the product of the past), but at the same time it clearly is set apart from the present, and so it can never be fully grasped; in a sense it has its own nature, that we must respect. Of course, this past can certainly be reconstructed through the methodologically developed rules of historiography. But that reconstruction can never offer the full picture, because of the selectivity of the remains (the sources), because of the subjectivity of the researcher (who is inevitably marked by his own time and personality), and because of the limits of narrative representation. Therefore, the past is never finished or closed, our image of it is constantly shifting, along with the horizon of our ever-shifting present. At the same time, that past resists the 'arbitrary' adaptation by the contemporary gaze, not anything goes: in a way the past partly imposes its own will, and demands respect for its individuality.
That sounds rather abstract, I know, but let me sum it up by admitting that I actually have a fairly traditional view of the historical 'métier': I firmly believe in the Rankean striving to lean as closely as possible to "how it really was” ("wie es eigentlich gewesen…"), but at the same time I recognize the limits of this endeavour, as exposed by postmodernism in the 2nd half of the 20th century; the narrative approach indeed is both a strength and a weakness.
What does this have to do with this beautifully published book? The authors make a very commendable attempt to outline how the image of the European Middle Ages has shifted over the centuries and up to the present day. They use the term 'medievalism' for this, I suspect by analogy with Edward Said's 'orientalism'. In both cases it concerns constructions of a certain reality, involving distortion and appropriation. I underlined the merits of that inventory in my review in my general account on Goodreads, see here.
But the underlying tenor of this book, and especially the final conclusion, worries me greatly. After all, the authors indicate that the Middle Ages have always been the subject of distorted imagery, even in the Middle Ages themselves: “white supremacy has conditioned the retelling of the past in both overt and subtle ways, many of which have resulted in the censorship of the racial, gender-based, religious, and intimate sexual realities of the Middle Ages”. There is not so much wrong with that statement, with the exception of the conspicuous designation of white supremacy as the main culprit, as if there were no other forms of distorting hegemonism at work at all.
But the authors go one step further: “If the Middle Ages, as we have seen, can be virtually anything, include anyone, and respond to the 'urgencies of the present', then let us set the metaphorical board for a more inclusive Middle Ages that highlights the diversity of the past and welcomes equitable popular medievalisms”. Okay, this is clearly more problematic: the authors suggest that in the past (as in the present) random representations of the Middle Ages have been made (the 'fantasies' in the title are not chosen by chance), and that it is thus allowed to fill in that fantasy ourselves, according to the values and norms of our own time, which in their view amount to an inclusive approach (for the record: I'm a supporter of inclusivity).
I presume you've guessed that here we are in the midst of the 'Bridgerton' debate, after the Netflix series that portrays 19th century England with women and coloured characters in a very prominent role. Very entertaining, yes (I also enjoyed it to a certain extent), and very instructive and even intriguing because of the contrast with the traditional picture that is painted of that period. As a 'Fantasy' I have no problem with that, on the contrary. Only: it must be clear that this is not at all a realistic picture of 19th century England.
That’s why I can’t agree with the closing plea of the authors of this book, to open the door for adaptations of the past in accordance with the taste of the present, and they call that 'audience driven': “Medievalism, as a fantasy construct that is capacious enough to encompass more than the singular European or Mediterranean conception of the past, has the power to change the way we view and write/right history – and ultimately the ways in which we approach the present and shape the future.” This is a typically postmodernist reversal of roles: not the past as ‘magister vitae’, but the present as ‘magister historiae’. This is not innocent at all, because it can lead to a post-truth approach that, under the banner of ‘anything goes’, opens the door for a manipulative handling of (past) reality. As I wrote at the beginning of this review: the past simply demands respect for its individuality; you can and you should look at it from different points of view, but you can’t bent it at your will.
For me, the past is a reality that is definitely connected with our present (because that present is the product of the past), but at the same time it clearly is set apart from the present, and so it can never be fully grasped; in a sense it has its own nature, that we must respect. Of course, this past can certainly be reconstructed through the methodologically developed rules of historiography. But that reconstruction can never offer the full picture, because of the selectivity of the remains (the sources), because of the subjectivity of the researcher (who is inevitably marked by his own time and personality), and because of the limits of narrative representation. Therefore, the past is never finished or closed, our image of it is constantly shifting, along with the horizon of our ever-shifting present. At the same time, that past resists the 'arbitrary' adaptation by the contemporary gaze, not anything goes: in a way the past partly imposes its own will, and demands respect for its individuality.
That sounds rather abstract, I know, but let me sum it up by admitting that I actually have a fairly traditional view of the historical 'métier': I firmly believe in the Rankean striving to lean as closely as possible to "how it really was” ("wie es eigentlich gewesen…"), but at the same time I recognize the limits of this endeavour, as exposed by postmodernism in the 2nd half of the 20th century; the narrative approach indeed is both a strength and a weakness.
What does this have to do with this beautifully published book? The authors make a very commendable attempt to outline how the image of the European Middle Ages has shifted over the centuries and up to the present day. They use the term 'medievalism' for this, I suspect by analogy with Edward Said's 'orientalism'. In both cases it concerns constructions of a certain reality, involving distortion and appropriation. I underlined the merits of that inventory in my review in my general account on Goodreads, see here.
But the underlying tenor of this book, and especially the final conclusion, worries me greatly. After all, the authors indicate that the Middle Ages have always been the subject of distorted imagery, even in the Middle Ages themselves: “white supremacy has conditioned the retelling of the past in both overt and subtle ways, many of which have resulted in the censorship of the racial, gender-based, religious, and intimate sexual realities of the Middle Ages”. There is not so much wrong with that statement, with the exception of the conspicuous designation of white supremacy as the main culprit, as if there were no other forms of distorting hegemonism at work at all.
But the authors go one step further: “If the Middle Ages, as we have seen, can be virtually anything, include anyone, and respond to the 'urgencies of the present', then let us set the metaphorical board for a more inclusive Middle Ages that highlights the diversity of the past and welcomes equitable popular medievalisms”. Okay, this is clearly more problematic: the authors suggest that in the past (as in the present) random representations of the Middle Ages have been made (the 'fantasies' in the title are not chosen by chance), and that it is thus allowed to fill in that fantasy ourselves, according to the values and norms of our own time, which in their view amount to an inclusive approach (for the record: I'm a supporter of inclusivity).
I presume you've guessed that here we are in the midst of the 'Bridgerton' debate, after the Netflix series that portrays 19th century England with women and coloured characters in a very prominent role. Very entertaining, yes (I also enjoyed it to a certain extent), and very instructive and even intriguing because of the contrast with the traditional picture that is painted of that period. As a 'Fantasy' I have no problem with that, on the contrary. Only: it must be clear that this is not at all a realistic picture of 19th century England.
That’s why I can’t agree with the closing plea of the authors of this book, to open the door for adaptations of the past in accordance with the taste of the present, and they call that 'audience driven': “Medievalism, as a fantasy construct that is capacious enough to encompass more than the singular European or Mediterranean conception of the past, has the power to change the way we view and write/right history – and ultimately the ways in which we approach the present and shape the future.” This is a typically postmodernist reversal of roles: not the past as ‘magister vitae’, but the present as ‘magister historiae’. This is not innocent at all, because it can lead to a post-truth approach that, under the banner of ‘anything goes’, opens the door for a manipulative handling of (past) reality. As I wrote at the beginning of this review: the past simply demands respect for its individuality; you can and you should look at it from different points of view, but you can’t bent it at your will.
August 23, 2022
Many thanks to Getty Publications for the review copy.
This is a perfectly fine introduction to medievalism in pop culture. It is gorgeously illustrated, of course, as I would expect from a Getty book. I am unfortunately in the awkward position of knowing a little more than the average person about medievalism, and also am just generally unpleasable, so I do have some complaints.
Firstly, my perennial problem with books: the organization. The broad divisions of the chapters overlap and are confused, some are gathered around a medium (books, or cinema) while others are gathered around themes (fairytales, or characterization) and there is a ton of overlap between them. Some things get a very shallow treatment, like music or video games, that don't fully explore the interesting particularities of each to the field of medievalism. Sometimes the authors give a really thin explanation to something that they assume you are previously familiar with. Since we are dealing with over a millennia of materials, with many different narratives, this gets overwhelming quickly. This leads to things being mentioned out of order. A prime example is that Dungeons & Dragons is mentioned for the first time on page 13, mentioned three subsequent times, and then finally defined on page 93. A better editor could have fixed this.
Secondly, the book makes many overt statements about its commitments to social justice, which does make me scratch my head at some of their other choices. We are repeatedly told that the Middle Ages were not a strictly white, heterosexual, Christian period, but then why are Jews and Muslims mentioned only sparingly? Where are the texts and artworks from Medieval Africa, or East Asia? This is particularly confusing because just a few years ago Getty published the extremely excellent Toward a Global Middle Ages, so it's not like this idea is new. I am not saying that all Medieval publications have to be global in scope, but if you're committed to social justice, your choice to limit it to the arbitrary European borders should at least be explained.
Thirdly, the book glosses over the negative downsides of how fantasies of the Middle Ages muddy people's understanding. I will be honest that I first noticed this in the section about Medieval Tiktok, because I myself have spent some time watching Medieval Tiktoks and marveling at how quickly unsourced, rampant misinformation spreads on that platform. The book even eschews the typical discussion of the misnomer "The Dark Ages" which I thought all Medieval history books had to include by law. If there were ever a book where it was appropriate, I think a book about fantasies of the Middle Ages would have been it! The only ways that the authors can conceive of a piece of media inappropriately representing the Middle Ages is in media that makes the period appear overly sexist, racist, or otherwise non-diverse. Why not discuss other types of misinformation?
I don't think this book makes any great intellectual strides, it does not contribute anything new to the field to experienced readers, but it is a perfectly fine introduction let down by some annoying writing and editorial decisions.
This is a perfectly fine introduction to medievalism in pop culture. It is gorgeously illustrated, of course, as I would expect from a Getty book. I am unfortunately in the awkward position of knowing a little more than the average person about medievalism, and also am just generally unpleasable, so I do have some complaints.
Firstly, my perennial problem with books: the organization. The broad divisions of the chapters overlap and are confused, some are gathered around a medium (books, or cinema) while others are gathered around themes (fairytales, or characterization) and there is a ton of overlap between them. Some things get a very shallow treatment, like music or video games, that don't fully explore the interesting particularities of each to the field of medievalism. Sometimes the authors give a really thin explanation to something that they assume you are previously familiar with. Since we are dealing with over a millennia of materials, with many different narratives, this gets overwhelming quickly. This leads to things being mentioned out of order. A prime example is that Dungeons & Dragons is mentioned for the first time on page 13, mentioned three subsequent times, and then finally defined on page 93. A better editor could have fixed this.
Secondly, the book makes many overt statements about its commitments to social justice, which does make me scratch my head at some of their other choices. We are repeatedly told that the Middle Ages were not a strictly white, heterosexual, Christian period, but then why are Jews and Muslims mentioned only sparingly? Where are the texts and artworks from Medieval Africa, or East Asia? This is particularly confusing because just a few years ago Getty published the extremely excellent Toward a Global Middle Ages, so it's not like this idea is new. I am not saying that all Medieval publications have to be global in scope, but if you're committed to social justice, your choice to limit it to the arbitrary European borders should at least be explained.
Thirdly, the book glosses over the negative downsides of how fantasies of the Middle Ages muddy people's understanding. I will be honest that I first noticed this in the section about Medieval Tiktok, because I myself have spent some time watching Medieval Tiktoks and marveling at how quickly unsourced, rampant misinformation spreads on that platform. The book even eschews the typical discussion of the misnomer "The Dark Ages" which I thought all Medieval history books had to include by law. If there were ever a book where it was appropriate, I think a book about fantasies of the Middle Ages would have been it! The only ways that the authors can conceive of a piece of media inappropriately representing the Middle Ages is in media that makes the period appear overly sexist, racist, or otherwise non-diverse. Why not discuss other types of misinformation?
I don't think this book makes any great intellectual strides, it does not contribute anything new to the field to experienced readers, but it is a perfectly fine introduction let down by some annoying writing and editorial decisions.
October 29, 2022
This would have been an amazing book if it didn’t have a tragically, horrific, severe woke slant. In short, it’s a book about how racist/sexist/whateverist white men are. Did you know that the term “Anglo-Saxon” is used by white supremacists to “create false accounts about nationhood and race??” Any why on earth is Beyoncé mentioned?!
Unfortunately, and despite seemingly interesting reading throughout the book, the most I could stomach is skimming after the first five mentions of this sort of thing. Because of how biased the authors are, I don’t know what I can actually believe in this book. I was so looking forward to reading this so it is extremely disappointing.
I was given a copy of this book via NetGalley in exchange for an honest review.
Unfortunately, and despite seemingly interesting reading throughout the book, the most I could stomach is skimming after the first five mentions of this sort of thing. Because of how biased the authors are, I don’t know what I can actually believe in this book. I was so looking forward to reading this so it is extremely disappointing.
I was given a copy of this book via NetGalley in exchange for an honest review.
June 17, 2022
I'll admit, I picked up the eARC of this book for the pictures, LOL. And on that front, it absolutely did not disappoint. (Nor did the unexpected, but not at all unwelcome, references to and examinations of Tolkien and his works!)
I was a European Studies major in college, and the read brought back many a fond memory (truly!) of books read, papers written, and movies watched. I've defo got a shortlist of entertainment to revisit now!
The downside for me was the inclusion (no pun intended) of discussion on gender identity and expression, applying a currently very hot-button topic to a bygone era. If you're interested in that, fine; go for it! But--I was personally, frankly, very much not (looking for it, or interested in reading about it).
So, I'll enjoy the pictures here and revisit some old books and art I do enjoy.
I received an eARC of the book from the publisher via NetGalley. All opinions are my own.
I was a European Studies major in college, and the read brought back many a fond memory (truly!) of books read, papers written, and movies watched. I've defo got a shortlist of entertainment to revisit now!
The downside for me was the inclusion (no pun intended) of discussion on gender identity and expression, applying a currently very hot-button topic to a bygone era. If you're interested in that, fine; go for it! But--I was personally, frankly, very much not (looking for it, or interested in reading about it).
So, I'll enjoy the pictures here and revisit some old books and art I do enjoy.
I received an eARC of the book from the publisher via NetGalley. All opinions are my own.
April 10, 2022
Thank you, Getty Publications, for the advance reading copy.
More like a coffee table book with quite an informative, colourful content with amazing illustrations and content related art/pictures/photographs the book offers some of the best content you will ever find and read in a book.
I have gained so much knowledge just from one page and I am taking my time to read the entire book. It's like traveling the world and the virtual world both combined through the book.
The content is incomparable to anything else.
It entertains. It surprises. It fulfills.
Kudos to the publication team.
More like a coffee table book with quite an informative, colourful content with amazing illustrations and content related art/pictures/photographs the book offers some of the best content you will ever find and read in a book.
I have gained so much knowledge just from one page and I am taking my time to read the entire book. It's like traveling the world and the virtual world both combined through the book.
The content is incomparable to anything else.
It entertains. It surprises. It fulfills.
Kudos to the publication team.
July 12, 2022
Originally posted on my blog: Nonstop Reader.
The Fantasy of the Middle Ages is a beautifully illustrated and well written monograph and exhibition catalogue on the art of the middle ages as it relates to media and modern aesthetic sensibility. Due out 19th July 2022 from Getty Publications, it's 144 pages and will be available in hardcover and ebook formats. The relevant exhibition, titled Fantasy of the Middle Ages, is scheduled to run at the J. Paul Getty Museum from 21st June through 11th Sept. 2022.
This is a layman accessible, lushly illustrated volume written and curated by Drs. Larisa Grollemond and Bryan C. Keene. The text is interesting and the connections between the middle ages and the modern day are built up logically and perceptively. The book isn't academically rigorous and doesn't contain annotations. The authors have included extensive illustration credits and a short bibliography for further reading.
This would be a good resource and candidate for public or school library acquisition, as well as full of illustrations which will be of use to calligraphers, artists, and students of history.
Five stars.
Disclosure: I received an ARC at no cost from the author/publisher for review purposes
The Fantasy of the Middle Ages is a beautifully illustrated and well written monograph and exhibition catalogue on the art of the middle ages as it relates to media and modern aesthetic sensibility. Due out 19th July 2022 from Getty Publications, it's 144 pages and will be available in hardcover and ebook formats. The relevant exhibition, titled Fantasy of the Middle Ages, is scheduled to run at the J. Paul Getty Museum from 21st June through 11th Sept. 2022.
This is a layman accessible, lushly illustrated volume written and curated by Drs. Larisa Grollemond and Bryan C. Keene. The text is interesting and the connections between the middle ages and the modern day are built up logically and perceptively. The book isn't academically rigorous and doesn't contain annotations. The authors have included extensive illustration credits and a short bibliography for further reading.
This would be a good resource and candidate for public or school library acquisition, as well as full of illustrations which will be of use to calligraphers, artists, and students of history.
Five stars.
Disclosure: I received an ARC at no cost from the author/publisher for review purposes
July 20, 2022
This is not only a fantastic companion to what I'm sure is a fascinating, highly enjoyable exhibit at The Getty Museum, but it's also a very fun and interesting read in its own right! An exploration of how we've depicted our fantasy of medieval life, it considers a wide variety of human expression from film and television to architecture and even dinner theater. The writing is informative but accessible and considers obvious interpretations like fairy tales and Game of Thrones, as well as more unconventional depictions like Monty Python.
The art and illustrations offered are striking, well curated, and abundant. This would a great pick for not only art lovers and amateur historians, but also for lovers of pop culture, cosplay, and role playing in a variety of forms. It would make a lovely coffee table book and a nice addition to personal libraries.
Many thanks to the publisher and NetGalley for the opportunity to read and review!
The art and illustrations offered are striking, well curated, and abundant. This would a great pick for not only art lovers and amateur historians, but also for lovers of pop culture, cosplay, and role playing in a variety of forms. It would make a lovely coffee table book and a nice addition to personal libraries.
Many thanks to the publisher and NetGalley for the opportunity to read and review!
July 9, 2022
Thank you Netgalley and the publisher for an e-ARC in exchange for an honest review.
I thought this was a great book about how the Middle Ages was such an inspiration to the Fantasy culture. How a lot of books, tv shows, movies, comics, etc took a lot from how people use to live back in the day and twist it in a fun way to give birth to a great genre. I love the illustrations through out the book.
I thought this was a great book about how the Middle Ages was such an inspiration to the Fantasy culture. How a lot of books, tv shows, movies, comics, etc took a lot from how people use to live back in the day and twist it in a fun way to give birth to a great genre. I love the illustrations through out the book.
June 21, 2022
Another fascinating book by Getty Publications: a feast for the eyes and some interesting essay about Middle Age culture and ideas.
The book is well written, not always easy but intriguing enough to keep me hooked.
Highly recommended.
Many thanks to the publisher and Netgalley for this ARC, all opinions are mine
The book is well written, not always easy but intriguing enough to keep me hooked.
Highly recommended.
Many thanks to the publisher and Netgalley for this ARC, all opinions are mine
September 3, 2023
De teksten zijn soms wat schools en belerend, maar het materiaal dat bijeen is gebracht in dit prachtig uitgegeven boek (dat bij een tentoonstelling in het Getty hoort) is fantastisch.
December 9, 2022
Honestly, i am not the best or the right person to review this book as fantasy and medievalism are not my best subjects. As a matter of fact, you could say i rarely or hardly read books from such genres but i do watched them occasionally like Lord Of The Rings, Narnia and the fairy tales including the German version.
Thus, reading this book brought a whole new experience for me,like i am exposed to the world of medievalism and how its influences the fantasy elements in the artistic artworks and the media; from books, costumes, stage sets to the cinematic screens/the movies. So, in these areas, it was refreshing and very interesting exploration for me as a newbie in the area.
On the contrary it could also be quite a struggle for me to comprehend and grasp some of the interesting points of discussions in this book due to my lack of knowledge in the subject matter as i find the writings to be dense and heavy for me,a mere layman. At times, i find some parts to be repetitive.
However, as reiterated earlier, it could just be me,due to my lack of knowledge,experience and interest could be the slight hindrance in enjoying and giving a fair and deserving review and feedback of this very richly illustrated book with a fine analysis of the influences of medievalism in some of the well-known work of arts that we have known and seen today such as the Legend Of King Arthur, the Harry Potter series, the Lord Of The Rings, the Games Of Throne and even Cinderella.
So, i would highly recommend this book for those of you who are really into art, history,medievalism and fantasy and the related areas. Otherwise, you might find this book to be heavy and struggle a lot like i did. However,fret not this book is just a short read,accompanied by lots of interesting illustrations and manuscripts related to medievalism and fantastical elements for us to feast our eyes on and its coffee-table size would make it a great collection to one of our cozy reading book collections.
Thank you Getty Publications and NetGalley for the e-ARC copy in an exchange for my honest feedback and review.
Thus, reading this book brought a whole new experience for me,like i am exposed to the world of medievalism and how its influences the fantasy elements in the artistic artworks and the media; from books, costumes, stage sets to the cinematic screens/the movies. So, in these areas, it was refreshing and very interesting exploration for me as a newbie in the area.
On the contrary it could also be quite a struggle for me to comprehend and grasp some of the interesting points of discussions in this book due to my lack of knowledge in the subject matter as i find the writings to be dense and heavy for me,a mere layman. At times, i find some parts to be repetitive.
However, as reiterated earlier, it could just be me,due to my lack of knowledge,experience and interest could be the slight hindrance in enjoying and giving a fair and deserving review and feedback of this very richly illustrated book with a fine analysis of the influences of medievalism in some of the well-known work of arts that we have known and seen today such as the Legend Of King Arthur, the Harry Potter series, the Lord Of The Rings, the Games Of Throne and even Cinderella.
So, i would highly recommend this book for those of you who are really into art, history,medievalism and fantasy and the related areas. Otherwise, you might find this book to be heavy and struggle a lot like i did. However,fret not this book is just a short read,accompanied by lots of interesting illustrations and manuscripts related to medievalism and fantastical elements for us to feast our eyes on and its coffee-table size would make it a great collection to one of our cozy reading book collections.
Thank you Getty Publications and NetGalley for the e-ARC copy in an exchange for my honest feedback and review.
March 9, 2022
The fantasy of the Middle Ages: the title made my fantasy-loving brain click hell yes! And it did not disappoint!
This book talks about the history of fantasy in the middle ages. There are both examples from the middle ages compared to the fantasy that have been through the years after.
As a fan of Game of Thrones, I loved reading particularly about that. It was also interesting to read about other media of this time period.
I think this book would be a great book to have and look through every now and then. It can definitely be read from the first to last page, but also you can use it to read whatever chapter that interest you at the moment.
With illustrations, and thorough text, this book is a good read if you are interested in the subject such as fantasy, the middle ages, and history in general. It can be heavy if you are not that interested in the subject. Just a heads up. Other than that: happy reading!
I got this book for free from netgalley.com in exchange for an honest review.
This book talks about the history of fantasy in the middle ages. There are both examples from the middle ages compared to the fantasy that have been through the years after.
As a fan of Game of Thrones, I loved reading particularly about that. It was also interesting to read about other media of this time period.
I think this book would be a great book to have and look through every now and then. It can definitely be read from the first to last page, but also you can use it to read whatever chapter that interest you at the moment.
With illustrations, and thorough text, this book is a good read if you are interested in the subject such as fantasy, the middle ages, and history in general. It can be heavy if you are not that interested in the subject. Just a heads up. Other than that: happy reading!
I got this book for free from netgalley.com in exchange for an honest review.
August 23, 2022
A beautifully laid out piece on not only the middle ages, but on how our perception of that era has been formed.
I'm a great lover of fantasy in books, film, and video games, so it was fascinating to see how the art, texts, and misconceptions have informed the genre over the centuries. I particularly enjoyed that the authors spoke to the white washing of medievalism, and the importance of broadening our horizons as to the true diversity of the time.
It was a lovingly put together book and I appreciated that, while it was scholarly and well researched, it didn't read like a text book. I'd recommend it to anyone who had even the slightest interest in the middle ages!
Thank you to Netgalley and Getty Publications for providing an eARC in exchange for an honest review!
I'm a great lover of fantasy in books, film, and video games, so it was fascinating to see how the art, texts, and misconceptions have informed the genre over the centuries. I particularly enjoyed that the authors spoke to the white washing of medievalism, and the importance of broadening our horizons as to the true diversity of the time.
It was a lovingly put together book and I appreciated that, while it was scholarly and well researched, it didn't read like a text book. I'd recommend it to anyone who had even the slightest interest in the middle ages!
Thank you to Netgalley and Getty Publications for providing an eARC in exchange for an honest review!
February 25, 2023
I enjoyed this: highlighting the way later cultural eras reflect the medieval age, selecting and reflecting their own contemporary aesthetics and social norms. It also reveals that there is nothing new under the sun, no matter how clever we think ourselves today.
On the slightly negative side: there’s not a lot of meat on these bones; the text is a brief and lightweight overview; and it has perhaps too firmly pitched itself as an of-the-moment book.
The book has an intriguing meta aspect to it. Having critiqued previous cultural reinterpretations of medieval life for overlaying their own social climate upon it, this book does exactly the same thing with our current cultural mores, then pats itself on the back and points fingers because we’ve definitely got it right this time.
Hence, here we have all our currently fashionable social trends and judgments, expressed in 2022 buzzwords, being utilized to extract and interpret aspects once again from that nebulous shimmer of the days of yore.
And round and round we go.
My feeling is that in meantime, before the next revision, everyone carry on enjoying the medieval era in whatever way your heart finds delight. This book proves that no single view on the matter should ever be set in stone.
And it has gorgeous illustrations, purple edged pages, and a wonderfully tactile font on the front cover.
On the slightly negative side: there’s not a lot of meat on these bones; the text is a brief and lightweight overview; and it has perhaps too firmly pitched itself as an of-the-moment book.
The book has an intriguing meta aspect to it. Having critiqued previous cultural reinterpretations of medieval life for overlaying their own social climate upon it, this book does exactly the same thing with our current cultural mores, then pats itself on the back and points fingers because we’ve definitely got it right this time.
Hence, here we have all our currently fashionable social trends and judgments, expressed in 2022 buzzwords, being utilized to extract and interpret aspects once again from that nebulous shimmer of the days of yore.
And round and round we go.
My feeling is that in meantime, before the next revision, everyone carry on enjoying the medieval era in whatever way your heart finds delight. This book proves that no single view on the matter should ever be set in stone.
And it has gorgeous illustrations, purple edged pages, and a wonderfully tactile font on the front cover.
March 17, 2024
Absolutely gorgeous book. I don't often buy books that I've read through NetGalley, but this one is going on that list, especially since it's going to be even better in real life. Reading it on a digital tablet just does not do it justice. The images are so rich, and there are so many of them (multiple per page in some cases), that you want to spend hours poring over every detail. What's really fantastic is how directly this book demonstrates the impact that the middle age imagery has had (and continues to have) on culture. My only complaint is that I wish this book were even longer. Bring on volume 2!
Thank you to NetGalley and the publisher for providing an eARC for my unbiased review.
Thank you to NetGalley and the publisher for providing an eARC for my unbiased review.
June 28, 2022
THE FANTASY OF THE MIDDLE AGES is an absolutely gorgeous book. I read this book on Netgalley, but since I am also interviewing these authors for our library's podcast, I received a print edition as well, and it is a thing of beauty. From its magenta fore-edges to the gilded embossing on the cover, it took my breath away. But it contains not only perfect aesthetics, but valuable information on how medieval book art has shaped depictions of medieval life and fantasy worlds throughout history. Depictions of the medieval have much more to say about the eras in which they were created than the era that they depict; Grollemond and Keene ably guide the reader through how constructions of the medieval shape and reshape modern identities. Curious about the medievalism of Star Wars? How about how Disney has informed our image of the Middle Ages? Or perhaps you're just interested in its hundreds of glorious, beautiful full-color images from medieval and modern art? Then be sure to check this book out-- and if you're lucky enough to be in LA, the exhibit it accompanies at the Getty.
February 9, 2022
The Fantasy of the Middle Ages by Larisa Grollemond and Bryan C Keene is a lavishly illustrated and very informative book.
This beautiful book looks at the period often called the Middle Ages and how it has been used and portrayed through history. This juxtaposition of what we now know of the period with the often inaccurate representations of it (sometimes for blatantly racist use) makes for fascinating reading. The authors also make a point of taking a more, though not comprehensive, global view of both the period and the later reimaginings.
Whether a reader is primarily interested in the pictures and artwork, the medieval history, or the popular culture history she will come away with a new appreciation for what really was as well as the creative ways in which ideas have morphed and come down to us in our present time.
Highly recommended for those interested in history as well as those interested in simply having a stunning book to display on their coffee table. It will certainly invite comments and conversation at your next get together.
Reviewed from a copy made available by the publisher via NetGalley.
This beautiful book looks at the period often called the Middle Ages and how it has been used and portrayed through history. This juxtaposition of what we now know of the period with the often inaccurate representations of it (sometimes for blatantly racist use) makes for fascinating reading. The authors also make a point of taking a more, though not comprehensive, global view of both the period and the later reimaginings.
Whether a reader is primarily interested in the pictures and artwork, the medieval history, or the popular culture history she will come away with a new appreciation for what really was as well as the creative ways in which ideas have morphed and come down to us in our present time.
Highly recommended for those interested in history as well as those interested in simply having a stunning book to display on their coffee table. It will certainly invite comments and conversation at your next get together.
Reviewed from a copy made available by the publisher via NetGalley.
December 28, 2022
The title of The Fantasy of the Middle Ages says it all. The Medieval times have held setting monopoly of speculative fiction (sometimes even sci-fi!) for centuries - probably longer than most would assume. This books seeks to explain why that is, and how the Middle Ages' charm doesn't fail to captivate us to this day. While it's obviously too short for an in-depth explanation of each medievalism (nice term) brought to the discussion, I was negatively surprised that despite the authors' repeated claims of inclusivity, an example quoted multiple times was Harry Potter. It never ceases to surprise me that J.K. R*wling's endless transphobic ramblings, not to mention her other questionable beliefs, have not yet reached the majority of readers (of which, I assume, the staff of the Getty Museum must host a few at least). Do better next time!
***I received a digital copy from the publisher through Netgalley in exchange for an honest review.***
***I received a digital copy from the publisher through Netgalley in exchange for an honest review.***
December 25, 2023
If you want to read very obvious things about how Medieval costumes, castles and legends influenced Disney, Game of Thrones and Harry Potter then this is the book for you; there’s not much else.
It might be a good introduction for young adult readers.
In addition to the subject in question, the authors persistently promote their political agenda, suggesting that the Middle Ages represents a model of tolerance for all kinds of race, gender and sexuality. Only they say that white, western heteronormatives have subsequently twisted the facts. Maybe this is the real fantasy of the Middle Ages.
It might be a good introduction for young adult readers.
In addition to the subject in question, the authors persistently promote their political agenda, suggesting that the Middle Ages represents a model of tolerance for all kinds of race, gender and sexuality. Only they say that white, western heteronormatives have subsequently twisted the facts. Maybe this is the real fantasy of the Middle Ages.
March 24, 2022
‘The Fantasy of the Middle Ages’ takes us through the Middle Ages and how we have seen it portrayed throughout history. It’s an absolutely beautiful book, with screen grabs and artwork from film and television. I particularly enjoyed the King Arthur chapter and the walkthrough of the many adaptations and their interpretations of the myth. A perfect mix of art, pop culture and history!
Thank you to NetGalley and Getty Publications for an eARC in exchange for an honest review.
Thank you to NetGalley and Getty Publications for an eARC in exchange for an honest review.
August 15, 2022
The Fantasy of the Middle Ages: An Epic Journey through Imaginary Medieval Worlds by Larisa Grollemond; Bryan C. Keene is an exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. This volume aims to uncover the many reasons why the Middle Ages have proven so flexible—and applicable—to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period.
The Fantasy of the Middle Ages: An Epic Journey through Imaginary Medieval Worlds is a well written and researched exploration on the subject matter. I thought the book can appeal to those with a background in medieval studies or literature and those with little advanced knowledge as well. Since I studied Medieval literature in college and am an avid fan of fantasy, this book was a perfect combination of my interests. I really enjoyed getting to look at the artwork along side the text, the combination made this book equally interesting intellectually and visually. I wish I had the time and energy to get to the The Getty Museum to see the exhibit this book is a companion for, but if you are lucky enough to be able to attend I think it is worth the time.
I think The Fantasy of the Middle Ages would make a great addition to the library of anyone interested in the subject matter, and it would be a great addition to public library collections as well.
The Fantasy of the Middle Ages: An Epic Journey through Imaginary Medieval Worlds is a well written and researched exploration on the subject matter. I thought the book can appeal to those with a background in medieval studies or literature and those with little advanced knowledge as well. Since I studied Medieval literature in college and am an avid fan of fantasy, this book was a perfect combination of my interests. I really enjoyed getting to look at the artwork along side the text, the combination made this book equally interesting intellectually and visually. I wish I had the time and energy to get to the The Getty Museum to see the exhibit this book is a companion for, but if you are lucky enough to be able to attend I think it is worth the time.
I think The Fantasy of the Middle Ages would make a great addition to the library of anyone interested in the subject matter, and it would be a great addition to public library collections as well.
October 31, 2022
The title of the book, and the gorgeous cover art, would lead you to believe it is a book about medieval art, literature, and history. But no. It is an exploration of how theater, movies, and artists have re-interpreted their vision of the medieval world, through illustration, theatrical costumes, and art. The author--or one of them--is a costume designer for "Game of Thrones"--so the wide variety of costuming medieval actors is a major focus of the book. So, if you like costume design, this is for you.
As a lover of the medieval world--art, history, culture--this book is beautiful, but fluffy. Lavishly illustrated, mostly in color, of medieval and not-so-medieval art, it is beautiful to look at. But I don't really care about the terrible costumes of a production of Robin Hood or whatever, fifty years ago. Or even thirty years ago. But that's me. You might find this stuff amazing.
It gets a little tough when we see an actual illustration from the 1300s, then another from the 1800s, then something else more contemporary. Interesting, but you need to really want to think about these comparisons. It's a great lesson in getting things wrong. Also, of course, the idea of getting things right in costuming is a real challenge. We can look at the illustrations, but the techniques of sewing, lacemaking, fabric cutting, cloth making--none of this is actually covered in the book. The techniques of making weapons and armor are so elaborate and specific to each country and era, that many books could be written about it alone, and have. The difficulties in making accurate costumes is not discussed, and the author has always created interpretations, rather than historically and technically correct costumes. And that is fine--I'm a fan of Shakespeare, and it has been said that Shakespeare and his acting companions didn't go around carefully researching their costumes. They wore whatever was handy. They didn't even know what a toga was, or how to wear it. So what? The play's the thing.
So, it's a fun and lovely book. But a little weird.
As a lover of the medieval world--art, history, culture--this book is beautiful, but fluffy. Lavishly illustrated, mostly in color, of medieval and not-so-medieval art, it is beautiful to look at. But I don't really care about the terrible costumes of a production of Robin Hood or whatever, fifty years ago. Or even thirty years ago. But that's me. You might find this stuff amazing.
It gets a little tough when we see an actual illustration from the 1300s, then another from the 1800s, then something else more contemporary. Interesting, but you need to really want to think about these comparisons. It's a great lesson in getting things wrong. Also, of course, the idea of getting things right in costuming is a real challenge. We can look at the illustrations, but the techniques of sewing, lacemaking, fabric cutting, cloth making--none of this is actually covered in the book. The techniques of making weapons and armor are so elaborate and specific to each country and era, that many books could be written about it alone, and have. The difficulties in making accurate costumes is not discussed, and the author has always created interpretations, rather than historically and technically correct costumes. And that is fine--I'm a fan of Shakespeare, and it has been said that Shakespeare and his acting companions didn't go around carefully researching their costumes. They wore whatever was handy. They didn't even know what a toga was, or how to wear it. So what? The play's the thing.
So, it's a fun and lovely book. But a little weird.
March 25, 2022
This is a very short book accompanying an exhibit at the Getty on how the middle ages are depicted in fantasy literature, film, and other media. There is a great collection of medieval manuscript pages, as well as stills from movies, TV shows, photos of artworks, etc
Grollemond & Keene unpack the Arthurian mythos from its earliest known sources and track its transformation over the centuries, pointing out the renditions that include Black, queer, and non-Christian characters as they go. They do not have the room to do a deep exploration into what these transformative works say about the societies that produce them, only stating that the values of the subsequent works reflect the values of those creators.
The authors indict white- and straight-washing of medievalist fantasy and praise the inclusion of characters of color and queer characters in prominent roles in recent fantasy media (since 2019). There is (too little) mention of French and English medievalist tales drawing on stories with Persian, Arab, and Alexandrine origins, but again, there is hardly room in this little booklet to go into the subject. It would be nice to see a detailed analysis of how characters of color, queer characters, and women were whitened, straightened, and either erased or gender-flipped for English and French audiences.
After this, the authors address Ren Faires, D&D, Harry Potter, Gregorian chant as a stand-in for secular medieval music because real medieval secular music doesn't sound medieval enough, The Legend of Zelda, Costume, and so forth. In their view, fantasy and medievalism (aka the rough and wildly inaccurate approximation of "olden times") are inextricably intertwined. I disagree that medievalist staging is necessary for the fantasy genre. You can have modern urban fantasy without faux-medieval trappings, but it is definitely very common for "magic" stories to get a medievalist paint job.
The book closes with a call for medieval studies departments and museums to do some major soul searching wrt the racism and homophobia built into how the canon has been created by its authors and constructed by its scholars. Which seems like a thing the authors could best do with about 300 more pages to present their arguments. I absolutely want to read that book,
Things I found interesting: the princess in distress is a modern trope, not medieval. There's a drawing of Yoda (yes that Yoda) in the Smithfield Decretals (1300-1340).
ARC
Grollemond & Keene unpack the Arthurian mythos from its earliest known sources and track its transformation over the centuries, pointing out the renditions that include Black, queer, and non-Christian characters as they go. They do not have the room to do a deep exploration into what these transformative works say about the societies that produce them, only stating that the values of the subsequent works reflect the values of those creators.
The authors indict white- and straight-washing of medievalist fantasy and praise the inclusion of characters of color and queer characters in prominent roles in recent fantasy media (since 2019). There is (too little) mention of French and English medievalist tales drawing on stories with Persian, Arab, and Alexandrine origins, but again, there is hardly room in this little booklet to go into the subject. It would be nice to see a detailed analysis of how characters of color, queer characters, and women were whitened, straightened, and either erased or gender-flipped for English and French audiences.
After this, the authors address Ren Faires, D&D, Harry Potter, Gregorian chant as a stand-in for secular medieval music because real medieval secular music doesn't sound medieval enough, The Legend of Zelda, Costume, and so forth. In their view, fantasy and medievalism (aka the rough and wildly inaccurate approximation of "olden times") are inextricably intertwined. I disagree that medievalist staging is necessary for the fantasy genre. You can have modern urban fantasy without faux-medieval trappings, but it is definitely very common for "magic" stories to get a medievalist paint job.
The book closes with a call for medieval studies departments and museums to do some major soul searching wrt the racism and homophobia built into how the canon has been created by its authors and constructed by its scholars. Which seems like a thing the authors could best do with about 300 more pages to present their arguments. I absolutely want to read that book,
Things I found interesting: the princess in distress is a modern trope, not medieval. There's a drawing of Yoda (yes that Yoda) in the Smithfield Decretals (1300-1340).
ARC
October 23, 2022
This work explores the prevalence of medieval imagery and tales on the historical and modern world. From Disney to Game of Thrones to Renaissance Fairs, interpretations of the Middle Ages are common in modern culture. People have differing opinions about the “accuracy” of these depictions, but the authors of this work included a fascinating discussion revolving around this topic. Namely, that authors and artists in the Middle Ages already took their own artistic license and fantasy incorporated when depicting their world and times, so the “cultural myth” of this time isn’t a modern invention.
The strongest aspect of this work is its compilation of images relating to this topic. From stills of cinema to photographs taken for Alfred Lord Tennyson’s poems to medieval illuminations, this book had them all. The images supported the text and made for wonderful visuals of the topics being discussed. The inclusion of so many images was important as one of the goals of this work was to emphasize just how vital to fantasy (especially medieval-based fantasy) art and illustrations are.
The chapters in this work discuss illuminated manuscripts and the medieval imagination, the typical “cast of characters” of medieval times, magic and fairy tales, and more. The authors also did their best to discuss diversity (race, gender, etc.) in the Middle Ages and how these became whitewashed in recent history. I highly recommend this read to anyone interested in the Medieval Era and how it pertains to popular culture. My thanks to NetGalley and Getty Publications for allowing me to read and review this work.
The strongest aspect of this work is its compilation of images relating to this topic. From stills of cinema to photographs taken for Alfred Lord Tennyson’s poems to medieval illuminations, this book had them all. The images supported the text and made for wonderful visuals of the topics being discussed. The inclusion of so many images was important as one of the goals of this work was to emphasize just how vital to fantasy (especially medieval-based fantasy) art and illustrations are.
The chapters in this work discuss illuminated manuscripts and the medieval imagination, the typical “cast of characters” of medieval times, magic and fairy tales, and more. The authors also did their best to discuss diversity (race, gender, etc.) in the Middle Ages and how these became whitewashed in recent history. I highly recommend this read to anyone interested in the Medieval Era and how it pertains to popular culture. My thanks to NetGalley and Getty Publications for allowing me to read and review this work.
September 30, 2022
"If Chaucer's cast of characters can be seen as a blueprint for the many inhabitants of the fictional used Middle Ages [...]".
The book compares the art of the Middle Ages to the way art was used in a modern setting, for example much of Disney's art and movies were taken from the Brothers Grimm. I described this book as a journey through the Middle Ages through art. The choices of pieces are definitely a pleasure for the eyes. Although this book was more art than writing, it is enough to educate the reader along with the images it is educational and purposeful.
I've studied Medieval art, which was mostly religious painting. I found the author's choices refreshing and stayed on subject. Figure 66 " The Fox Preaching to a Flock of Geese" was stunning with the gold leaf along with the lettering, which encourages the viewer to take in the entire piece. What was interesting was how the author incorporated architecture into the book and the way Walt Disney was inspired by "the German structures follows feature of Byzantine throne room".
This is an incredible book, which can be explored over and over.
Thank you Larise Grollemond, Brian Keene, Getty Publishing, and NetGalley for the privilege of reading this book.
The book compares the art of the Middle Ages to the way art was used in a modern setting, for example much of Disney's art and movies were taken from the Brothers Grimm. I described this book as a journey through the Middle Ages through art. The choices of pieces are definitely a pleasure for the eyes. Although this book was more art than writing, it is enough to educate the reader along with the images it is educational and purposeful.
I've studied Medieval art, which was mostly religious painting. I found the author's choices refreshing and stayed on subject. Figure 66 " The Fox Preaching to a Flock of Geese" was stunning with the gold leaf along with the lettering, which encourages the viewer to take in the entire piece. What was interesting was how the author incorporated architecture into the book and the way Walt Disney was inspired by "the German structures follows feature of Byzantine throne room".
This is an incredible book, which can be explored over and over.
Thank you Larise Grollemond, Brian Keene, Getty Publishing, and NetGalley for the privilege of reading this book.
May 28, 2022
This book goes with an exhibition at the Getty Museum this summer. It has interesting scholarly text along with beautiful artwork, from the Middle Ages to the present.
The authors discuss Medievalism as a cultural myth and how it relates to fantasy. We get a time-compressed and not always accurate depiction of the Middle Ages when the time period is represented in books, tv, and movies, but it’s what defines medieval for us now. What we see in medieval-based fantasy is almost mythology.
In case you think this is some dry textbook, it’s not! Just some of the cultural icons that make an appearance are Game of Thrones, Star Wars, Lord of the Rings, Harry Potter, lots of Disney movies, Dungeons & Dragons, Assassin’s Creed, and more. Huzzah!
I enjoyed this book. I’ve only been to the Getty Center once, but I wish I could go back for this exhibition. It comes out July 19. Thank you to Getty Publications and NetGalley for my copy.
The authors discuss Medievalism as a cultural myth and how it relates to fantasy. We get a time-compressed and not always accurate depiction of the Middle Ages when the time period is represented in books, tv, and movies, but it’s what defines medieval for us now. What we see in medieval-based fantasy is almost mythology.
In case you think this is some dry textbook, it’s not! Just some of the cultural icons that make an appearance are Game of Thrones, Star Wars, Lord of the Rings, Harry Potter, lots of Disney movies, Dungeons & Dragons, Assassin’s Creed, and more. Huzzah!
I enjoyed this book. I’ve only been to the Getty Center once, but I wish I could go back for this exhibition. It comes out July 19. Thank you to Getty Publications and NetGalley for my copy.
September 9, 2022
“The Fantasy of the Middle Ages: An Epic Journey through Imaginary Medieval Worlds” is the program book for an exhibit from the J. Paul Getty Museum in California in 2022. Beautifully illustrated, this book bridges the historical with contemporary interpretations of medieval life in fantasy, film and television. Modern adaptation of medieval characters and legends are based more on “fantastical reimagining of the period” than history. Authors Grollemond and Keene seek to answer two questions: 1) How, why, and for whom did these episodes of medievalizing emulations come about? And 2) What are the kernels of truth to be found in modern constructs and what has been erased from reality in favor of popularization and commoditization? This book provides answers while examining how history ha been reinterpreted to modern tastes. Those who love medievalism in all its genres will find this book of interest
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March 21, 2024How? Randomly saw on the "New" shelf at the library. (Then randomly saw one on the regular shelf.)
What? This is an extended catalogue guide and essay for a show at the Getty (from 2022) that's all about how medieval topics have been pictured through time, and how they get blended and remixed with fantasy.
Yeah, so?
What I wanted: a bunch of old art.
What I got: some old art and then stills from Game of Thrones/posters from the many recent terrible King Arthur movies.
OK, so, just out of the way: there's clearly a mismatch between what I wanted and what this book wanted to deliver. I did, at the very least, see some new old art. I also skimmed the essays because, well, someone out there needs to know that Black people existed in Europe in medieval times, but I am not that person.
What? This is an extended catalogue guide and essay for a show at the Getty (from 2022) that's all about how medieval topics have been pictured through time, and how they get blended and remixed with fantasy.
Yeah, so?
What I wanted: a bunch of old art.
What I got: some old art and then stills from Game of Thrones/posters from the many recent terrible King Arthur movies.
OK, so, just out of the way: there's clearly a mismatch between what I wanted and what this book wanted to deliver. I did, at the very least, see some new old art. I also skimmed the essays because, well, someone out there needs to know that Black people existed in Europe in medieval times, but I am not that person.
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