This up-to-date, reliable introductory account and interpretation of early medieval art combines art, history, and ideas from around 600 to 1050. Diebold describes diversity and complexity of early medieval art by examining the relationship of word and image. The concept of word and image is broad enough to encompass the Anglo-Saxon art and oral culture of the Sutton Hoo treasure, as well as the literate art of the Carolingian and Ottonian courts. Diebold describes the stunning variety of early medieval objects-illustrated manuscripts, rich metalwork, ivories, textiles, statuary, jewels, painting and architecture. There are 63 black and white illustrations and 4 plates in color. This up-to-date, reliable introductory account and interpretation of early medieval art combines art, history, and ideas from around 600 to 1050. Diebold describes diversity and complexity of early medieval art by examining the relationship of word and image. The concept of word and image is broad enough to encompass the Anglo-Saxon art and oral culture of the Sutton Hoo treasure, as well as the literate art of the Carolingian and Ottonian courts. Diebold describes and explains the stunning variety of early medieval objects--illustrated manuscripts, rich metal work, ivories, textiles, statuary, jewels, painting and architecture produced north of the Alps beginning with Pope Gregory's Christianization of England and his justification of images, and ending with the spectacular gold reliquary statue of Ste. Foy at Conques, which separates Early Medieval art from the Romanesque. Diebold also discusses the function of (and audience for) medieval art; he shows why, how, and for whom it was made. Diebold outlines the role of artists and patrons in medieval society, and he explains art's institutional and social status. He defines basic historical and art-historical terms and concepts as they are encountered, and illustrations, a map, a glossary, notes, suggestions for further reading, and an index are included. "I will definitely use this clear and thoughtful interpretation of early medieval art. William Diebold makes difficult material understandable and enjoyable." -Marilyn Stokstad, Judith Harris Murphy Distinguished Professor of Art History, The University of Kansas "The book is original in concept and offers brilliant new observations on many important issues. Eschewing the usual history of style approach, Diebold writes a history of one of the central problems that theologians and painters had to deal with from c. 600 to c. 1150; and he tracks the evolution of responses in a well argued and historically grounded fashion. The book will surely be used by teachers of medieval art; but it will also be read by everyone concerned with the field." -Herbert L. Kessler, Professor of the History of Art, Johns Hopkins University