Abstract
For historians of medieval Iberian art and architecture, María Rosa Menocal's most important legacy lies in her work's normalization of a culturally decentralized, multidisciplinary frame through which medieval visual objects became part of a broadly shared network of cultural production that was unrestricted by firm boundaries between particular polities or “faith groups.” While Menocal was not the first to advance such an approach, her persuasive promotion of it in works such as The Ornament of the World and the co-authored The Arts of Intimacy dovetailed closely with concurrent trends within the discipline of art history: new attentiveness to the variability of the Iberian cultural economy; a renewed concern with questions of reception and meaning; revived emphasis on close, contextual readings; and an openness to extra-disciplinary methodologies. The conceptual and disciplinary flexibility that Menocal's work encouraged now lies at the very heart of current work on Iberian visual culture.
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