Publikationen

 

Monografien

Workshops and Patrons of St. Theobald in Thann. Münster, Berlin, New York: Waxmann Verlag, 2006.

Patrons and Narratives of the Parler School: The Marian Tympana, 1350-1400. Kunstwissenschaftliche Sudien Band 151. Berlin, München: Deutscher Kunstverlag, 2009.

Sculpting Simulacra in Medieval Germany, 1250-1380. Farnham: Ashgate, 2014.

Visual Aggression: Images of Martyrdom in Late Medieval Germany. University Park, Pennsylvania: Penn State University Press, 2020.

Giants in the Medieval City. Tunhout: Brepols, 2024.

A Global (Art)History of Giants (in progress).

 

Herausgeberschaften

Assaf Pinkus and Tamar Cholcman, eds., The Sides of the North, An Anthology in Honor of Professor Yona Pinson. Cambridge: Cambridge Scholars Publishing, 2015.

Assaf Pinkus and Rivka Shusterman, New Sculptures on the Tel Aviv University Campus. Tel Aviv: Tel Aviv University Press, 2017.

Assaf Pinkus, Einat Segal, and Gil Fishhof, eds., Where the Word Became Flesh: The Basilica of the Annunciation in Nazareth. Cologne: De Gruyter, 2020.

Christine Beier, Tim Juckes, and Assaf Pinkus, eds., How Do Images Work? Tunhout: Brepols, 2022.

 

Akademischer Berater (academic advisor)

Mati Mayer, Medieval Art in Europe and Byzantium, 3 volumes. Open University, 2016 (Hebrew).

 

Belletristik

The Great Painting. Tel Aviv, Afik, 2023.

 

Aufsätze (Auswahl)

“Rudolf’s Journey: Art Patronage and Politics in the St. Theobald Minster in Thann,” Wallraf-Richartz-Jahrbuch 65 (2004), S. 273–88.

“The Patron Hidden in the Narrative: Eve and Johanna at St. Theobald in Thann,” Zeitschrift für Kunstgeschichte 70/1 (2007), S. 23–54.

“The Parler School of Southwestern Germany: a Reconsideration of 14^th Century Workshops and Mass Sculpture,” Zeitschrift des Deutschen Vereins für Kunstwissenschaft 61 (2007), S. 49–80.

“The Italian Connection: On the Origins of the Parler Art,” Assaph. Studies in Art History 12 (2008), S. 63–102.

Assaf Pinkus, “Voyeuristic Stimuli: Seeing and Hearing in Giotto's Painting,” Wiener Jahrbuch Für Kunstgeschichte LIX (2010), S. 7–26.

“The Womb and the Eye: Viewing the Shrine Madonna,” Arte Medievale IV/II (2012), S. 223–42.

“Visual Aggression: The Martyrs’ Cycle in Schwäbisch Gmünd,” Gesta 52/1 (2013), S. 43–59.

Assaf Pinkus, “The Founder Figures at Vienna Cathedral: Between Imago and Symulachrum,” Marburger Jahrbuch für Kunstwissenschat 40 (2013), 63–92.  

“Imaginative Responses to Gothic Sculpture: the Bamberg Rider,” Viator 45/1 (2014), 331–60.

Assaf Pinkus and Michal Ozeri, “From Body to Icon: The Life of Sts. Peter and Paul in the Murals of S. Piero a S. Piero a Grado,” Convivium 2 (2014), S. 1–21.

“Lost in Symulachra: The Living Statues on the Imperial Balcony in Mühlhausen,” Neue Frankfurter Forschungen zur Kunst 16 (2015), S. 384–400.

“Transformations in Wood: Between Sculpture and Painting in Late Medieval Devotional Objects,” Viator 48, no. 3 (2017), S. 263–91.

“The Giant of Bremen: Roland and the “Colossus Imagination,” Speculum 93/2 (2018), S. 387–419.

 “ein rise starc unde grôz”: Temporalities of Salvation in St. Jakob in Kastelaz, Word & Image 35/4 (2019), S. 347-66.

“Verkörperte Imagination, imaginierte Körper: Die Martyrien des hl. Bartholomäus und der hl. Katharina in der rheinischen Kunst des Spätmittelalters,” Zeitschrift des Deutschen Vereins für Kunstwissenschaft 72/73 (2019), S. 347–70.

“Experiencing the Gigantic in Late Medieval Art,” Codex Aquilarensis 37 (2022), S. 465 – 83.

Assaf Pinkus, Neta Bodner und Einat Segal, “A Holy Land within The Holy Land: Duc in Altum as a Case in Point,” Arts 12 (2023), S. 1–27.

 

Aufsätze in Sammelbände

“Johann Parler and the Thann Wrokshop: A Master and his Workshop?” in Arts and Crafts: Interrelations and Boundaries, eds. Nurith Kenaan-Kedar and Asher Ovadia. Tel-Aviv: TAU Press, 2003, S.105–26 (Hebrew).

“Gothic Symulachra: The Naumburger Stifterfiguren,” in Der Naumburger Meister – Bildhauer und Architekt im Europa der Kathedralen, vol. 3, ed. Guido Siebert. Petersberg: Imhof, 2013, S. 204–17.

“Guido da Sienna and the Four Modes of Violence,” in Death, Torture and the Broken Body in European Art, 1300-1650, eds. John Decker and Mitzi Kirkland-Ives. Aldershot: Ashgate, 2014. S. 24–43.

“Seeing through the Schreinmadonna,” The Challenge of the Object / Die Herausforderung des Objekts, Congress Proceedings, T. 1-3, eds. Ulrich Großmann and Petra Krutisch. Nürnberg, 2014, S. 53–57.

“Transformative Werke: Materie, Farbe und Res spätmittelalterlicher Schnitzwerke am Mittelrhein,” in Frankfurt als Zentrum unter Zentren? Kunsttransfer und Formgenese am Mittelrhein 1400 – 1500, eds. Martin Büchsel, Hilja Droste, and Berit Wagner. Berlin: Reimer, 2019, S. 119–42.

“Compilatio at the Portal: The Last Judgment in Bern Cathedral,” in Riemenschneider in situ, eds. Greg Bryda and Katherin Bovine. Turnhout, Brepols: 2020, S. 342–59.

 “Doors of Heaven: A Nostalgic Gaze Materialized,” in Where the Word Became Flesh: The Basilica of the Annunciation in Nazareth. Cologne: De Gruyter, 2020, S. 179–92. 

Assaf Pinkus and Einat Klafter, “The Scaling Turn: Experiencing Late Medieval Artifacts,” in How Do Images Work, eds. Christine Beier, Tim Juckes, and Assaf Pinkus. Turnhout: Brepols, 2021, S. 43–70.

“Prachtvolle Erscheinung und anmutige Bewegung :Höfisches Dekorum und die Wiener Herzog- Figuren,” in Rudolf der Vierte und der Stephansdom, ed. Barbara Schedl. Cologne: Böhlau, 2021, S. 189–202.

“Out of Sclae: Naming and Identity of Medieval Giants,” in Giants and Dwarfs in Early Modern Europe, eds. Robin O’Bryan (Amsterdam: Amsterdam University Press, 2023), 22 pp.

 

 

 

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