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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Religious subjects depicted in art
Described by David Lodge as "the most gifted and innovative writer
of her generation," Muriel Spark had a literary career that spanned
from the late 1940s until her death in 2006, and included poems,
stories, plays, essays, and, most notably, novels. The extensive
bibliography of her works included in this collection reveals the
astonishing output of a powerful and sustained creative spirit.
Hidden Possibilities gathers a distinguished group of writers from
both sides of the Atlantic to offer an informed overview of Muriel
Spark's life and work. Critics have often read Spark in a somewhat
narrow context-as a Catholic, a woman, or a Scottish writer. The
essays in this volume, while making connections between these
contexts, cumulatively situate her in a broader European tradition.
The volume includes interviews with Spark that cast light both on
the course of her professional life and on her notably distinctive
personality. Contributors: Regina Barreca, Gerard Carruthers,
Barbara Epler, John Glavin, Dan Gunn, Robert E. Hosmer Jr., Joseph
Hynes, Gabriel Josipovici, Frank Kermode, John Lanchester, Doris
Lessing, David Malcolm, John Mortimer, Alan Taylor, and John
Updike.
This probing analysis of three works by Giotto and the patrons
who commissioned them goes far beyond the cliches of Giotto as the
founding figure of Western painting. It traces the interactions
between Franciscan friars and powerful bankers, illuminating the
complex interplay between mercantile wealth and the iconography of
poverty.
Political strife and religious faction lacerated
fourteenth-century Italy. Giotto s commissions are best understood
against the background of this social turmoil. They reflected the
demands of his patrons, the requirements of the Franciscan Order,
and the restlessly inventive genius of the painter. Julian Gardner
examines this important period of Giotto s path-breaking career
through works originally created for Franciscan churches:
"Stigmatization of Saint Francis" from San Francesco at Pisa, now
in the Louvre, the Bardi Chapel cycle of the "Life of St. Francis"
in Santa Croce at Florence, and the frescoes of the crossing vault
above the tomb of Saint Francis in the Lower Church of San
Francesco at Assisi.
These murals were executed during a twenty-year period when
internal tensions divided the friars themselves and when the Order
was confronted by a radical change of papal policy toward its
defining vow of poverty. The Order had amassed great wealth and
built ostentatious churches, alienating many Franciscans in the
process and incurring the hostility of other Orders. Many elements
in Giotto s frescoes, including references to St. Peter, Florentine
politics, and church architecture, were included to satisfy
patrons, redefine the figure of Francis, and celebrate the dominant
group within the Franciscan brotherhood.
An examination of the passion and crucifixion of Christ as depicted
in the visual and religious culture of Anglo-Norman England. The
twelfth century has long been recognised as a period of unusual
vibrancy and importance, witnessing seminal changes in the
inter-related spheres of theology, devotional practice, and
iconography, especially with regard to thecross and the crucifixion
of Christ. However, the visual arts of the period have been
somewhat neglected, scholarly activity tending to concentrate on
its textual and intellectual heritage. This book explores this
extraordinarily rich and vibrant visual and religious culture,
offering new and exciting insights into its significance, and
studying the dynamic relationships between ideas and images in
England between 1066 and the first decades of the thirteenth
century. In addition to providing the first extensive survey of
surviving Passion imagery from the period, it explores those
images' contexts: intellectual, cultural, religious, and
art-historical. It thus not only enhances our understanding of the
place of the cross in Anglo-Norman culture; it also demonstrates
how new image theories and patterns of agency shaped the life of
the later medieval church. John Munns is a Fellow of
MagdaleneCollege, Cambridge.
The Routledge Handbook of Early Christian Art surveys a broad
spectrum of Christian art produced from the late second to the
sixth centuries. The first part of the book opens with a general
survey of the subject and then presents fifteen essays that discuss
specific media of visual art-catacomb paintings, sculpture,
mosaics, gold glass, gems, reliquaries, ceramics, icons, ivories,
textiles, silver, and illuminated manuscripts. Each is written by a
noted expert in the field. The second part of the book takes up
themes relevant to the study of early Christian art. These seven
chapters consider the ritual practices in decorated spaces, the
emergence of images of Christ's Passion and miracles, the functions
of Christian secular portraits, the exemplary mosaics of Ravenna,
the early modern history of Christian art and archaeology studies,
and further reflection on this field called "early Christian art."
Each of the volume's chapters includes photographs of many of the
objects discussed, plus bibliographic notes and recommendations for
further reading. The result is an invaluable introduction to and
appraisal of the art that developed out of the spread of
Christianity through the late antique world. Undergraduate and
graduate students of late classical, early Christian, and Byzantine
culture, religion, or art will find it an accessible and insightful
orientation to the field. Additionally, professional academics,
archivists, and curators working in these areas will also find it
valuable as a resource for their own research, as well as a
textbook or reference work for their students.
Focusing on artists and architectural complexes which until now
have eluded scholarly attention in English-language publications,
Apostolic Iconography and Florentine Confraternities in the Age of
Reform examines through their art programs three different
confraternal organizations in Florence at a crucial moment in their
histories. Each of the organizations that forms the basis for this
study oversaw renovations that included decorative programs
centered on the apostles. At the complex of GesA(1) Pellegrino a
fresco cycle represents the apostles in their roles as Christ's
disciples and proselytizers. At the oratory of the company of
Santissima Annunziata a series of frescoes shows their martyrdoms,
the terrible price the apostles paid for their mission and their
faith. At the oratory of San Giovanni Battista detta dello Scalzo a
sculptural program of the apostles stood as an example to each
confratello of how Christian piety had its roots in collective
effort. Douglas Dow shows that the emphasis on the apostles within
these corporate groups demonstrates how the organizations adapted
existing iconography to their own purposes. He argues that their
willful engagement with apostolic themes reveals the complex
interaction between these organizations and the church's program of
reform.
Building upon recent scholarly interest in mystics and mysticism in
late medieval Europe, this book explores the visual representation
of female and male saints depicted as brides or bridegrooms of
Christ in northern European art from 1300 to 1550. The mystic
marriage imagery of St. Catherine of Alexandria, St. Agnes of Rome,
St. John the Evangelist, St. Bernard of Clairvaux, and the Blessed
Henry Suso is studied through an analysis of a wide range of
paintings, illuminated manuscripts, prints, and sculpture. From
these case studies, Muir argues that different visual conventions
were used in the art of this period to portray the male and female
experiences of mystic marriage and suggests possible reasons for
these differences. She further considers why comparatively few
mystics were visually portrayed in a mystic marriage with Christ,
despite the large number recorded as having had that experience.
Providing insights into the meanings of the mystical experience
when portrayed in visual terms, this book will appeal to art
historians as well as to other medievalists with an interest in the
intersections of art, religion, and gender.
Both collectively and individually we have a deep and abiding
fascination with angels. This book explores depictions of angels in
the visual arts and in scripture and associated apocryphal and
mystical writings, specifically in the Hebrew and Christian Bibles
and Islamic, Zoroastrian and other ancient and latter-day accounts.
It examines the visual clues, artistic conventions and attributes
that have been set down to help us to recognise angels in their
particular roles and functions. Certain writings have had a
particularly influential bearing on our understanding of angels.
This text focuses on the hierarchies and orders proposed by the
likes of Pseudo-Dionysius, St. Thomas Aquinas and others. In a new
age of fascination with the metaphysical and supernatural (in film,
television, popular mythology and literature), are we cementing or
losing our connection with the authentic meaning and purpose that
such vibrant and energised beings bring to our table? This book
contains more than 30 illustrations in a central colour plates
section. It also includes a useful glossary of terms and will prove
a rich and enduring reference resource for libraries, as well as a
stimulating go-to source for those interested in the world of
angels and how human sensibilities and imaginative reasoning have
enriched the subject, as a starting point for interreligious
dialogue.
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Orthodoxy
(Paperback)
G. K. Chesterton
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R281
R230
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Now with a new foreword by Charles Colson.
Antiquated. Unimaginative. Repressive. We've all heard these
common reactions to orthodox Christian beliefs. Even Christians
themselves are guilty of the tendency to discard historic
Christianity. As Charles Colson writes in the foreword,
"Evangelicals, despite their professed belief in the Bible, have
not been exempt from the influence of the postmodern spirit."
This spirit is averse to Truth and the obedience that follows. And
people today, as in Chesterton's day, continue to look anywhere but
heavenward for something to believe in.
Bringing to light little-known artistic traditions, the latest
volume of Ars Judaica focuses on the local and temporal contexts of
objects and their images and explores collective and personal
memories and identities in art. Rivka Ben-Sasson examines modes of
symbolic perception of nature prevalent in religious thought and
art by analysing images of the lulav and etrog. Iwona Brzewska and
Waldemar Deluga discuss the significance of Hebrew script in
paintings and prints of the fifteenth to seventeenth centuries
originating from the borderland between the Catholic and Christian
Orthodox domains of eastern Europe. Michelle Klein studies the
typological development of the havdalah candle-holder, based on an
analysis of 170 examples. Matthew Baigell suggests that American
Jewish artists are characterized by concern for the betterment of
humankind; his sources include Jewish postcards, photographs, and
caricatures as well as the work of contemporary American Jewish
artists. Astrid Schmetterling discusses how Else Lasker-Schuler's
Orientalism offered a serious aesthetic-political challenge to both
German and Jewish society. Mor Presiado argues that the
contemporary use of sewing and embroidery by contemporary Jewish
women artists to depict women's experience of the Holocaust
initiates a new, feminist response to the Holocaust. The Special
Item in this volume, an article by Shalom Sabar on the earliest
illustrated Esther Scroll by Shalom Italia, is an illuminating
insight into early modern Jewish art in the making. Also included
are exhibition and book reviews. Ars Judaica is an annual
publication of the Department of Jewish Art at Bar-Ilan University.
It showcases the Jewish contribution to the visual arts and
architecture from antiquity to the present from a variety of
perspectives, including history, iconography, semiotics,
psychology, sociology, and folklore. As such it is a valuable
resource for art historians, collectors, curators, and all those
interested in the visual arts. Volumes of Ars Judaica are
distributed by the Littman Library of Jewish Civilization
throughout the world, except Israel. Orders and enquiries from
Israeli customers should be directed to: Ars Judaica, Department of
Jewish Art, Bar-Ilan University, Ramat-Gan 52900, Telephone 03
5318413; Fax 036359241; Email [email protected]
In Renaissance Florence, certain paintings and sculptures of the
Virgin Mary and Christ were believed to have extraordinary efficacy
in activating potent sacred intercession. Cults sprung up around
these "miraculous images" in the city and surrounding countryside
beginning in the late 13th century. In The Miraculous Image in
Renaissance Florence, Megan Holmes questions what distinguished
these paintings and sculptures from other similar sacred images,
looking closely at their material and formal properties, the
process of enshrinement, and the foundation legends and miracles
associated with specific images. Whereas some of the images
presented in this fascinating book are well known, such as Bernardo
Daddi's Madonna of Orsanmichele, many others have been little
studied until now. Holmes's efforts center on the recovery and
contextualization of these revered images, reintegrating them and
their related cults into an art-historical account of the period.
By challenging prevailing views and offering a reassessment of the
Renaissance, this generously illustrated and comprehensive survey
makes a significant contribution to the field.
Carol Berry and her husband met and befriended Henri Nouwen when
she sat in his course on compassion at Yale Divinity School in the
1970s. At the request of Henri Nouwen's literary estate, she has
written this book, which includes unpublished material recorded
from Nouwen's lectures. As an art educator, Berry is uniquely
situated to develop Nouwen's work on Vincent van Gogh and to add
her own research. She fills in background on the much misunderstood
spiritual context of van Gogh's work, and reinterprets van Gogh's
art (presented here in full color) in light of Nouwen's lectures.
Berry also brings in her own experience in ministry, sharing how
Nouwen and van Gogh, each in his own way, led her to the richness
and beauty of the compassionate life.
This collection of artwork from European comics master Sergio Toppi
focuses on illustrations of biblical characters he drew during his
lengthy collaboration with the journal Il Giornalino. Hundreds of
character portraits and key scene illustrations from both the Old
and New Testament are presented in Toppi's inimitable pen-and-ink
style. Master artist Sergio Toppi depicts iconic scenes from the
most widely read scripture in the world. Sergio Toppi's work has
been hailed as an influence by such artistic masters as Sean Gordon
Murphy and Walter Simonson. See his amazing vision for The Bible
across many beautiful illustrations of biblical characters drawn
during Toppi's lengthy collaboration with the journal Il
Giornalino. Hundreds of character portraits and key scene
illustrations from both the Old and New Testament are presented in
Toppi's inimitable pen-and-ink style. From the story of Adam and
Eve in Genesis through the many moving character tales throughout
the Old Testament to the gospels and tales of the apostles in the
New Testament, this stunningly illustrated volume will give new
life and visual reference for some of the most familiar passages in
the Bible.
The first book to put the sacred and sensuous bronze statues from
India's Chola dynasty in social context From the ninth through the
thirteenth century, the Chola dynasty of southern India produced
thousands of statues of Hindu deities, whose physical perfection
was meant to reflect spiritual beauty and divine transcendence.
During festivals, these bronze sculptures-including Shiva, referred
to in a saintly vision as "the thief who stole my heart"-were
adorned with jewels and flowers and paraded through towns as active
participants in Chola worship. In this richly illustrated book,
leading art historian Vidya Dehejia introduces the bronzes within
the full context of Chola history, culture, and religion. In doing
so, she brings the bronzes and Chola society to life before our
very eyes. Dehejia presents the bronzes as material objects that
interacted in meaningful ways with the people and practices of
their era. Describing the role of the statues in everyday
activities, she reveals not only the importance of the bronzes for
the empire, but also little-known facets of Chola life. She
considers the source of the copper and jewels used for the deities,
proposing that the need for such resources may have influenced the
Chola empire's political engagement with Sri Lanka. She also
investigates the role of women patrons in bronze commissions and
discusses the vast public records, many appearing here in
translation for the first time, inscribed on temple walls. From the
Cholas' religious customs to their agriculture, politics, and even
food, The Thief Who Stole My Heart offers an expansive and complete
immersion in a community still accessible to us through its
exquisite sacred art. Published in association with the Center for
Advanced Study in the Visual Arts, National Gallery of Art,
Washington, DC
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