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Books > History > European history
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Byzantine Art and Renaissance Europe (Hardcover, New Ed)
Loot Price: R4,173
Discovery Miles 41 730
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Byzantine Art and Renaissance Europe (Hardcover, New Ed)
Expected to ship within 12 - 17 working days
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Byzantine Art and Renaissance Europe discusses the cultural and
artistic interaction between the Byzantine east and western Europe,
from the sack of Constantinople by the Fourth Crusade in 1204 to
the flourishing of post-Byzantine artistic workshops on Venetian
Crete during the fifteenth and sixteenth centuries and the
formation of icon collections in Renaissance Italy. The
contributors examine the routes by which artistic interaction may
have taken place, and explore the reception of Byzantine art in
western Europe, analysing why artists and patrons were interested
in ideas from the other side of the cultural and religious divide.
In the first chapter, Lyn Rodley outlines the development of
Byzantine art in the Palaiologan era and its relations with western
culture. Hans Bloemsma then re-assesses the influence of Byzantine
art on early Italian painting from the point of view of changing
demands regarding religious images in Italy. In the first of two
chapters on Venetian Crete, Angeliki Lymberopoulou evaluates the
impact of the Venetian presence on the production of fresco
decorations in regional Byzantine churches on the island. The next
chapter, by Diana Newall, continues the exploration of Cretan art
manufactured under the Venetians, shifting the focus to the
bi-cultural society of the Cretan capital Candia and the rise of
the post-Byzantine icon. Kim Woods then addresses the reception of
Byzantine icons in western Europe in the late Middle Ages and their
role as devotional objects in the Roman Catholic Church. Finally,
Rembrandt Duits examines the status of Byzantine icons as
collectors' items in early Renaissance Italy. The inventories of
the Medici family and other collectors reveal an appreciation for
icons among Italian patrons, which suggests that received notions
of Renaissance tastes may be in need of revision. The book thus
offers new perspectives and insights and re-positions late and
post-Byzantine art in a broader European cultural context.
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