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Before the Renaissance and Reformation, holy images - the only
independent images then in existence - were treated not as "art"
but as objects of veneration. The faithful believed that these
images, through their likeness to the person represented, became a
tangible presence of the Holy and were able to work miracles,
deliver oracles, and bring victory on the battlefield. In this
magisterial book, one of the world's leading scholars of medieval
art traces the long history of the image and its changing role in
European culture. Belting's study of the iconic portrait opens in
late antiquity, when Christianity reversed its original ban on
images, adapted the cult images of the "pagans", and began
developing an iconography of its own. The heart of the work focuses
on the Middle Ages, both East and West, when images of God and the
saints underwent many significant changes either as icons or as
statues. The final section of Likeness and Presence surveys the
Reformation and Renaissance periods, when new attitudes toward
images inaugurated what Belting calls the "era of art" that
continues to the present day - an era during which the aesthetic
quality has become the dominant aspect of the image. Belting
neither "explains" images nor pretends that images explain
themselves. Rather, he works from the conviction that images reveal
their meaning best by their use. Likeness and Presence deals with
the beliefs, superstitions, hopes, and fears that come into play as
people handle and respond to sacred images. Recognizing the
tensions between image and word inherent in religion, Belting
includes in an appendix many important historical documents that
relate to the history and use of images. Profuselyillustrated,
Likeness and Presence presents a compelling interpretation of the
place of the image in Western history.
The use of perspective in Renaissance painting caused a
revolution in the history of seeing, allowing artists to depict the
world from a spectator's point of view. But the theory of
perspective that changed the course of Western art originated
elsewhere-it was formulated in Baghdad by the eleventh-century
mathematician Ibn al Haithan, known in the West as Alhazen. Using
the metaphor of the mutual gaze, or exchanged glances, Hans
Belting-preeminent historian and theorist of medieval, Renaissance,
and contemporary art-narrates the historical encounter between
science and art, between Arab Baghdad and Renaissance Florence,
that has had a lasting effect on the culture of the West.
In this lavishly illustrated study, Belting deals with the
double history of perspective, as a visual theory based on
geometrical abstraction (in the Middle East) and as pictorial
theory (in Europe). How could geometrical abstraction be
reconceived as a theory for making pictures? During the Middle
Ages, Arab mathematics, free from religious discourse, gave rise to
a theory of perspective that, later in the West, was transformed
into art when European painters adopted the human gaze as their
focal point. In the Islamic world, where theology and the visual
arts remained closely intertwined, the science of perspective did
not become the cornerstone of Islamic art. "Florence and Baghdad"
addresses a provocative question that reaches beyond the realm of
aesthetics and mathematics: What happens when Muslims and
Christians look upon each other and find their way of viewing the
world transformed as a result?
A cultural history of the face in Western art, ranging from
portraiture in painting and photography to film, theater, and mass
media This fascinating book presents the first cultural history and
anthropology of the face across centuries, continents, and media.
Ranging from funerary masks and masks in drama to the figural work
of contemporary artists including Cindy Sherman and Nam June Paik,
renowned art historian Hans Belting emphasizes that while the face
plays a critical role in human communication, it defies attempts at
visual representation. Belting divides his book into three parts:
faces as masks of the self, portraiture as a constantly evolving
mask in Western culture, and the fate of the face in the age of
mass media. Referencing a vast array of sources, Belting's insights
draw on art history, philosophy, theories of visual culture, and
cognitive science. He demonstrates that Western efforts to portray
the face have repeatedly failed, even with the developments of new
media such as photography and film, which promise ever-greater
degrees of verisimilitude. In spite of sitting at the heart of
human expression, the face resists possession, and creative
endeavors to capture it inevitably result in masks--hollow
signifiers of the humanity they're meant to embody. From creations
by Van Eyck and August Sander to works by Francis Bacon, Ingmar
Bergman, and Chuck Close, Face and Mask takes a remarkable look at
how, through the centuries, the physical visage has inspired and
evaded artistic interpretation.
In this groundbreaking book, renowned art historian Hans Belting
proposes a new anthropological theory for interpreting human
picture making. Rather than focus exclusively on pictures as they
are embodied in various media such as painting, sculpture, or
photography, he links pictures to our mental images and therefore
our bodies. The body is understood as a "living medium" that
produces, perceives, or remembers images that are different from
the images we encounter through handmade or technical pictures.
Refusing to reduce images to their material embodiment yet
acknowledging the importance of the historical media in which
images are manifested, "An Anthropology of Images" presents a
challenging and provocative new account of what pictures are and
how they function.
The book demonstrates these ideas with a series of compelling
case studies, ranging from Dante's picture theory to
post-photography. One chapter explores the tension between image
and medium in two "media of the body," the coat of arms and the
portrait painting. Another, central chapter looks at the
relationship between image and death, tracing picture production,
including the first use of the mask, to early funerary rituals in
which pictures served to represent the missing bodies of the dead.
Pictures were tools to re-embody the deceased, to make them present
again, a fact that offers a surprising clue to the riddle of
presence and absence in most pictures and that reveals a genealogy
of pictures obscured by Platonic picture theory.
Few paintings inspire the kind of intense study and speculation as
Garden of Earthly Delights, the world famous triptych by
Netherlandish master Hieronymus Bosch. The painting has been
interpreted as a heretical masterpiece, an opulent illustration of
the Creation and a premonition of the end of the world. In this
book, renowned art historian Hans Belting offers a radical
reinterpretation of the work, which he sees not as apocalyptic, but
utopian, portraying how the world would exist had the Fall not
happened. Taking readers through each panel, Belting discusses
various schools of thought and explores Bosch's life and times.
This fascinating study is an important contribution to the
literature and theory surrounding one of the world's most enigmatic
artists.
Mapping the new geography of the visual arts, from the explosion of
biennials to the emerging art markets in Asia and the Middle East.
The geography of the visual arts changed with the end of the Cold
War. Contemporary art was no longer defined, exhibited,
interpreted, and acquired according to a blueprint drawn up in New
York, London, Paris, or Berlin. The art world distributed itself
into art worlds. With the emergence of new art scenes in Asia and
the Middle East and the explosion of biennials, the visual arts
have become globalized as surely as the world economy has. This
book offers a new map of contemporary art's new worlds. The Global
Contemporary and the Rise of New Art Worlds documents the
globalization of the visual arts and the rise of the contemporary
over the last twenty years. Lavishly illustrated, with color
throughout, it tracks developments ranging from exhibition
histories and the rise of new art spaces to art's branding in such
emerging markets as Hong Kong and the Gulf States. Essays treat
such subjects as curating after the global turn; art and the
migration of pictures; the end of the canon; and new strategies of
representation.
""Art history after modernism" does not only mean that art looks
different today; it also means that our discourse on art has taken
a different direction, if it is safe to say it has taken a
direction at all,"
So begins Hans Belting's brilliant, iconoclastic reconsideration of
art and art history at the end of the millennium, which builds upon
his earlier and highly successful volume, "The End of the History
of Art?," "Known for his striking and original theories about the
nature of art," according to the "Economist," Belting here examines
how art is made, viewed, and interpreted today. Arguing that
contemporary art has burst out of the frame that art history had
built for it, Belting calls for an entirely new approach to
thinking and writing about art. He moves effortlessly between
contemporary issues--the rise of global and minority art and its
consequences for Western art history, installation and video art,
and the troubled institution of the art museum--and questions
central to art history's definition of itself, such as the
distinction between high and low culture, art criticism versus art
history, and the invention of modernism in art history. Forty-eight
black and white images illustrate the text, perfectly reflecting
the state of contemporary art.
With "Art History after Modernism," Belting retains his place as
one of the most original thinkers working in the visual arts today.
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Homo Pictor (German, Hardcover)
Gottfried Boehm; Contributions by Hans Belting, Peter Blome, Gottfried Boehm, Gabriele Brandstetter, …
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R5,442
Discovery Miles 54 420
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Ships in 10 - 15 working days
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""Art history after modernism" does not only mean that art looks
different today; it also means that our discourse on art has taken
a different direction, if it is safe to say it has taken a
direction at all."
So begins Hans Belting's brilliant, iconoclastic reconsideration of
art and art history at the end of the millennium, which builds upon
his earlier and highly successful volume, "The End of the History
of Art?." "Known for his striking and original theories about the
nature of art," according to the "Economist," Belting here examines
how art is made, viewed, and interpreted today. Arguing that
contemporary art has burst out of the frame that art history had
built for it, Belting calls for an entirely new approach to
thinking and writing about art. He moves effortlessly between
contemporary issues--the rise of global and minority art and its
consequences for Western art history, installation and video art,
and the troubled institution of the art museum--and questions
central to art history's definition of itself, such as the
distinction between high and low culture, art criticism versus art
history, and the invention of modernism in art history. Forty-eight
black and white images illustrate the text, perfectly reflecting
the state of contemporary art.
With "Art History after Modernism," Belting retains his place as
one of the most original thinkers working in the visual arts
today.
English description: The Serbian Psalter is one of the most
precious manuscripts from medieval Serbia. It was most probably
produced around 1400 for the princes of Brankovic and came to
Munich in 1689 as a part of the booty from the wars against the
Turks. The 148 miniatures of this manuscript are the most important
representatives of Serbian book illustration. German description:
Der "Serbische Psalter" ist die kostbarste Bilderhandschrift aus
dem mittelalterlichen Serbien. Er entstand offenbar im Auftrag der
Fursten Brankovic um 1400 und kam 1689 als Beute der Sieger in den
Turkenkriegen nach Bayern. Der Codex ist auf Papier geschrieben und
bietet eine eigentumliche Textzusammenstellung fur den
ausserliturgischen Gebrauch. Seine 148, oft ganzseitigen Miniaturen
sind das wichtigste Zeugnis der Buchmalerei Serbiens. Sie
erschliessen verlorene byzantinische Vorbilder aus der
Palaologenzeit, die sie um slawische Bildeinschube und
Bildkommentare des Textes bereichern. Zusammen mit dem bulgarischen
Tomic-Psalter in Moskau spiegelt der Serbische Psalter eine alte
Tradition der Psalmen-Illustration, die nur in diesen beiden
Handschriften fassbar wird.
Documentation, belongs to facsimile edition.
Hans Belting und Guglielmo Cavallo dokumentieren erstmals eine aus
mehreren Banden (heute in Turin, Florenz, Kopenhagen) bestehende
Bibel-Edition des 10. Jahrhunderts, die der Hofmann Niketas in
Konstantinopel herstellen liess. Jedes der erhaltenen Bucher des
Alten Testaments wird von einem prachtvollen Titelbild eingeleitet,
das im vorliegenden Band originalgross und in Farbe reproduziert
ist. Darunter befinden sich einige der hochsten Leistungen der
Buchmalerei aus der klassizistischen Phase der sogenannten
aByzantinischen Renaissanceo. Die aBibel des Niketaso ist aber
nicht nur ein Hauptwerk byzantinischer Buchkunst, sie hat auch eine
Schlusselstellung fur die Erschliessung antiker Buchkunst inne:
basiert sie doch auf der Neuausgabe einer ahnlich monumentalen
Bibel des 6. Jahrhunderts, die auch schon die Bilder enthielt. .
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