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This title was first published in 2002: Since antiquity through to
the present, architecture and the pictorial arts (paintings,
photography, graphic arts) have not been rigidly separated but
interrelated - the one informing the other, and establishing
patterns of creation and reception. In the Classical tradition the
education of the architect and artist has always stressed this
relationship between the arts, although modern scholarship has too
often treated them as separate disciplines. These volumes explore
the history of this exchange between the arts as it emerged from
classical theory into artistic and architectural practice. Issues
of visual representation, perspective, allegory, site specificity,
ornamentation, popular culture, memorials, urban and utopian
planning, and the role of treatises, manifestos, and other
theoretical writings are addressed, as well as the critical
reaction to these products and practices. This title represents a
variety of methods, approaches, and diatectical interpretations -
cases where architecture informs the themes and physical space of
pictures, or pictorial concerns inform the design and construction
of the built environment. The exchanges between architecture and
pictures explored by these authors are found to be in all cases
ideologically potent, and therefore significantly expressive of
their respective social, political, and intellectual histories.
Inigo Jones worked as hard on the creation of his architectural
persona as he did on the design of the buildings for the early
Stuart court. Through his study of continental architectural and
art theory, humanist education, and courtly behavior, Jones
redefined the intellectual status of architecture in England and
forged a new role for the architect in public life. Since his
death, he has been variously described as the first educated
architect, the first classicist, the first Renaissance architect in
Britain, and the savior of British building from the long winter of
the Elizabethan style. This reputation has overlooked the many ways
that Jones drew on English customs in order to shape classical
architecture for a domestic audience. This 2006 book explores the
creation of Jones as professional architect and the development of
classical architecture in England through a study of his reading,
writing, and architectural practice.
Materials carried the meaning of early modern art. Transformed and
crafted from the matter of nature, art objects were the physical
embodiment of both the inherent qualities of materials and the
forces of culture that used, refined and produced them. The study
of materials offers a new approach to this important period in the
history of art, science and culture, linking the close study of
painting, sculpture and architecture to much wider categories of
the everyday and the exotic. Drawing on research and models from
anthropology, material culture and the history of art, scholars in
The matter of art explore topics as diverse as Inka stonework, gold
in panel painting, cork platforms for shoes, and the Christian
Eucharist. -- .
Inigo Jones worked as hard on the creation of his architectural
persona as he did on the design of the buildings for the early
Stuart court. Through his study of continental architectural and
art theory, humanist education, and courtly behavior, Jones
redefined the intellectual status of architecture in England and
forged a new role for the architect in public life. Since his
death, he has been variously described as the first educated
architect, the first classicist, the first Renaissance architect in
Britain, and the savior of British building from the long winter of
the Elizabethan style. This reputation has overlooked the many ways
that Jones drew on English customs in order to shape classical
architecture for a domestic audience. This 2006 book explores the
creation of Jones as professional architect and the development of
classical architecture in England through a study of his reading,
writing, and architectural practice.
Materials carried the meaning of early modern art. Transformed and
crafted from the matter of nature, art objects were the physical
embodiment of both the inherent qualities of materials and the
forces of culture that used, refined and produced them. The study
of materials offers a new approach to this important period in the
history of art, science and culture, linking the close study of
painting, sculpture and architecture to much wider categories of
the everyday and the exotic. Drawing on new research and models
from anthropology, material culture and the history of art,
scholars in The matter of art explore topics as diverse as Inka
stonework, gold in panel painting, cork platforms for shoes, and
the Christian Eucharist. -- .
The Renaissance was a diverse phenomenon, marked by innovation and
economic expansion, the rise of powerful rulers, religious reforms,
and social change. Encompassing the entire continent, Renaissance
Architecture examines the rich variety of buildings that emerged
during these seminal centuries of European history.
Although marked by the rise of powerful individuals, both patrons
and architects, the Renaissance was equally a time of growing group
identities and communities -- and architecture provided the public
face to these new identities. Religious reforms in northern Europe,
spurred on by Martin Luther, rejected traditional church function
and decoration, and proposed new models. Political ambitions
required new buildings to satisfy court rituals. Territory, nature,
and art intersected to shape new landscapes and building types.
Classicism came to be the international language of an educated
architect and an ambitious patron, drawing on the legacy of ancient
Rome. Yet the richness of the medieval tradition continued to be
used throughout Europe, often alongside classical buildings.
Examining each of these areas by turn, this book offers a broad
cultural history of the period as well as a completely new approach
to the history of Renaissance architecture. The work of well-known
architects such as Michelangelo and Andrea Palladio is examined
alongside lesser known though no less innovative designers such as
Juan Guas in Portugal and Benedikt Ried in Prague and Eastern
Europe. Drawing on the latest research, it also covers more recent
areas of interest such as the story of women as patrons and the
emotional effect of Renaissance buildings, as well as the impact of
architectural publications and travel on the emerging new
architectural culture across Europe. As such, it provides a
compelling introduction to the subject for all those interested in
the history of architecture, society, and culture in the
Renaissance, and European culture in general.
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Spicy Spring Fling
Christy Anderson, Gwyn McNamee
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R170
Discovery Miles 1 700
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Ships in 10 - 15 working days
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"Faith"-What is it really? How is it defined? What is its nature?
How does faith function within a biblical framework? Is faith
something we believe and are convinced of? Or is it something we do
or exercise? Is faith a verb or a noun? How do we know if we even
have saving faith? Faith is such a simple word. We use it all the
time in the context of Christian experience. Yet, many struggle to
truly understand its nature. Trust, believe, faith, and
faithfulness all carry profound implications depending on how we
understand and define the Greek and Hebrew terms from which these
English words are derived. Ultimately, we know that Yeshua (Jesus)
is the focus of our faith, and in Him all our statements of belief
cohere or come together. Yet, when Yeshua describes true "saving
faith," He does so in terms not only of what one thinks about Him,
but what one does because of Him. Ultimately, if faith without
works is a dead faith, what does a living faith look like?
This commentary unlocks the mystery of the Melchizedek Code as
interpreted by the apostle who wrote The Letter to the Hebrews.
Without this unique book within the Apostolic Scriptures (New
Testament) we would not understand the priesthood of Messiah.
However, in order to understand the Letter to the Hebrews, we must
understand the art of ancient Hebraic midrash and ancient ring
composition that puts a unique demand on readers and requires them
to conduct multiple readings with a careful observing eye in order
to discover the structure and messages hidden in the very form of
the text.
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