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An investigation into the manifestations of religious art in East
Anglia and how they are connected to and inspired by their
locations. The relationship between religious or spiritual artworks
and the locality where such objects are made and used is the
central question this volume addresses. While it is a well-known
fact that religious artworks, objects and buildings can have a
power or agency of their own (iconoclasm, the violent defacement of
an object which paradoxically testifies to the fear and loathing it
has generated, being an extreme example), the sources of this power
are less well understood. It is this problem which the book seeks
to begin to remedy, using East Anglia, an area of Britain with an
exceptionally long history of religious diversity, as its prism.
Case-studies are taken from prehistory right up to the twenty-first
century, and from a variety of media, including wall-paintings,
church architecture, and stained glass; famous sites examined
include Seahenge and Sutton Hoo. Overall, the book shows how
profoundly religious artworks are embedded in local communities,
belief systems, histories and landscapes. T.A. Heslop is Professor
of Visual Arts, Elizabeth Mellings a Post-doctoral Research Fellow,
and Margit Thofner Senior Lecturer, at the School of World Art
Studies, University of East Anglia. Contributors: Margit Thofner,
T.A. Heslop, Elizabeth de Bièvre, Daphne Nash Briggs, Adrian
Marsden, Timothy Pestell, Matthew Champion, Carole Hill,
ElizabethRutledge, David King, John Peake, Nicola Whyte, Chris
King, Francesca Vanke, Stefan Muthesius, Kate Hesketh-Harvey, Karl
Bell, Elizabeth Mellings, Robert Wallis, Trevor Ashwin. Cover
artwork: Glowing Embers (Seahenge), 2000. Painting by Susan
Laughlin.
Traditionally Dutch art is seen and presented as a coherent
phenomenon—the product of state formation in the late 16th
century. Elisabeth de Bièvre challenges this view and its
assumptions in a radical new account. Arguing that the Dutch Golden
Age was far from unified, de Bièvre exposes how distinct
geographical circumstances and histories shaped each urban
development and, in turn, fundamentally informed the art and visual
culture of individual cities. Â In seven chapters, each
devoted to a single city, the book follows the growth of Amsterdam,
Delft, Dordrecht, Haarlem, Leiden, The Hague, and Utrecht over the
course of five centuries. By embracing the full gamut of art and
architecture and by drawing on the records of town histories and
the writings of contemporary travelers, de Bièvre traces the
process by which the visual culture of the Netherlands emerged to
become the richest, most complex material expression in Europe,
capturing the values of individuals, corporate entities, and whole
cities.
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