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This volume explores how the visual arts are presenting and
responding to Christian theology and demonstrates how modern and
contemporary artists and artworks have actively engaged in
conversation with Christianity. Modern intellectual enquiry has
often been reluctant to engage theology as an enriching or useful
form of visual analysis, but critics are increasingly revisiting
religious narratives and Christian thought in pursuit of
understanding our present-day visual culture. In this book an
international group of contributors demonstrate how theology is
often implicit within artworks and how, regardless of a viewer's
personal faith, it can become implicit in a viewer's visual
encounter. Their observations include deliberate juxtaposition of
Christian symbols, imaginative play with theologies, the validation
of non-confessional or secular public engagement, and inversions of
biblical interpretation. Case studies such as an interactive
Easter, glow-sticks as sacrament, and visualisation of the Bible's
polyphonic voices enrich this discussion. Together, they call for a
greater interpretative generosity and more nuance around theology's
cultural contexts in the modern era. By engaging with theology,
culture, and the visual art, this collection offers a fresh lens
through which to see the interaction of religion and art. As such,
it will be of great use to those working in Religion and the Arts,
Visual Art, Material Religion, Theology, Aesthetics, and Cultural
Studies.
This volume explores how the visual arts are presenting and
responding to Christian theology and demonstrates how modern and
contemporary artists and artworks have actively engaged in
conversation with Christianity. Modern intellectual enquiry has
often been reluctant to engage theology as an enriching or useful
form of visual analysis, but critics are increasingly revisiting
religious narratives and Christian thought in pursuit of
understanding our present-day visual culture. In this book an
international group of contributors demonstrate how theology is
often implicit within artworks and how, regardless of a viewer's
personal faith, it can become implicit in a viewer's visual
encounter. Their observations include deliberate juxtaposition of
Christian symbols, imaginative play with theologies, the validation
of non-confessional or secular public engagement, and inversions of
biblical interpretation. Case studies such as an interactive
Easter, glow-sticks as sacrament, and visualisation of the Bible's
polyphonic voices enrich this discussion. Together, they call for a
greater interpretative generosity and more nuance around theology's
cultural contexts in the modern era. By engaging with theology,
culture, and the visual art, this collection offers a fresh lens
through which to see the interaction of religion and art. As such,
it will be of great use to those working in Religion and the Arts,
Visual Art, Material Religion, Theology, Aesthetics, and Cultural
Studies.
This volume presents a collection of essays by leading experts
which examine nineteenth century ideas about Christian theology,
art, architecture, restoration, and curatorial practice. The volume
unveils the importance of John Ruskin’s writing for today’s
audience, and allies it with the dynamism of the Pre-Raphaelite
religious imagination. Ruskin’s drawings and daguerreotypes, as
well as Pre-Raphaelite paintings, stained glass, and engravings,
are shown to be alive with visual theology: artists such as Dante
Gabriel Rossetti, John Everett Millais, Edward Burne-Jones, and
Evelyn de Morgan illuminate aspects of faith and aesthetics. The
interdisciplinary nature of this volume encourages reflection upon
praise, truth, and beauty. The aesthetic conversations between
Ruskin and the Pre-Raphaelites themselves become a form of ‘sacra
conversazione’.
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