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While Old Masters' paintings of biblical scenes held by major
galleries in many countries are visited and seen by thousands, gems
of biblical art in smaller, provincial galleries seldom get the
recognition and attention they deserve. Over two years, assisted by
funding from the British Academy, conferences were held at the
Barber Institute of Fine Arts, University of Birmingham, and at the
Manchester Art Gallery, highlighting some of the significant
biblical paintings held in the collections of both galleries. The
papers presented at these conferences, drawn from the worlds of
biblical studies, art history, philosophy, sociology and music, and
collected in this volume, reflect the interdisciplinary goals of
the project. These essays serve not only to showcase biblical
paintings by lesser known artists but also to illustrate the wide
range of perspectives and insights brought by the different
academic disciplines.
In this masterly work, Martin O'Kane shows artists at work as
readers of the Bible and not simply as illustrators of biblical
scenes. The painter's eye commonly sees nuances and subtleties of
plot and characterization in the biblical text that traditional
biblical criticism has overlooked. Focussing in fine detail on some
well-known biblical themes-the deception of Isaac, the depiction of
Isaiah's suffering servant, the visit of the Magi and the flight
into Egypt, among others-O'Kane argues that modern readers need the
artist's exegetical insight and engagement to appreciate the text
fully. Ranging widely over mediaeval, Renaissance and modern art,
the author situates his work within the hermeneutical aesthetics of
Hans-Georg Gadamer, Mieke Bal and Paolo Berdini. Some 30 images are
reproduced in the text.
In this masterly work, Martin O'Kane shows artists at work as
readers of the Bible and not simply as illustrators of biblical
scenes. The painter's eye commonly sees nuances and subtleties of
plot and characterization in the biblical text that traditional
biblical criticism has overlooked. Focussing in fine detail on some
well-known biblical themes-the deception of Isaac, the depiction of
Isaiah's suffering servant, the visit of the Magi and the flight
into Egypt, among others-O'Kane argues that modern readers need the
artist's exegetical insight and engagement to appreciate the text
fully. Ranging widely over mediaeval, Renaissance and modern art,
the author situates his work within the hermeneutical aesthetics of
Hans-Georg Gadamer, Mieke Bal and Paolo Berdini. Some 30 images are
reproduced in the text.
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