Das Buch ist als Einfuhrung konzipiert, die einen umfassenden und interdisziplinaren Uberblick zum Phanomen Radio bietet. Radio ist das alteste der elektronischen Medien, vermag in der Nutzungsdauer mit dem Fernsehen zu konkurrieren, gleichwohl kommt es uber die Rolle einen Nebenher-Mediums selten hinaus. Dabei ist das Radio in unserem Leben omniprasent, es ist ein besonders variationsreiches und anpassungsfahiges Medium, es besticht durch Flexibilitat, Universalitat und Globalitat. So begegnen wir ihm als Formatradio, Kulturradio, Nachrichtensender, Burgerradio, Campusradio etc.

Staking out new territory in the history of art, this book presents a compelling argument for a lost link between the panel-painting tradition of Greek antiquity and Christian paintings of Byzantium and the Renaissance. While art historians place the origin of icons in the seventh century, Thomas F. Mathews finds strong evidence as early as the second century in the texts of Irenaeus and the Acts of John that describe private Christian worship. In closely studying an obscure set of sixty neglected panel paintings from Egypt in Roman times, the author explains how these paintings of the Egyptian gods offer the missing link in the long history of religious painting. Christian panel paintings and icons are for the first time placed in a continuum with the pagan paintings that preceded them, sharing elements of iconography, technology, and religious usages as votive offerings.Exciting discoveries punctuate the narrative: the technology of the triptych, enormously popular in Europe, traced by the authors to the construction of Egyptian portable shrines, such as the Isis and Serapis of the J. Paul Getty Museum; the discovery that the egg tempera painting medium, usually credited to Renaissance artistCimabue, has been identified in Egyptian panels a millennium earlier; and the reconstruction of a ring of icons on the chancel of Saint Sophia in Istanbul.This book will be a vital addition to the fields ofEgyptian, Greco-Roman, and late antique art history and, more generally, to the history of painting.

A beautiful presentation of fifty masterworks of late 19th- to mid-20th-century avant-garde European art from one of America's most distinguished private collections Cezanne and the Modern showcases fifty masterworks of late 19th- to mid-20th-century avant-garde European art from the Henry and Rose Pearlman Collection, one of the most distinguished private collections of modern art in the United States. Among the iconic images represented are Paul Cezanne's Mont Sainte-Victoire, Vincent van Gogh's Tarascon Stagecoach, and Amedeo Modigliani's portrait of Jean Cocteau, as well as an outstanding suite of sixteen watercolors by Cezanne. The volume opens with Henry Pearlman's "Reminiscences of a Collector," a fascinating first-person narrative, newly annotated to identify key individuals and dates mentioned in the text. An essay by art historian Rachael Z. DeLue places Pearlman in the context of mid-20th-century American collecting, and a detailed chronology illuminates Pearlman's collecting practices in relation to noteworthy events in the art world. A series of sixteen brief essays by leading scholars focuses on each of the represented artists and their works, richly illustrated with sumptuous color plates, select details, and numerous comparative images. A comprehensive checklist documenting each of the works-including detailed provenance, exhibition history, bibliographic references, and commentary by a conservator-rounds out this handsome volume, which is published to accompany the first international tour of this important collection. Distributed for the Princeton University Art Museum Exhibition Schedule: Ashmolean Museum of Art and Archaeology, Oxford (03/13/14-06/22/14) Musee Granet, Aix-en-Provence (07/11/14-10/05/14) High Museum of Art, Atlanta (10/25/14-01/11/15) Vancouver Art Gallery (02/07/15-05/18/15) Princeton University Art Museum (09/12/15-01/03/16)