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How Divine Images Became Art tells the story of the parallel ‘discovery’ of Russian medieval art and of the Italian ‘primitives’ at the beginning of the twentieth century. While these two developments are well-known, they are usually studied in isolation. Tarasov’s study has the great merit of showing the connection between the art world in Russia and the West, and its impact in the cultural history of the continent in the pre-war period. Drawing on a profound familiarity with Russian sources, some of which are little known to Western scholars, and on equally expert knowledge of Western material and scholarship, Oleg Tarasov presents a fresh perspective on early twentieth-century Russian and Western art. The author demonstrates that during the Belle Époque, the interest in medieval Russian icons and Italian ‘primitives’ lead to the recognition of both as distinctive art forms conveying a powerful spiritual message. Formalist art theory and its influence on art collecting played a major role in this recognition of aesthetic and moral value of ‘primitive’ paintings, and was instrumental in reshaping the perception of divine images as artworks. Ultimately, this monograph represents a significant contribution to our understanding of early twentieth-century art; it will be of interest to art scholars, students and anyone interested in the spiritual and aesthetic revival of religious paintings in the Belle Époque.
Although relatively obscure during his lifetime, William Blake has become one of the most popular English artists and writers, through poems such as “The Tyger” and “Jerusalem,” and images including The Ancient of Days. Less well-known is Blake’s radical religious and political temperament and that his visionary art was created to express a personal mythology that sought to recreate an entirely new approach to philosophy and art. This book examines both Blake’s visual and poetic work over his long career, from early engravings and poems to his final illustrations, to Dante and the Book of Job. Divine Images further explores Blake’s immense popular appeal and influence after his death, offering an inspirational look at a pioneering figure.
Over 150 exquisite color illustrations and text make this account of one of North America's finest South Asian art collections an invaluable guide.
In AD 726, the Byzantine emperor ordered the destruction of all icons, or religious images, throughout the empire, and icons were subject to an imperial ban that was to last, with a brief remission, until AD 843. A defender of icons, St John of Damascus wrote three treatises against "those who attack the holy images." He differentiates between the veneration of icons, which is a matter of expressing honor, and idolatry, which is offering worship to something other than God.
Across the globe there are scores of beautiful and unusual works of art that are largely unseen or fail to receive the critical acclaim they deserve. Why? The Best Art You've Never Seen restores to view 100 wonderful treasures of world art. Ranging from Peru to Papua New Guinea, it uncovers neglected wonders in offbeat corners of the world or locked away in the store rooms of the world's great museums. Some are hidden accidentally: by a rock-fall, a shift in a trade route, or through the drift of history. Others are hidden deliberately, buried as loot or destroyed by hate - like the fabulous Mount Kailash Temple in India. Many are hidden by changes of taste, marginalized because they don't fit into established ideas of art - works by artists such as Norman Rockwell, Nek Chand, and Niki de St Phalle. Other great works, like the the dazzling Très Riches Heures manuscript and the Mona Lisa, are being virtually hidden by the demands of conservation. And there are penty of treasures still waiting to be revealed - the Q'in Emperor's tomb or Leonardo's lost fresco The Battle of Anghiari. Author and former museum director Julian Spalding takes you into a world of beautiful and arresting artifacts and reveals their amazing stories. He sets forth a surprising and unfamiliar alternative canon of works that offers a fresh and controversial take on the world of art.
Divine Conception: The Art of the Annunciation asks the questions: How to evoke the invisible in the visible? How to convey the divine in the human?Focussing on twelve specific aspects of the Annunciation (for instance, where Mary is reading, or where Joseph is present at the event), the book explores images (paintings, illuminated manuscripts, ivories, mosaics, sculpture, wall paintings, metal work) in the context of the period when they were made. Each chapter reflects on contemporaneous treatises, sermons, patron's requirements, devotional practices, artistic conventions, theological concerns, that informed the artist and his audience.The works of art discussed relate to the Latin West from the earliest times, with a cut-off date towards the middle of the 16th century.
Pioneering work by the great modernist painter, considered by many to be the father of abstract art and a leader in the movement to free art from traditional bonds. 12 illustrations.
According to Didi-Huberman, visual representation has an "underside" in which intelligible forms lose clarity and defy rational understanding. Art historians, he contends, fail to engage this underside, and he suggests that art historians look to Freud's concept of the "dreamwork", a mobile process that often involves substitution and contradiction.