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In the enchanted world of Braj, the primary pilgrimage center in north India for worshippers of Krishna, each stone, river, and tree is considered sacred. In Climate Change and the Art of Devotion, Sugata Ray shows how this place-centered theology emerged in the wake of the Little Ice Age (ca. 1550–1850), an epoch marked by climatic catastrophes across the globe. Using the frame of geoaesthetics, he compares early modern conceptions of the environment and current assumptions about nature and culture. A groundbreaking contribution to the emerging field of eco–art history, the book examines architecture, paintings, photography, and prints created in Braj alongside theological treatises and devotional poetry to foreground seepages between the natural ecosystem and cultural production. The paintings of deified rivers, temples that emulate fragrant groves, and talismanic bleeding rocks that Ray discusses will captivate readers interested in environmental humanities and South Asian art history. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/climate-change-and-the-art-of-devotion
Generously illustrated exhibition catalogue explores the demand for and production of devotional works in early fifteenth-century Italy
The first volume to explore the vast assortment of church decorations and memorials produced by the Tiffany Studios.
Examines the De Lisle hours of Margaret de Beauchamp, the De Bois hours (Dubois hours) of Hawisia de Bois, and the Neville of Hornby hours of Isabel de Byron.
Both lauded and criticized for his pictorial eclecticism, the Florentine artist Jacopo Carrucci, known as Pontormo, created some of the most visually striking religious images of the Renaissance. These paintings, which challenged prevailing illusionistic conventions, mark a unique contribution into the complex relationship between artistic innovation and Christian traditions in the first half of the sixteenth century. Pontormo's sacred works are generally interpreted as objects that reflect either pure aesthetic experimentation, or personal and cultural anxiety. Jessica Maratsos, however, argues that Pontormo employed stylistic change deliberately for novel devotional purposes. As a painter, he was interested in the various modes of expression and communication - direct address, tactile evocation, affective incitement - as deployed in a wide spectrum of devotional culture, from sacri monti, to Michelangelo's marble sculptures, to evangelical lectures delivered at the Accademia Fiorentina. Maratsos shows how Pontormo translated these modes in ways that prompt a critical rethinking of Renaissance devotional art.
Describes the details of design and history of swords.
Nowhere is evidence of Bernini's unique abillity to unite architecture with sculpture and painting into a beautiful whole more compelling than in the Baroque chapel of Bernini's design: a dark world sealed below by a balustrade, covered by a luminous celestial dome, and populated by bodies of paint, marble, stucco, and flesh. This book explores three of these Baroque chapels to show how Bernini achieved his remarkable effects. Giovanni Careri examines the ways in which the artist integrated the disparate forms of architecture, painting, and sculpture into a coherent space for devotion, and then shows how this accomplishment was understood by religious practitioners. In the Fonseca Chapel, the Albertoni Chapel, and the church of Sant' Andrea al Quirinale, all in Rome, Careri identifies three types of ensemble and links each to a particular spiritual journey. Using contemporary theories in anthropology, film, and reception aesthetics, he shows how Bernini's formal mechanisms established an emotional dynamic between the beholder and a specific arrangement of forms. As an inquiry into the ways art in a certain historical context transformed and was transformed by its audience, Bernini: Flights of Love, the Art of Devotion is also a penetrating investigation into the aesthetic principles of multimedia composition.
The vibrant tradition of Temple decoration in India.
"In lyric essays, a story, poems, and photographs, Smith illuminates the whirl of chance and choice that stokes a writer's imagination, recounting her fascination on the eve of a trip to Paris with Simone Weil and an evocative, accidentally discovered film about Stalin's mass deportation of Estonians. In France, a gravestone, a televised figure-skating competition, a meal, and a garden all converge in what becomes Devotion, [a] ... fairy tale about a young, displaced Estonian skater and a solitary dealer in rare objects and arms. This ... fable about creativity and obsession, possession and freedom is followed by a meditation on how a work of art is, for other artists, a call to action"--Booklist, 08/01/2017.
Giovanni Bellini was the leading artist of the early Renaissance in Venice and the master of what was probably the largest workshop of any painter in Italy. Many of the works that are today associated with Bellini are half-length images of the Virgin and Child, a type of painting that became the mainstay of his workshop's production, where they were created and replicated in great numbers to meet the needs of private devotion. The local market was large and its demands were varied in terms of both style and quality, and the Bellini workshop accommodated these demands through standardized methods of production. The essays included in this book examine the practice of workshop replication both to understand the specific working methods of Bellini's shop and to situate artistic practice within the broader context of the demand for particular kinds of images. Ronda Kasl is curator of painting and sculpture before 1800 at the Indianapolis Museum of Art. Other contributors include Keith Christiansen, Antonietta Gallone, Andrea Golden, Cinzia Maria Mancuso, and David Miller.