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The studies collected here are presented to Brunilde Sismondo Ridgway to honor an unusually inspiring and energetic teacher, a dedicated and prolific scholar, and a profoundly humane and caring human being. Bruni's passion for Greek sculpture, her constantly inquiring mind, and her bold questioning of long-accepted positions have sparked many stimulating discussions, often planting the germ of an idea to which students return in their own work. The themes here discussed reflect many of Bruni's scholarly interests. Most are on sculptural topics, but numismatics, architecture, and Iron Age Cyprus are also represented. Discussions focus on interpretations of technique and style, consider single sculptures, groups, and whole monuments, the well known as well as the unusual. University Museum Monograph, 100
Eighteen experts from a wide variety of academic and professional fields engage key questions in a series of thought-provoking essays that define the emerging field of new media Bible translating, and how the biblical message will be communicated in the culture and media of the 21st century.
Distant blue hills, soaring trees, vast cloudless skies—the majesty of nature has always had the power to lift the human spirit. For some it evokes a sense of timelessness and wonder. For others it reinforces religious convictions. And for many people today it raises concerns for the welfare of the planet. During the Renaissance, artists from Italy to Flanders and England to Germany depicted nature in their religious art to intensify the spiritual experience of the viewer. Devotional manuscripts for personal or communal use—from small-scale prayer books to massive choir books—were filled with some of the most illusionistic nature studies of this period. Sacred Landscapes, which accompanies an exhibition at the J. Paul Getty Museum, presents some of the most impressive examples of this art, gathering a wide range of illuminated manuscripts made between 1400 and 1600, as well as panel paintings, drawings, and decorative arts. Readers will see the influence of such masters as Albrecht Dürer, Jan van Eyck, Leonardo da Vinci, and Piero della Francesca and will gain new appreciation for manuscript illuminators like Simon Bening, Joris Hoefnagel, Vincent Raymond, and the Spitz Master. These artists were innovative in the early development of landscape painting and were revered throughout the early modern period. The authors provide thoughtful examination of works from the fifteenth through seventeenth centuries.
Fascination with ancient Egypt is a recurring theme in Western culture, and here Brian Curran uncovers its deep roots in the Italian Renaissance, which embraced not only classical art and literature but also a variety of other cultures that modern readers don't tend to associate with early modern Italy. Patrons, artists, and spectators of the period were particularly drawn, Curran shows, to Egyptian antiquity and its artifacts, many of which found their way to Italy in Roman times and exerted an influence every bit as powerful as that of their more familiar Greek and Roman counterparts. Curran vividly recreates this first wave of European Egyptomania with insightful interpretations of the period's artistic and literary works. In doing so, he paints a colorful picture of a time in which early moderns made the first efforts to decipher Egyptian hieroglyphs, and popes and princes erected pyramids and other Egyptianate marvels to commemorate their own authority. Demonstrating that the emergence of ancient Egypt as a distinct category of historical knowledge was one of Renaissance humanism's great accomplishments, Curran's peerless study will be required reading for Renaissance scholars and anyone interested in the treasures and legacy of ancient Egypt.
Includes entries for maps and atlases.