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These volumes propose a renewed way of framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women. Today’s standard division of artist from patron is not seen in medieval inscriptions—on paintings, metalwork, embroideries, or buildings—where the most common verb is 'made' (fecit). At times this denotes the individual whose hands produced the work, but it can equally refer to the person whose donation made the undertaking possible. Here twenty-four scholars examine secular and religious art from across medieval Europe to demonstrate that a range of studies is of interest not just for a particular time and place but because, fro...
For more than five centuries The Last Supper has been an artistic, religious and cultural icon. The art historian Kenneth Clark called it 'the keystone of European art', and for a century after its creation it was regarded as nothing less than a miraculous image. And yet there is a very human story behind this artistic 'miracle'. Ross King's Leonardo and the Last Supper is both a 'biography' of one of the most famous works of art ever painted and a record of Leonardo da Vinci's last five years in Milan.
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The Fourth Gospel has been known as the “spiritual gospel” since the second century, but only recently have biblical scholars attempted to express the unique spirituality found in that sacred text. Surprisingly, no consensus has emerged even after a century of research. Thus, while John’s Gospel is widely admired as a vibrant source of Christian piety, the distinct features of its spirituality remain unclear. Fr. Fiore addresses this problem from the fresh perspective of spiritual theology. Capitalizing on a century of Johannine biblical scholarship, he uses the interdisciplinary methods of spiritual theology to bring new data to the study of the Gospel and solutions to many lingering ...
The Fourth Gospel has been known as the “spiritual gospel” since the second century, but only recently have biblical scholars attempted to express the unique spirituality found in that sacred text. Surprisingly, no consensus has emerged even after a century of research. Thus, while John’s Gospel is widely admired as a vibrant source of Christian piety, the distinct features of its spirituality remain unclear. Fr. Fiore addresses this problem from the fresh perspective of spiritual theology. Capitalizing on a century of Johannine biblical scholarship, he uses the interdisciplinary methods of spiritual theology to bring new data to the study of the Gospel and solutions to many lingering ...
This reference traces the historical background of editorial cartooning and presents works that chronicle the history and criticize the aesthetics of the art. It also describes anthologies and exhibition catalogs that reprint editorial cartoons, and provides a list of libraries, museums, and historical societies which house originals and photocopies or clippings of editorial cartoons. This expansive volume examines the American editorial cartoon from its beginnings in 1747 into the second Clinton administration. It fills a gap in the literature, providing comprehensive information on a field of growing interest to scholars and collectors. This reference guide studies the evolution of editori...
Elizabeth Murray has radically altered the structure of Modernist painting. Her shaped and constructed canvases, often topologically modeled in three dimensions or fitted together out of multiple jigsaw-like parts, treat figure and ground in unprecedented ways, giving the elastic shapes of classic Surrealism a space in their own image. The alternatively comfortable and cataclysmic world that her images depict would crack irrevocably if it followed Euclidean logic; instead; it constantly metamorphoses under stress. With a chaptered essay by Robert Storr, plate section, and in-depth interview, the book will explore Murray's relation to artists such as Joan Mir , Stuart Davis, Claes Oldenburg and Frank Stella, as well as to the mainstream and opened up options for rising generations. This book accompanies the most detailed examination of Murray's art yet mounted, showing its development from Pop-oriented reliefs in the 1960s to the extraordinary volumetric of her recent work.
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