Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Likeness and Presence
Before the Renaissance and Reformation, holy images were treated not as "art" but as objects of veneration which possessed the tangible presence of the Holy. the faithful believed that these images served as relics and were able to work miracles, deliver oracles, and bring victory to the battlefield. In this magisterial book, Hans Belting traces the long history of the sacral image and its changing role--from surrogate for the represented image to an original work of art--in European culture. Likeness and Presence looks at the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images, and presents a compelling interpretation of the place of the image in Western history. -- Back cover
Art History After Modernism
"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's brilliant, iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier and highly successful volume, The End of the History of Art?. "Known for his striking and original theories about the nature of art," according to the Economist, Belting here examines how art is made, viewed, and interpreted today. Arguing that contemporary art has burst out of the frame that art history had built for it, Belting calls for an...
Face and Mask
A cultural history of the face in Western art, ranging from portraiture in painting and photography to film, theater, and mass media This fascinating book presents the first cultural history and anthropology of the face across centuries, continents, and media. Ranging from funerary masks and masks in drama to the figural work of contemporary artists including Cindy Sherman and Nam June Paik, renowned art historian Hans Belting emphasizes that while the face plays a critical role in human communication, it defies attempts at visual representation. Belting divides his book into three parts: faces as masks of the self, portraiture as a constantly evolving mask in Western culture, and the fate o...
An Anthropology of Images
A compelling theory that places the origin of human picture making in the body In this groundbreaking book, renowned art historian Hans Belting proposes a new anthropological theory for interpreting human picture making. Rather than focus exclusively on pictures as they are embodied in various media such as painting, sculpture, or photography, he links pictures to our mental images and therefore our bodies. The body is understood as a "living medium" that produces, perceives, or remembers images that are different from the images we encounter through handmade or technical pictures. Refusing to reduce images to their material embodiment yet acknowledging the importance of the historical media...
Hieronymus Bosch
Now available in a new edition, this book explores Hieronymus Bosch’s masterpiece Garden of Earthly Delights. Few paintings inspire the kind of intense study and speculation as Garden of Earthly Delights, the world-famous triptych by Netherlandish master Hieronymus Bosch. The painting has been interpreted as a heretical masterpiece, an opulent illustration of the Creation, and a premonition of the end of the world. In this book, renowned art historian Hans Belting offers a radical reinterpretation of the work, which he sees not as apocalyptic but utopian, portraying how the world would exist had the Fall not happened. Taking readers through each panel, Belting discusses various schools of thought and explores Bosch’s life and times. This fascinating study is an important contribution to the literature and theory surrounding one of the world’s most enigmatic artists.
The Global Contemporary and the Rise of New Art Worlds
Mapping the new geography of the visual arts, from the explosion of biennials to the emerging art markets in Asia and the Middle East. The geography of the visual arts changed with the end of the Cold War. Contemporary art was no longer defined, exhibited, interpreted, and acquired according to a blueprint drawn up in New York, London, Paris, or Berlin. The art world distributed itself into art worlds. With the emergence of new art scenes in Asia and the Middle East and the explosion of biennials, the visual arts have become globalized as surely as the world economy has. This book offers a new map of contemporary art's new worlds. The Global Contemporary and the Rise of New Art Worlds documents the globalization of the visual arts and the rise of the contemporary over the last twenty years. Lavishly illustrated, with color throughout, it tracks developments ranging from exhibition histories and the rise of new art spaces to art's branding in such emerging markets as Hong Kong and the Gulf States. Essays treat such subjects as curating after the global turn; art and the migration of pictures; the end of the canon; and new strategies of representation.
The End of the History of Art?
Twee essays over de methodologie van het vak kunstgeschiedenis.
Theaters
This lavish book is the only complete collection of the renowned Theaters series, in which Hiroshi Sugimoto opens his shutter as a film begins and closes it as it concludes. "Different movies give different brightnesses. If it's an optimistic story, I usually end up with a bright screen; if it's a sad story, it's a dark screen. Occult movie? Very dark."
The Invisible Masterpiece
The 'invisible masterpiece' is an unattainable ideal, a work into which a dream of absolute art is incorporated but can never be realized. By means of this metaphor borrowed from Balzac, Hans Belting shows the variety of ways in which the status and meaning of the masterpiece have been elevated and denigrated since the early nineteenth century. The history of the masterpiece coincided with the history of the public museum. Leonardo's Mona Lisa and other celebrated paintings preoccupied later artists, who felt burdened by the one-time cult of the masterpiece as it had been transformed into the cult of visible works of art. Following Duchamp, artists became increasingly resistant to the notion of the masterpiece. Beginning in the 1960s, Conceptual and Minimal artists concentrated on ephemeral forms and manufactured multiple copies in order to reject the outmoded status of the one-off masterpiece and the art market that fed off it. The Invisible Masterpiecereveals works, events and individuals in the history of Western art in a wholly novel way.
