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French Art Deco
Art Deco—the term conjures up jewels by Van Cleef & Arpels, glassware by Laique, furniture by Ruhlmann—is best exemplified in the work shown at the exhibition that gave the style its name: the Exposition Internationale des Art Décoratifs et Industriels Modernes, held in Paris in 1925. The exquisite craftsmanship and artistry of the objects displayed spoke to a sophisticated modernity yet were rooted in past traditions. Although it quickly spread to other countries, Art Deco found its most coherent expression in France, where a rich cultural heritage was embraced as the impetus for creating something new. the style drew on inspirations as diverse as fashion, avant-garde trends in the fin...
The Temple, the Church Fathers and Early Western Chant
The articles here deal with liturgical music. Two topics receive special attention: the curiously negative role that musical instruments play in ancient cult music and the development of ecclesiastical song in early Christianity. The first series of articles treats classical Greek ethical notions of instruments, the status of instruments in Temple and Synagogue, and the absence of instruments from early Christian and medieval church music. The next parts trace the psalmody and hymnody of the Christian tradition, from its roots in Judaism to the origins of Gregorian chant in 7th-century Rome. Throughout, the writings of the Christian Church fathers such as Augustine, Ambrose, Basil and John Chrysostom underpin the author’s analysis and presentation.
Byzantium
The fall of the Byzantine capital of Constantinople to the Latin West in 1204 during the Fourth Crusade abruptly interrupted nearly nine hundred years of artistic and cultural traditions. In 1261, however, the Byzantine general Michael VIII Palaiologos triumphantly re-entered Constantinople and reclaimed the seat of the empire, initiating a resurgence of art and culture that would continue for nearly three hundred years, not only in the waning empire itself but also among rival Eastern Christian nations eager to assume its legacy. Byzantium: Faith and Power (1261–1557), and the groundbreaking exhibition that it accompanies, explores the artistic and cultural flowering of the last centuries...
Receptions of Antiquity, Constructions of Gender in European Art, 1300-1600
Receptions of Antiquity, Constructions of Gender in European Art, 1300-1600 presents scholarship in classical reception at its nexus with art history and gender studies. It considers the ways that artists, patrons, collectors, and viewers in late medieval and early modern Europe used ancient Greek and Roman art, texts, myths, and history to interact with and shape notions of gender. The essays examine Giotto's Arena Chapel frescoes, Michelangelo's Medici Chapel personifications, Giulio Romano's decoration of the Palazzo del Te, and other famous and lesser-known sculptures, paintings, engravings, book illustrations, and domestic objects as well as displays of ancient art. Visual responses to antiquity in this era, the volume demonstrates, bore a complex and significant relationship to the construction of, and challenges to, contemporary gender norms.
Art as Politics in Late Medieval and Renaissance Siena
In Art as Politics in Late Medieval and Renaissance Siena, contributors explore the evolving relationship between image and politics in Siena from the time of the city-state's defeat of Florence at the Battle of Montaperti in 1260 to the end of the Sienese Republic in 1550. Engaging issues of the politicization of art in Sienese painting, sculpture, architecture, and urban design, the volume challenges the still-prevalent myth of Siena's cultural and artistic conservatism after the mid fourteenth century. Clearly establishing uniquely Sienese artistic agendas and vocabulary, these essays broaden our understanding of the intersection of art, politics, and religion in Siena by revisiting its medieval origins and exploring its continuing role in the Renaissance.
The Manchester Art Treasures Exhibition of 1857
An overdue study of a groundbreaking event, this is the first book-length examination of the Manchester Art Treasures Exhibition of 1857. Intended to rehabilitate Manchester's image at a heady time of economic prosperity, the Exhibition became a touchstone for aesthetic, social, and economic issues of the mid-nineteenth century. Reverberations of this moment can be followed to the present day in the discipline of art history and its practice in public museums of Europe and America. Highlighting the tension between art and commerce, philanthropy and profit, the book examines the Exhibition's organization and the presentation of the works of art in the purpose-built Art Treasures Palace. Perga...
The Glory of Byzantium
Serves as both visual and textual record of the exhibition of the same name, surveying the art of the Middle Byzantine period from the restoration of the use of icons by the Orthodox Church in 843 to the occupation of Constantinople by the Crusader forces from the West from 1204 to 1261. Conceived as a sequel to the 1976 exhibition "Age of Spirituality," which focused on the first centuries of Byzantium. Preceding the catalogue, 17 essays treat the historical context, religious sphere, and secular courtly realm of the empire, and the interactions between Byzantium and other medieval cultures. Abundantly illustrated. Annotation copyrighted by Book News, Inc., Portland, OR
The Crescent on the Temple
"The Crescent on the Temple" by Pamela Berger elucidates an obscured tradition—how the Dome of the Rock came to stand for the Temple of Solomon in Christian, Muslim, and Jewish art. The crusaders called the Dome of the Rock the “Temple of the Lord,” while Muslim imagery depicted Solomon enthroned within the domed structure. Jews knew that the ancient Temple had been destroyed. Nevertheless, in their imagery, they commonly labeled the Muslim shrine “The Temple.” That domed “Temple” was often represented with a crescent on top. This iconography, long hidden in plain sight, reflects one aspect of an historical affinity between Jews and Muslims.
