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„Praca dotyczy jednego z arcydzieł rzeźby późnogotyckiej, a w szczególności dziejów jego interpretacji i recepcji. Podjęcie tego tematu jest właściwe i godne uznania z co najmniej trzech powodów. Pierwszy to ranga dzieła, które mimo dość długiej historii badań pozostaje dość enigmatyczne. Po drugie narosła wokół niego tradycja legendarna i literacka stanowi odrębny, częściowo zazębiający się z badaniami historycznymi, kompleks zagadnień. Po trzecie zaś w ramach historii sztuki problematyka recepcji (historii i estetyki recepcji) jest ostatnimi czasy coraz intensywniej badana. Ponieważ w przypadku omawianego krucyfiksu istnieją liczne przekazy pisane, zagadnienia te można analizować w oparciu o trwały grunt źródeł”. Z recenzji dr. hab. Jarosława Jarzewicza, prof. UAM
This stunning work presents the rarest and most valuable treasures in Polish art collections. It includes paintings, altar panels, secular and religious masterpieces, and manuscripts that date before the invention of moveable type. The pieces in this volume come from Polish and international collections, many of them originally royal or aristocratic in origin.
Drawing on the collections of the Skarby Museum and the National Museum of Warsaw, this album presents Poland's richest and most diversified collections of medieval painting and sculpture, including the Panel altars, the Beautiful Madonna series, and other rare religious artworks. Many of these artworks were lost for long time, a consequence of the many wars and partitions of Poland. This collection is astonishing proof of significant art development in Poland and of the determination of the Polish people to bring their treasures home.
This catalogue accompanies the Fall 2005 exhibition that celebrates the flowering of art in medieval Prague, when the city became not only an imperial but also an intellectual and artistic capital of Europe. Scholars trace the distinctly Bohemian art that developed during the reigns of Holy Roman Emperor Charles IV and his sons; the artistic achievements of master craftsmen; and the rebuilding of Prague Castle and of Saint Vitus' Cathedral. -- Metropolitan Museum of Art website.
Pontius Pilate is one of the Bible's best-known villains--but up until the tenth century, artistic imagery appears to have consistently portrayed him as a benevolent Christian and holy symbol of baptism. For the first time, Pontius Pilate, Anti-Semitism, and the Passion in Medieval Art provides a complete look at the shifting visual and textual representations of Pilate throughout early Christian and medieval art. Colum Hourihane examines neglected and sometimes sympathetic portrayals, and shows how negative characterizations of Pilate, which were developed for political and religious purposes, reveal the anti-Semitism of the medieval period. Hourihane indicates that in some artistic renderi...
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