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Rupert Gunnis is one of the founding fathers of Cypriot historiography. Whilst working as an administrator in the British Colonial Government of Cyprus in the 1930s he visited every town and city on the island, recording its interesting historic buildings and sites. In this facsimile of 1936 edition of the resulting book, not only do we gain a snapshot of a Cyprus that has now long gone, but find a text that is still surprisingly useable as a guide to the material culture of Cyprus.
Medieval Art, Modern Politics is an innovative volume of twelve essays by international scholars, prefaced by a comprehensive introduction. It examines the political uses and misuses of medieval images, objects, and the built environment from the 16th to the 20th century. In case studies ranging from Russia to the US and from catacombs, mosques, cathedrals, and feudal castles to museums and textbooks, it demonstrates how the artistic and built legacy has been appropriated in post-medieval times to legitimize varied political agendas, whether royalist, imperial, fascist, or colonial. Entities as diverse as the Roman papacy, the Catholic Church, local arts organizations, private owners of medieval fortresses, or organizers of exhibitions and publishers are examined for the multiple ways they co-opt medieval works of art. Medieval Art, Modern Politics enlarges the history of revivalism and of medievalism by giving it a uniquely political twist, demonstrating the unavoidable (but often ignored) intersection of art history, knowledge, and power.
This volume is the only scholarly work in English examining the multicultural society of the Lusignan Kingdom of Cyprus during the first two centuries of Frankish rule following the conquest of the Byzantine island during the Third Crusade. In this global synthesis based on original research, often in manuscripts, six chapters by acknowledged experts treat the main ethnic groups – Greeks and Franks – and the economy, religion, literature, and art of a frontier society between Byzantium, the papacy, the Crusader States, and the Islamic world. Cyprus, also home to Armenians, Syrians (Maronites, Melkites, Jacobites, Nestorians), Jews, Muslims, and others, offers an excellent opportunity to study the fascinating issues of identity construction, acculturation, and assimilation in a ethnically and religiously diverse society.
Before the foundation of academies of art in London in 1758 and Philadelphia in 1805, most individuals who were to emerge as artists trained in workshops of varying degrees of relevance. Easel painters began their careers apprenticed to carriage, house, sign or ship painters, whilst a few were placed with those who made pictures. Sculptors emerged from a training as ornamental plasterers or carvers. Of the many other trades in a position to offer an appropriate background were ‘limning’, staining, engraving, surveying, chasing and die-sinking. In addition, plumbers gained the right to use oil painting and, for plasterers, the application of distemper was an extension of their trade. Cent...
In this volume Anthi Andronikou explores the social, cultural, religious and trade encounters between Italy and Cyprus during the late Middle Ages, from ca. 1200 -1400, and situates them within several Mediterranean contexts. Revealing the complex artistic exchange between the two regions for the first time, she probes the rich but neglected cultural interaction through comparison of the intriguing thirteenth-century wall paintings in rock-cut churches of Apulia and Basilicata, the puzzling panels of the Madonna della Madia and the Madonna di Andria, and painted chapels in Cyprus, Lebanon, and Syria. Andronikou also investigates fourteenth-century cross-currents that have not been adequately studied, notably the cult of Saint Aquinas in Cyprus, Crusader propaganda in Santa Maria Novella in Florence, and a unique series of icons crafted by Venetian painters working in Cyprus. Offering new insights into Italian and Byzantine visual cultures, her book contributes to a broader understanding of cultural production and worldviews of the medieval Mediterranean.
A gazetteer of the many fine Shropshire country houses, which covers the architecture, the owners' family history, and the social and economic circumstances that affected them.
For more than two hundred years the Royal Institution has been at the centre of scientific research and has provided a cultural location for science in Britain. Within its walls some of the major scientific figures of the last two centuries - such as Humphry Davy, Michael Faraday, John Tyndall, James Dewar, Lord Rayleigh, William Henry Bragg, Henry Dale, Eric Rideal, William Lawrence Bragg and George Porter - carried out much of their research, with discoveries from sodium to x-ray crystallography. The success of the Royal Institution in research and in locating science within general culture led it to being used as a model for other institutions, most notably by the founders of the Smithsonian Institution in Washington. Much has been written about the scientific work in the Royal Institution, but much less about the cultural settings which allowed it to become such a major site for the creation of scientific knowledge. The purpose of this book is to examine these aspects of its history.
Living with the Royal Academy directs attention to the textures of artists' relationships with the Royal Academy in late-eighteenth- and early-nineteenth-century Britain. This essay collection considers the Academy as a lived organism, one whose most effective role was as a reference point around which artists operated in their relationships with each other and with artistic practice itself.
The rural southern part of Somerset is particularly rich in church architecture, from the poetic ruins of Glastonbury Abbey to the plain geometry of Lutyen's chapel at Brushford. Also discussed are Somerset's elaborate pinnacled church towers.