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1000 Symbols
Symbols are often seen as constituting an international language and to some extent they do, but that language is far from universal--context means everything in this complicated but engrossing form of communication. Take, for example, a cross, a crane, or a swastika: each one has a different and distinct significance and meaning for a Buddhist, an art historian, or a student of the occult. 1000 Symbols resolves the problem by offering groupings of related symbols, every one with a neat definition of its history and its cross-cultural meanings.
Revaluing Renaissance Art
This title was first published in 2000: Michelangelo gave his painting of "Leda and the Swan" to an apprentice rather than hand it over to the emissary of the Duke of Ferrar, who had commissioned it. He was apparently disgusted by the failure of the emissary - who was probably more used to buying pigs than discussing art - to accord the picture and the artist the value they deserved. Any discussion of works of art and material culture implicitly assigns them a set of values. Whether these values be monetary, cultural or religious, they tend to constrict the ways in which such works can be discussed. The variety of potential forms of valuation becomes particularly apparent during the Italian ...
Presence
In about 25 BC tribesmen of the kingdom of Meroe placed a bronze head of Augustus, cut from a full-length statue, beneath the steps of a temple of victory: the decapitated head of the Emperor was thus regularly trampled underfoot. Two millennia later, during the second Gulf War, Iraqis 'insulted' a toppled bronze statue of Saddam Hussein by beating it with their shoes. Do these chronologically distant but apparently related examples of the defamation of images imply that the persons represented were regarded by their detractors as in some way 'present' in the images? Presence: The Inherence of the Prototype within Images and Other Objects reconsiders the notion of 'presence' in objects. The ...
The Material Renaissance
Despite the recent interests of economic and art historians in the workings of the market, we still know remarkably little about the everyday context for the exchange of objects and the meaning of demand in the lives of individuals in the Renaissance. Nor do we have much sense of the relationship between the creation and purchase of works of art and the production, buying and selling of other types of objects in Italy in the period. The Material Renaissance addresses these issues of economic and social life.
Rupert and the Cloud Shepherd
When Rupert and his friends go to Rocky Bay, they decide tohave a sandcastle competition. But when Miranda gets upset, Rupert needs to come up with an idea to make her happy again!
The Dark Inside
The House on the Hill has been abandoned for as long as James can remember. So when he discovers Webster, a drifter, hiding there, he's instantly curious about the story behind the homeless man. What is he running from? Afflicted by a dark curse, Webster is no longer who he used to be. But there is said to be a cure and it might just be that by helping Webster, James will find some solace of his own. Together they embark on a journey, not knowing that what they discover will impact them both in ways they never imagined... A gripping and haunting story about loss and hope, perfect for fans of Patrick Ness and David Almond. "Beautifully written in smooth, elegant prose… an absolute delight t...
Renaissance Art
Botticelli, Holbein, Leonardo, Dürer, Michelangelo: the names are familiar, as are the works, such as the Last Supper fresco, or the monumental marble statue of David. But who were these artists, why did they produce such memorable images, and how would their original beholders have viewed these objects? Was the Renaissance only about great masters and masterpieces, or were "mistresses" also involved, such as women artists and patrons? And what about the 'minor'-pieces that Renaissance men and women would have encountered in homes, churches and civic spaces? This exciting and stimulating volume will answer such questions by considering both famous and lesser-known artists, patrons and works of art within the cultural and historical context of Renaissance Europe. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Concepts of Beauty in Renaissance Art
In this Volume, published in1998, Fifteen scholars reveal the ways of preserving, conceiving and creating beauty were as diverse as the cultural influenced at work at the time, deriving from antique, medieval and more recent literature and philosophy, and from contemporary notions of morality and courtly behaviour. Approaches include discussion of contemporary critical terms and how these determined writers’ appreciation of paintings, sculpture, architecture and costume; studies of the quest to create beauty in the work of artists such as Botticeli, Leonardo, Raphael, Parmigianino and Vasari; and the investigation of changes functioning of the eye and brain, or to technical innovations like those found in Venetian glass.
The Insult
One of David Bowie's 100 Must-Read Books of All Time It is a Thursday evening. After work Martin Blom drives to the supermarket to buy some groceries. As he walks back to his car, a shot rings out. When he wakes up he is blind. His neurosurgeon, Bruno Visser, tells him that his loss of sight is permanent and that he must expect to experience shock, depression, self-pity, even suicidal thoughts before his rehabilitation is complete. But it doesn't work out quite like that. One spring evening, while Martin is practising in the clinic gardens with his new white cane, something miraculous happens ...
