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Rethinking Art Between the Wars
In the interwar period art revealed itself as part of the social and ideological order. The work of art became a point of intersection for the modern, unstable and ambiguous world. Works of art produced in these decades reflect a range of discourses on power and subjectivity. They contribute to the foundation of the post-war development of aesthetic pluralism and point out the socially conditioned framings of the Fine Arts. During the last decades, research in the field of interwar art has reworked and reconceptualised existing notions on the period. This book offers four new approaches which also contribute to reflections on methodological questions regarding the changes in the disciple of Art History since the early 1970s. The articles discuss topics such as Le Corbusier's connection with the French fascist movement, the position of women in the avant garde movement, Giorgio de Chirico's play with kitsch and avant garde practices, and the semiotics of the surrealist image.
Imagining the Human Condition in Medieval Rome
The first monograph on the Vita Humana cycle at Tre Fontane, this book includes an overview of the medieval history of the Roman Cistercian abbey and its architecture, as well as a consideration of the political and cultural standing of the abbey both within Papal Rome and within the Cistercian order. Furthermore, it considers the commission of the fresco cycle, the circumstances of its making, and its position within the art historical context of the Roman Duecento. Examining the unusual blend of images in the Vita Humana cycle, this study offers a more nuanced picture of the iconographic repertoire of medieval art. Since the discovery of the frescoes in the 1960s, the iconographic programm...
Biography of a Landmark, The Chora Monastery and Kariye Camii in Constantinople/Istanbul from Late Antiquity to the 21st Century
With its reconversion to a mosque in August 2020, the former monastic church of Saint Saviour in Chora entered yet another phase of its long history. The present book examines the Chora/Kariye Camii site from a transcultural perspective, tracing its continuous transformations in form and function from Late Antiquity to the present day. Whereas previous literature has almost exclusively placed emphasis on the Byzantine phase of the building’s history, including the status of its mosaics and paintings as major works of Palaiologan culture, this study is the first to investigate the shifting meanings with which the Chora/Kariye Camii site has been invested over time and across uninterrupted alterations, interventions, and transformations. Bringing together contributions from archaeologists, art historians, philologists, anthroplogists and historians, the volume provides a new framework for understanding not only this building but, more generally, edifices that have undergone interventions and transformations within multicultural societies. The open access publication of this book has been published with the support of the Swiss National Science Foundation.
Towards Rewriting?
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Crucifixions and Resurrections of the Image
George Pattison offers theological reflections on a range of works of art and films which have attracted wide discussion such as Anthony Gormley's 'Angel of the North'. Pattison takes seriously the modernist movement in art and constitutes an argument for its continuing relevance. The book centres on artists active in the mid- to late twentieth century, whose work reflects both the cultural and social crises of that era - Beuys, Rothko, Kiefer, Natkin and film directors such as Bergman and Tarkovksy. The studies are contextualized in broader reflections on modern art that suggest 'the death of God' as a motif that links theology and modern art itself. This enables a Christian theological engagement with works that often appear alien or even hostile to Christian faith. George Pattison takes the secular seriously in its own right, arguing that both secular art and theological reflection are often different but related responses to a common existential situation.
The Art of the Genoese Colonies of the Black Sea Basin (1261-1475)
Rafał Quirini-Popławski offers here the first panorama of the artistic phenomena of the Genoese outposts scattered around the Black Sea, an area whose cultural history is little known. The artistic creativity of the region emerges as extraordinarily rich and colorful, with a variety of heterogeneous, hybrid and intermingled characteristics. The book questions the extent to which the descriptor "Genoese" can be applied to the settlements’ artistic production; Quirini-Popławski demonstrates that, despite entrenched views of these colonies as centres of Italian and Latin culture, it was in fact Greek and Armenian art that was of greater importance.
The Framing of Sacred Space
Revised and expanded version of the author's thesis (doctoral--Princeton University, 2008) under the title: Canopies: the framing of sacred space in the Byzantine ecclesiastical tradition.
The Urban Lifeworld
Urban conditions are crucial to our experience of modernity, and, as reflected by art, literature and popular culture, have influenced contemporary ideas of what urban life is about. The Urban Lifeworld contributes to our understanding of the cultural role of cities by offering new insight into the analysis of urban experience. Two exceptional cities, New York and Copenhagen, are the focus of this exploration of cultural representations of urban life, which investigates the contrasts between perceptions and formation of the urban lifeworld. Integrating sociological, aesthetic and anthropological approaches to urban questions, this collection of essays presents a new vision of the cityscape which will enrich both academic debate and public life.
The Christina Psalter
This book is the first detailed analysis of an exquisitely illuminated thirteenth-century Parisian manuscript (The Royal Library, Copenhagen) which was owned by Christina of Norway (1234-1262), daughter of Håkon IV and wife of Philip of Castile and León. New information is provided about the Psalter?'s medieval and later components, its liturgical and other functions, missing illuminations and texts, as well as its provenance and date. Furthermore, the stylistic and iconographic similarities between the Psalter and some of the most important manuscripts illuminated in Paris in the Period, like the three-volume Moralized Bibles, are discussed. Suggestions also are made about the meanings the texts and images might have had for their intended audience.
