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The book traces the unbroken development of the Sacred Arts and their interrelationships throughout Europe from the Renovatio of the arts - the 'Rebirth of Antiquity' - encouraged under the Emperor Charlemagne in the late eighth century, until a renewed and fresh appreciation of the natural world - the Gothic - began to replace the powerful stylisations and the last vestiges of the classical tradition of the Romanesque in the early thirteenth century.
Christianity is the most widespread religion in the world, and Ars Sacra successfully plays tribute to its art and architecture. As an opulent feast of the senses, this glorious tome impresses with expert texts, detailed views, and magnificent photographs. The reader gets an up close and personal tour of the works—often closer than in reality! Readers are able to savor the pages, browsing through the sumptuous volume at their leisure. Additional information highlights the specific changes in the sacral art, architecture, and culture. Ars Sacra is the standard work all in one: fascinating tome, comprehensive compendium, and substantial textbook.
For an understanding of the art of the Early Middle Ages it is essential to consider reliquaries and shrines, book bindings and ivory carvings, goldsmith's work and bronze casting, as much as major sculpture and painting. This volume covers these Ars Sacra from 800 to 1200.
This book deals with the art of church treasuries and cloisters in the early middle ages in Europe - the work of goldsmiths, ivory carvers, bronze casters, enamellers and wood carvers. These so-called 'Minor Arts' played a major creative role alongside the other pictorial arts and architectural sculpture. The book traces the unbroken development of the Sacred Arts and their interrelationships throughout Europe from the Renovatio of the arts - the 'Rebirth of Antiquity' - encouraged under the Emperor Charlemagne in the late eighth century, until a renewed and fresh appreciation of the natural world - the Gothic - began to replace the powerful stylisations and the last vestiges of the classical tradition of the Romanesque in the early thirteenth century.
Understanding Art by Flavio Conti,Maria Cristina Gozzoli Pdf
Understanding Art is a two-volume, fully illustrated work that strives to explain and discuss four important periods in the history of western art--the Romanesque, Gothic, Renaissance, and Baroque. It aims to create a sense of understanding, recognition, and appreciation of art by analysing, within the four periods, three distinct artistic genres: painting; sculpture; and architecture. Besides the excellence of the illustrations, one of the great virtues of this book is its clear and concise explanations. It is truly an excellent first stop for anyone embarking on a serious study of art--or anyone wishing to refresh his or her memory of the facts about the art history of the western world.
Vision, Devotion, and Self-Representation in Late Medieval Art by Alexa Sand Pdf
This book investigates the 'owner portrait' in the context of late medieval devotional books primarily from France and England. These mirror-like pictures of praying book owners respond to and help develop a growing concern with visibility and self-scrutiny that characterized the religious life of the laity after the Fourth Lateran Council in 1215. The image of the praying book owner translated pre-existing representational strategies concerned with the authority and spiritual efficacy of pictures and books, such as the Holy Face and the donor image, into a more intimate and reflexive mode of address in Psalters and Books of Hours created for lay users. Alexa Sand demonstrates how this transformation had profound implications for devotional practices and for the performance of gender and class identity in the striving, aristocratic world of late medieval France and England.
This book provides an introduction to early medieval art, both the images themselves and the methods used to study them, focusing on the relationship of word and image, a relationship that was central in northern Europe and the Mediterranean from about 600 to about 1050.
ARS SACRA, or Sacred Art, is a presentation of the "Faces of Redemption" original oil painting series by Italian artist, Carla Carli Mazzucato which was commissioned and installed in the Church of Corpus Domini, Bolzano, Italy in 1991. The book depicts Mazzucato's contemporary interpretation of the fourteen Stations of the Cross, and is accompanied by the artist's own reflections on the meaning of Jesus Christ's journey and sacrifice in relation to our own lives. The book also presents the artist's "Via Crucis" series of fourteen original woodcut prints that likewise explore the central mystery of faith in our search for understanding and acceptance of our own divine purpose.Three editions of the book, English, Italian and Spanish are available.
Wingless Chickens, Bayou Catholics, and Pilgrim Wayfarers by L. Lamar Nisly Pdf
Flannery O'Connor, Tim Gautreaux, and Walker Percy, are all Catholic writers from the South-and seem to embody very fully both parts of that label. Yet as quickly becomes clear in their writing, their fiction employs markedly different tones and modes of addressing their audience. O'Connor seems intent on shocking her reader, whom she anticipates will be hostile to her deepest beliefs. Gautreaux gently and humorously engages his reader, inviting his expected sympathetic audience to embrace the characters' needed moral growth. Percy satirically lampoons an array of social ills and failings in the Church, as he tries to get his audience laughing with him while he makes his deadly serious point about the flaws he finds in the church and larger culture. Why do these three writers assume such divergent images of their audience? Why do texts by three writers who each embrace their Southern locale and their Catholic beliefs seem to have so little in common? To answer these questions, Nisly helps readers understand these authors' fiction by examining the role that place and time had in shaping each author's idea of an audience-and, by extension, his or her manner of addressing that audience. More specifically, Nisly focuses on each author's experience of Catholic community and each author's placement in relation to the Second Vatican Council. Linking together biographical information and a reading of their fiction, Nisly argues that O'Connor's, Gautreaux's, and Percy's sense of audience has been shaped in significant ways by each author's own local experience of Catholicism in his or her home region as well as the larger, global changes of Vatican II that transformed Roman Catholicism.
