Religious and ceremonial arts Books
Peeters Publishers Rembrandt and the Divine
Book SynopsisBecause Dutch seventeenth-century painting is primarily known for its naturalism, representing the divine posed particular problems for painters of religious stories, especially Rembrandt. Indeed, if seeing is believing, then the visible presence of angels – and finally the presence on earth of Christ as the divine Incarnation in the flesh – could confirm to the senses the presence of divine providence in the world. Angels also evoke a sense of wonder in all who behold them, those who are blessed to receive their visitation from a watchful, if invisible God. Like John Calvin, Rembrandt carefully read his Bible. Thus his angels, represented traditionally as winged creatures, actively participate in important religious events, particularly in Old Testament scenes, beginning with Abraham. In later biblical history, however, angelic appearances diminish; both God – and angels as His agents – intervene less directly to interact with humankind. In Rembrandt’s art, angels are active and visible, but sometimes they reveal their identity just as they disappear, flying away. Other Rembrandt religious images convey divine presence only through light rays from above. With the New Testament advent of Christ, however, angelic attendants chiefly magnify the divine nature of Jesus in the world. Following the theology of John Calvin that dominated Dutch spirituality, Rembrandt allows his pious viewers to behold those very angels or, like Mary Magdalene and the apostles, even to view the divine nature of the risen Christ.
£45.21
Peeters Publishers Place-Text-Trace: The Fragility of the Spatial
Book SynopsisThe past was over, the future was not there yet and the present was a future past. Throughout the long nineteenth century, past and present had become traces and layers, burdened with an inescapable dimension of absence. Writers, scholars and architects, political theorists, artists, visitors of museums and exhibitions, the miller in Provence and the shepherd in the Landes, were facing a rapidly changing world. The present had become elusive and fragile. The past was irrevocably gone and other. In an initial context of loss, of dispersion and disconnection of lands, people, professions and things, new frameworks of meaning and imagination, of `presentification’, had to be found, tools of preservation, of restoration, of (re)establishment and vivification. Place and text become such tools. Against a concise background of comparative literature and contemporary philosophy on absence and presentification, this essay explores spatial images in French and Belgian nineteenth-century literature, especially in the work of Chateaubriand, Balzac, Rodenbach and Mistral. It is argued that the spatial image, as textual space and spatial text, and in the built environment, operates as a cultural subtext of presentification. Its disruptive nature, its own fragility and eventual self-fragmentation reveal the cultural ambiguities of the century’s tragic and grand strife to make the elusive present eternal, timeless, fixed, absenceless and complete in the age of traces.
£45.60
Peeters Publishers What about Enthusiasm? A Rehabilitation:
Book SynopsisThe word enthusiasm is derived from the Greek enthousiasmos and means being captivated by a god. Even today, we use `enthusiasm’ to describe a special energy that can suddenly overwhelm us: an emotional affect that holds the glow for the subject within oneself, and which radiates inspiration out to an audience. Yet, through the ages, the concept has not always carried with it the positive connotations it had in ancient Greece. Despite a few flickers on the cultural historical time line, enthusiasm has mostly been marginalised in modern Western philosophy: as an excessive urge or as a harmful exaggeration of emotions. In this essay, I work towards a rehabilitation of inspiration within intellectual thought. Is enthousiasmos the subject of any iconographic traditions? Is enthousiasmos also an aesthetic concept? And can enthousiasmos be part of an epistemology?
£55.65
Peeters Publishers Fragments
Book SynopsisFragments presents one hundred and ten entries – from Acheiropoieton to Zwischenraum – that explore new insights and observations for research and criticism in art history, iconology and cultural anthropology. It offers a unique anthology of Barbara Baert's oeuvre. Each lemma bears the stamp of the author’s personality and work, sometimes in the form of an encompassing explanation, sometimes a brief experimental musing, illustratied by iconic artefacts. This extraordinary glossary leverages the power of interdisciplinary research in art and human sciences, and invites the reader to consider the beauty of these disciplines by embracing multiple genres. Fragments is Barbara Baert’s response to her being awarded the Belgian Francqui Prize Human Sciences 2016. This celebration book within the series Studies in Iconology is a token of gratitude and a sign of encouragement towards the desire of a deeper understanding of our artistic environments.
£86.90
Peeters Publishers Afterlife of Antiquity: Anton Springer
Book SynopsisThis essay deals with the early history of the notion of an ‘afterlife of antiquity’ as a metaphor for thinking about antiquity’s continued presence in later periods. Nachleben der Antike is often associated with Aby Warburg and Renaissance art but was first applied to the classical tradition of the Middle Ages by the Czech-German historian Anton Heinrich Springer (1825–1891). His provocative essay on the subject, first published in 1862, is a very early attempt to emancipate the classical tradition from strait-laced classicism and to see it as a historical problem. Springer’s approach anticipated some important later trends in understanding antiquity’s continued presence and significance. Afterlife of Antiquity returns something of the original resonance to Springer’s idea and sheds light on its significance in the history of scholarship. Recognizing some of the theoretical tensions inherent in Springer’s discussion, the current work examines how the notion of an afterlife of antiquity was embedded in the author’s wider interest in artistic tradition and how he used it as a polemical concept targeting both anti-classicizing Romanticist and traditional humanist views of medieval culture. This issue of Studies in Iconology also includes the first English translation of Springer’s Das Nachleben der Antike im Mittelalter, a largely forgotten classic of humanities scholarship, read and admired by Aby Warburg and Erwin Panofsky.
£49.90
Peeters Publishers Die Legendare aus der Rue neuve Nostre Dame:
Book SynopsisZu den teuersten Erzeugnissen der Pariser Buchproduktion im zweiten Viertel des 14. Jahrhunderts gehören vier großformatige Legendare, die der Buchhändler Thomas de Maubeuge bei den Buchmalern der Rue neuve Nostre Dame für den französischen König Karl IV. und sein Umfeld illustrieren ließ. Ausgehend von den Herstellungsbedingungen des Entstehungskontextes wird in der vorliegenden Arbeit die Bedeutung und Funktion der meist stereotypen und formelhaften Miniaturen im Gesamtgefüge der Handschriften untersucht. Vor dem Hintergrund der Tradition französischer Legendare und der Legenda aurea werden die Gestaltungsstrategien herausgearbeitet, die den Akteuren eine inhaltliche Ausrichtung der Codices erlauben und die Rezeptionshaltung der Benutzer subtil steuern. Die untersuchten Handschriften unterliegen dabei einer je eigenen Disposition, in der sich die Wünsche einzelner Auftraggeber mit dem Ringen um eine zeitgemäße Form für die Buchtgattung Legendar vereinen. Neben den Transformationen, die die Gattung im 13. und frühen 14. Jahrhundert erfährt, spiegelt sich hierin die buchhistorisch bedeutsame Verschiebung der idealen Lesehaltung von einer monastisch-kontemplativen hin zu einer scholastisch-akademischen lectio. Ein Katalogteil erschließt 39 hagiographische Handschriften aus der Zeit vor 1350 und ihre Bildfolgen für die künftige Forschung.
£291.81
Peeters Publishers The Fortune of Gertrud Bing (1892-1964): A
Book SynopsisSie stand anderen zur Seite und wußte sie zu inspirieren. It is clear that Ernst H. Gombrich saw Gertrud Bing (1892-1964) as the muse in the circle of scholars around Aby M. Warburg (1866-1929). Others have compared her to the figure of the nymph, which was essential to Warburg’s thought. Indeed, with Warburg’s fascination for the ninfa fiorentina, a picturing of ‘the feminine’ enters into the centre of his thinking. However, Warburg almost never voiced opinions about the role of gender in the structure of society. Nor does it seem that he actually admitted women to his intellectual universe. Gertrud Bing, it turns out, was the rare exception. Who was Gertrud Bing and what was her personal contribution to Warburg’s scientific project? This essay intends to map the agency of Gertrud Bing, in a way that she herself would have probably preferred. According to her, the ideal biography ought to merge the personal with the intellectual, since, what one experiences as a human being will also find its way into the academic oeuvre one leaves behind.
£49.52
Peeters Publishers The Weeping Rock: Revisiting Niobe through
Book SynopsisPublius Ovid (43 BC-17/18 AD) describes in his Metamorphoses Niobe’s transformation into a weeping rock. Niobe’s transformation incorporates the form and matter of the medium of sculpture. According to the humanist paragone debate, painting and sculpture struggle to be the medium with the highest qualities of virtuosity. Aby Warburg (1866-1929) refers to the Niobe motif’s Nachleben in his Tafel 5: Beraubte Mutter. (Niobe, Flucht und Schrecken). This displays the images of both the bereaved mother (Niobe) and the murderous mother (Medea). The montage also introduces the theme of the descent to the underworld. It becomes clear how the cluster of motifs around the figure of Niobe - hybris, lamentatio and the chthonic substrate - functions as a direct entry to a bipolar hermeneutics of the visual medium: the ‘historical psychology of human expression’ that navigates between Apollo and Dionysus. The 'weeping rock' that according to legend still stands on Mount Sipylus in Turkey, draws upon deeper anthropological patterns. Petrification indicates inertia, frigidity and a Medusan psychosis of fear. In nature, stones and rocks have a 'slumbering insistence' that can be captivating. Stones are after all visible but impenetrable, they index an irrevocable absence in their presence, and ‘have abode’ in an otherworldly region of utter blindness and silence. From a psychoanalytical perspective, Niobe’s petrifaction symbolises the straitening of her life and the loss of anima within a culture divorced from authentic feeling, nature, and instinct. Here Niobe meets Echo.
£48.26
Peeters Publishers Richard de Bury, Philobiblon of De liefde voor
Book SynopsisRichard of Bury (1287-1345) is weliswaar een minder gekende, maar zeer kleurrijke figuur uit de middeleeuwen. Hij is Engels priester, docent, diplomaat, bisschop en … bibliofiel. In die laatste hoedanigheid verzamelt hij niet alleen de grootste boekencollectie uit zijn tijd (die na zijn dood mee aan de basis ligt van de universiteitsbibliotheek van Oxford), maar schrijft hij ook het eerste traktaat over de liefde voor het boek, Philobiblon. Hij vat het op als een testament waarin het niet ontbreekt aan een bij wijlen ontroerende openhartigheid. Met het boek wil hij bij priesters en religieuzen het studeren aanwakkeren en tegelijkertijd is het de allereerste handleiding voor bibliothecarissen. Verrassend genoeg pleit hij bijvoorbeeld voor een openreksysteem, terwijl in zijn tijd in vele bibliotheken de boeken nog vastgeketend liggen.
£45.87
Peeters Publishers The Right Moment: Essays Offered to Barbara
Book SynopsisIn consultation with Han Lamers. Editorial assistance: Stephanie Heremans & Laura Tack The essays collected in this volume explore how and by what means, from antiquity to the present day, the notion of ‘the right moment’ has been defined, visualized, and experienced. The authors approach the subject from a range of disciplines and often work at the intersection of several of them, including the history of art and architecture, philosophy and art theory, classics and comparative literature, the history of religion and theology, and anthropology. In addition to scholarly exposés, the book contains a number of personal musings and artistic reflections on ‘the right moment’ in various forms and kinds of imagination – visual, literary, and philosophical. The Right Moment originates in a festive symposium held at the Francqui Foundation in Brussels on 18 and 19 October 2018 in honour of Barbara Baert, Laureate of the 2016 Francqui Prize in Human Sciences. “The statue of καιρός lives,” Barbara Baert wrote, “and it lets its powers gently glow to the surface for those who recognize him. But for those who miss him, a sharp and bitter trail remains.” A celebratory publication with contributions by Inigo Bocken, Angelos Chaniotis, James Clifton, Johan De Groef, Ralph Dekoninck, Greti Dinkova-Bruun, Pierre-Antoine Fabre, Catherine Harper, Stephanie Heremans, Elisabeth Hsu, Mateusz Kapustka, Bianca Kühnel, Han Lamers, W.J.T. Mitchell, Herman Parret, Miri Rubin, Hedwig Schwall, Davide Stimilli, Victor Stoichiţă, Stéphane Symons, Laura Tack, Philippe Van Cauteren, Koenraad Van Cleempoel, Anne van Herreweghen, Pierre Van Moerbeke, Bart Verschaffel, and Marina Vicelja-Matijašić.
£180.00
Peeters Publishers The Right Moment: Essays Offered to Barbara
Book SynopsisIn consultation with Han Lamers. Editorial assistance: Stephanie Heremans & Laura Tack The essays collected in this volume explore how and by what means, from antiquity to the present day, the notion of ‘the right moment’ has been defined, visualized, and experienced. The authors approach the subject from a range of disciplines and often work at the intersection of several of them, including the history of art and architecture, philosophy and art theory, classics and comparative literature, the history of religion and theology, and anthropology. In addition to scholarly exposés, the book contains a number of personal musings and artistic reflections on ‘the right moment’ in various forms and kinds of imagination – visual, literary, and philosophical. The Right Moment originates in a festive symposium held at the Francqui Foundation in Brussels on 18 and 19 October 2018 in honour of Barbara Baert, Laureate of the 2016 Francqui Prize in Human Sciences. “The statue of καιρός lives,” Barbara Baert wrote, “and it lets its powers gently glow to the surface for those who recognize him. But for those who miss him, a sharp and bitter trail remains.” A celebratory publication with contributions by Inigo Bocken, Angelos Chaniotis, James Clifton, Johan De Groef, Ralph Dekoninck, Greti Dinkova-Bruun, Pierre-Antoine Fabre, Catherine Harper, Stephanie Heremans, Elisabeth Hsu, Mateusz Kapustka, Bianca Kühnel, Han Lamers, W.J.T. Mitchell, Herman Parret, Miri Rubin, Hedwig Schwall, Davide Stimilli, Victor Stoichiţă, Stéphane Symons, Laura Tack, Philippe Van Cauteren, Koenraad Van Cleempoel, Anne van Herreweghen, Pierre Van Moerbeke, Bart Verschaffel, and Marina Vicelja-Matijašić.
£225.00
Amsterdam University Press Handbook of Japanese Christian Writers
Book SynopsisAlthough a century and a half of Christian proselytizing has only led to the conversion of about one percent of the Japanese population, the proportion of writers who have either been baptized or significantly influenced in their work by Christian teachings is much higher. The seventeen authors examined in this volume have all employed themes and imagery in their writings influenced by Christian teachings. Those writing between the 1880s and the start of World War II were largely drawn to the Protestant emphasis on individual freedom, though many of them eventually rejected sectarian affiliation. Since 1945, on the other hand, Catholicism has produced a number of religiously committed authors, led by figures such as Endo Shusaku, the most popular and influential Christian writer in Japan to date. The authors discussed in these essays have contributed in a variety of ways to the indigenization of the imported religion.Table of Contents1.Prophet of the Inner Life: Kitamura Tokoku (Michael Brownstein); 2. Shimazaki Toson and Christianity: When the Cherries Ripen in the Taisho Period (Irina Holca); 3. Arishima Takeo and Christianity (Leith Morton); 4. Akutagawa Ryunosuke: A Christian Life (Miyasaka Satoru; trans. Mark Williams); 5. Incarnation of the Christian Faith in the Poetry of Yagi Jukichi (Yamane Michihiro, trans. Mark Williams); 6. Hori Tatsuo: The Cross Dyed in Bloody Red and the Little Gods of Ancient Times (Massimiliano Tomasi); 7. Nagai Takashi on Divine Providence and Christian Self-Surrender: Towards a New Understanding of hansai (Anthony Haynes); 8. Dazai Osamu: His Wrestle with the Bible (Nagahama Takuma, trans. Van C. Gessel); 9. Shiina Rinzo: His Two Visages (Nagahama Takuma, trans. Van C. Gessel); 10. From out of the Depths: Shimao Toshio’s Literary Response to Adversity (Mark Williams); 11. Yasuoka Shotaro and Christianity: From Postwar “Emptiness” to Religious Longing (Yamane Ibuki, trans. Van C. Gessel); 12. Miura Ayako and the Human Face of Faith (Philip Gabriel); 13. Endo Shusaku and the Compassionate Companionship of Christ (Van C. Gessel); 14. Ogawa Kunio: Renewal of Faith and Identity in his Seishomono (Bible Stories) (Ryota Sakurai); 15. Kaga Otohiko: In Search of What Lies Beyond Death (Imai Mari, trans. Van C. Gessel); 16. Sono Ayako: Amor Vincit Omnia (Kevin Doak); 17. Takahashi Takako: Drawing Closer to God Through Literature (Miho Sekino).
£168.15
Stichting Kunstboek BVBA Art and the Sacred in Mumuyeland
Book SynopsisDespite some field research our knowledge of the sacred among the Mumuye is still embryonic. In all these acephalic groups of a binary and antinomic nature, the complex va constitutes an extremely varied semantic field in which certain aspects are accentuated depending on the circumstances. Religious power is linked to the strength contained in sacred objects, of which only the elders are the guardians. Moreover, this gerontocracy relies on a system of initiatory stages which one must pass to have access to the status of 'religious leader'. Geographically isolated, the Mumuye were able to resist the attacks of the Muslim invaders, the British colonial authority and the activities of the different Christian missions for a long time. As a result the Mumuye practised woodcarving until the beginning of our century. In 1970 Philip Fry published his essay on the statuary of the Mumuye of which the analysis of the endogenous network has so far lost nothing of its value. Basing himself on in situ observations, Jan Strybol attempted to analyse the exogenous network of this woodcarving. Thus he was able to document about forty figures and some masks and additionally to identify more than twenty-five Mumuye artists as well as a specific type of sculpture as being confined to the Mumuye Kpugbong group. During and after the Biafran war, hundreds of Mumuye sculptures were collected. Based on information gathered between 1970 and 1993 the author has demonstrated that a certain number of these works are not Mumuye but must be attributed to relic groups scattered in Mumuye territory.
£55.25
Peeters Publishers Christian Art under Muslim Rule: Proceedings of a
Book SynopsisIn the vast expanse of lands in the Mediterranean and Near East that came under Muslim sway in and after the seventh century, the spread of Islam at the expense of Christianity was a more gradual process than is often acknowledged. While the status of Christians was indeed reduced to that of a tolerated community, the production of religious art within such congregations was not brought to a halt (as the silence about it in traditional art history might suggest). Rather, it simply continued, and often very productively, under different precepts. While some examples, such as the art of Mozarabs and Copts, are better known, Christian artistic production in other Muslim contexts and in the period after the Mongol invasion is less explored. Moreover, there have been few attempts to integrate this body of art into mainstream art history. The workshop from which most of these papers were collected sought to explore to what extent this art produced under non-Christian rule, when collected together, irrespective of period and region, can serve as a useful frame for analysis. It aimed to do so by bringing together scholars working on different territories in the Islamic world between the seventh and nineteenth centuries to present and discuss case studies with a view to identifying common threads.
£58.75
Clavis Stichting Publicaties Middeleeuwse Kunst Order and Confusion: The Twelfth-Century Choir of
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£95.00
Mapin Publishing Pvt.Ltd Whose Ramayana Is It Anyway?
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£22.50
Mapin Publishing Pvt.Ltd Portraits of Devotion: Popular Manorath Paintings
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£23.75
Mapin Publishing Pvt.Ltd Gauri Dancers
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£31.50
Niyogi Books The Churches of India
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£35.62
Niyogi Books Colours of Devotion: The Legendary Paintings and
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£121.49
Uitgeverij de Kunst Bruegel and Contemporaries: Art as a Covert
Book SynopsisThis catalogue for an exhibition at the Bonnefanten Museum in Maastricht features paintings by Pieter Bruegel the Younger and his contemporaries that depict the popular religious subject “Christ Carrying the Cross,” and examines these works for covert critiques of power and politics in Flanders during the 16th and 17th centuries. The show explores how artists incorporated both direct and indirect social and political criticisms into paintings on this theme, and brings together a selection of works from Bruegel the Younger, his predecessors, contemporaries, and followers.
£28.00
Amsterdam University Press Satire, Veneration, and St. Joseph in Art, c.
Book SynopsisSatire, Veneration, and St. Joseph in Art, c. 1300.1550 is the first book to reclaim satire as a central component of Catholic altarpieces, devotional art, and veneration, moving beyond humor's relegation to the medieval margins or to the profane arts alone. The book challenges humor's perception as a mere teaching tool for the laity and the antithesis of 'high' veneration and theology, a divide perpetuated by Counter-Reformation thought and the inheritance of Mikhail Bakhtin (Rabelais and His World, 1965). It reveals how humor, laughter, and material culture played a critical role in establishing St. Joseph as an exemplar in western Europe as early as the thirteenth century. Its goal is to open a new line of interpretation in medieval and early modern cultural studies by revealing the functions of humor in sacred scenes, the role of laughter as veneration, and the importance of play for pre-Reformation religious experiences.Trade Review"Anne L. Williams offers a welcome addition to the scholarship concerning late medieval and early modern hagiographical imagery. Well organized, well illustrated, and thoroughly researched, her multi-disciplinary approach marries art history, literary studies, and religious studies to bring new and compelling insights both to extant iconography of Saint Joseph and to lay and clerical attitudes toward his cult in the period(s) she studies."- Betsy Chunko-Dominguez, Savannah College of Art and Design, Speculum 96/3 (July 2021) "Focusing on the artistic deployment of humour, satire and mockery, this magisterial interdisciplinary study offers innovative readings of Joseph of Nazareth in European late medieval and early modern visual culture = required reading for anyone interested in the dynamic, expanding image of St. Joseph, arguably one of the most important fathers in European culture."- Dr. Catherine Harding, Late Medieval and Early Renaissance Art, University of VictoriaTable of ContentsIntroduction Chapter One: Humor and Joseph's Hosen: The 'Domestic' Saint and the Earliest Evidence of His Cult Chapter Two: Secular Satire, St. Joseph, and Revealing Hidden Humor Chapter Three: The Vir Facetus, Urbanitas, and the Rhetoric of Humor in the Religious Image Chapter Four: The Miserly Saint: Sanctity, Satire, and Subversion Conclusion Select Bibliography Index
£101.65
Amsterdam University Press Poussin's Women: Sex and Gender in the Artist's
Book SynopsisPoussin’s Women: Sex and Gender in the Artist’s Works examines the paintings and drawings of the well-known seventeenth-century French painter Nicolas Poussin (1594-1665) from a gender studies perspective, focusing on a critical analysis of his representations of women. The book’s thematic chapters investigate Poussin’s women in their roles as predators, as lustful or the objects of lust, as lovers, killers, victims, heroines, or models of virtue. Poussin’s paintings reflect issues of gender within his social situation as he consciously or unconsciously articulated its conflicts and assumptions. A gender studies approach brings to light new critical insights that illuminate how the artist represented women, both positively and negatively, within the framework in his seventeenth-century culture. This book covers the artist’s works from Classical mythology, Roman history, Tasso, and the Bible. It serves as a good overview of Poussin as an artist, discussing the latest research and including new interpretations of his major works.Trade Review"There is a great book to be written on Poussin’s women: the goddesses, saints and ordinary mortals who populate an œuvre marked by drastic metamorphoses of style and subject. Troy Thomas is to be applauded for recognising this fact, as well as for his contributions to scholarship on the artist over a long career [...]" - Emily A. Beeny, The Burlington Magazine, Vol. 163, No. 1422Table of ContentsList of Illustrations Acknowledgments Part I: Violence and Virtue in Poussin's Representations of Women Part II: Poussin's Women-Cultural and Social Frames Part III. Paintings and Drawings 1. Predators 2. The Lustful-Triumphant, Impulsive, Spying, Conquered 3. Lovers-Genuine, Controlling, Unrequited, Jealous 4. Killers, Transgressors 5. Victims I-Killed, Assaulted 6. Victims II-Voiceless, Deceived 7. Heroines, Great Ladies Conclusion Bibliography Index
£121.60
Amsterdam University Press Image and the Office of the Dead in Late Medieval
Book SynopsisImage and the Office of the Dead in Late Medieval Europe explores the Office of the Dead as a site of interaction between text, image, and experience in the culture of commemoration that thrived in the fourteenth and fifteenth centuries. The Office of the Dead was a familiar liturgical ritual, and its perceived importance and utility are evident in its regular inclusion in devotional compilations, which crossed the boundaries between lay and religious readers. The Office was present in all medieval deaths: as a focus for private contemplation, a site of public performance, a reassuring ritual, and a voice for the bereaved. Examining the images at the Office of the Dead and related written, visual, and material evidence, this book explores the relationship of these images to the text in which they are embedded and to the broader experiences of and aspirations for death.Table of ContentsFigures Introduction The Office of the Dead in Christian Liturgy The Office of the Dead in Devotional Books Regular Death: Reading the Funeral and Imaginative Practice Seeing into the Office: Imagining Reader as Body Hearing Community: Image and Liturgy Repellent Death: Time, Rot and the Death of the Body Death-tide: Time and decay of the body ‘Nothing more base and abominable’: The Corpse Disruption: The Lively Corpse Dry Bones: Death in Life The Redemptive Death: Job, Lazarus and Death Undone Living Death: Job as the Social Body The Undead: Lazarus and the Promise of Resurrection Conclusions Bibliography Bibliography: Manuscripts
£101.65
Amsterdam University Press Stigmatics and Visual Culture in Late Medieval
Book SynopsisThis book places the discourse surrounding stigmata within the visual culture of the late medieval and early modern periods, with a particular focus on Italy and on female stigmatics. Echoing, and to a certain extent recreating, the wounds and pain inflicted on Christ during his passion, stigmata stimulated controversy. Related to this were issues that were deeply rooted in contemporary visual culture such as how stigmata were described and performed and whether, or how, it was legitimate to represent stigmata in visual art. Because of the contested nature of stigmata and because stigmata did not always manifest in the same form - sometimes invisible, sometimes visible only periodically, sometimes miraculous, and sometimes self-inflicted - they provoked complex questions and reflections relating to the nature and purpose of visual representation. Dr Cordelia Warr is Senior Lecturer in Art History, University of Manchester, UK.Table of ContentsAcknowledgements List of illustrations 1. Introduction: Stigmata and Visual Culture 2. Saint Francis of Assisi as Image 3. Representing the Invisible: Saint Catherine of Siena’s Stigmatization 4. The Stigmatic Spectrum and the Visual Arts 5.Gregorio Lombardelli, Invisibility, and the Representation of Saint Catherine of Siena’s Stigmata 6. Performing stigmata 7. Painting, Printing, Sculpting, Forgery (and Washing) 8. Conclusion: The Timidity of the Visual Arts Bibliography Index
£130.15
Amsterdam University Press Bernardino Poccetti and the Art of Religious
Book SynopsisBy almost any measure Bernardino Barbatelli, called Poccetti, was a successful and sought after painter in late sixteenth-century Florence, but his works have remained largely overlooked. This study situates representative examples of his religious painting within their respective contexts to demonstrate how Poccetti and his patrons negotiated the increasingly fraught terrain of sacred painting in the period of religious reform. These case studies demonstrate how patrons ranging from the Dominicans to the Carthusians to prominent Florentine patricians relied on Poccetti’s skill in creating compelling narratives that reflected current concerns within the Catholic world. In the process, Poccetti invoked an august Florentine tradition of fresco painting, shaping it to better address the demands placed on religious imagery at the end of the Renaissance.Table of ContentsList of Illustrations List of Abbreviations Acknowledgments Introduction: ‘Il primo huomo da dipingere in fresco, che sia in questi paesi’: Bernardino Poccetti and the Historiography of Florentine Painting during the Late Renaissance Chapter One: ‘Grandemente inclinato all’Arte del Disegno’: Filippo Baldinucci’s Biography of Bernardino Poccetti Chapter Two: ‘Le prime cose lodevoli molto’: Bernardino Poccetti’s Early Work and the Frescoes from the Life of Saint Dominic in the Chiostro Grande, Santa Maria Novella Chapter Three: ‘Locum ecclesiae designavit, quae Ioannis et uxoris pecunia extructa est’: Bernardino Poccetti and the Decoration of the Canigiani Chapel in Santa Felicita Chapter Four: ‘Miracula et alia id genus’: Bernardino Poccetti’s Frescoes in the Church of San Lorenzo at the Certosa del Galluzzo Chapter Five: ‘L’inventore di dipingere tutte le muraglie della nostra chiesa’: Bernardino Poccetti and the Sixteenth-Century Decoration of Santa Maria del Carmine Conclusion Bibliography Index
£130.15
Hannibal Books Books of Hours
Book SynopsisRichly illustrated publication on books of hours in late medieval society and their frequent depiction in Flemish portraits
£37.50
Blacksmith Books Paper Horses: Traditional Woodblock Prints of
Book SynopsisIn 2020 a large album of paper horses prayer prints of Chinese gods appeared for sale. How had these fragile things, cheaply printed in the 1940s and meant to be ritually burned soon after purchase, survived intact for so long? And how come there were at least three other identical sets in collections around the world? In answering this mystery, author David Leffman explores the history and techniques behind traditional Chinese woodblock printing, which dates back to at least the Tang dynasty (618-907). All 93 paper horses in the original album are reproduced alongside biographies of the gods, spirits and demons depicted, providing an illustrated introduction to the complex and fascinating world of Chinese folk religion.
£23.99
Vajra Publications Ritual Art of the Kingdom of Mithila: Traditional
Book SynopsisThe paintings have the purpose of attracting the deity's presence during the celebrations in his or her honor and a blessing on the family members of the house where they are painted.
£14.99
Vajra Books Tibetan Monastery Collections and Museums
Book SynopsisWith its detailed chapters, ranging from close-focus art historical analysis of Tibetan objects to theorised discussion of the processes of curating in Tibetan/ Himalayan contexts, I think the volume will be greatly appreciated by academics and students of Tibetan Buddhism and of Tibetan and Himalayan history and culture.
£170.99
£82.49
Independently Published Names of God and their meanings
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£9.30
Independently Published ÈṢù School of Thoughts
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£22.61
Academic Studies Press The Icon and the Square: Russian Modernism and
Book SynopsisIn The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists.
£28.30
Mandala Publishing Group The Celestial Galleries
£45.00
Whitaker House El Dios de la Historia
£14.39
Paraclete Press (MA) Icons
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£14.29
