Treatments and subjects Books
Phaidon Press La Historia del Arte Nueva Edición Bolsillo
Book Synopsis
£999.99
Phaidon Press Jardines (Garden: Exploring the Horticultural
Book Synopsis
£58.75
Pindar Press An Obscure Portrait: Imaging Women's Reality in
Book SynopsisRecent discussions on Byzantine art have been dominated by the question of representing realia. Among these, however, the way works of art reflect the daily life of women have not received much space or attention. The present book studies various images representing women's status and her performative tasks, and their significance from the fourth century to the fall of the Empire, through analysis of archaeological evidence and works of art. It addresses a wide range of questions, some pertaining both to pictorial traditions and to their late antique antecedents, others peculiar to changing and evolving Byzantine culture and mentality. The first chapter deals with the imagery of childbearing, starting with conception and concluding with the care given to the new born and the mother. The second chapter investigates motherhood imagery (breastfeeding, child care, and child-mother intimacy) and the portrayal of women as caretakers and managers of the household (preparing food, bringing water, carding and weaving, or working side by side with their husbands). The third chapter is dedicated to representations of women holding positions outside the house: midwives, maidservants, wet nurses, and mourners. Images of women engaged in disreputable occupations-dancers, musicians, prostitutes and courtesans - complete this chapter. The fourth chapter discusses images of women portrayed in the metaphorical margins - looking out from the gynaikon (the women's apartments), or at their private toilette; it also deals with representations of women who stray from the societal mainstream - concubines; adulteresses, women consenting to sexual acts or being coerced into them - considered symbolically as belonging to the margins of society. The book concludes with a discussion of the degree to which the visual material reliably reflects reality and changing attitudes toward women between Late Antiquity and late Byzantium; and further, to what extent it reveals embedded perceptions and conceptions of women, constructed by canonic regulations and imperial law, popular beliefs and accepted customs. The book aims to lift a veil from known and less known works of art and to present the rarely described picture of the daily life of women in Byzantine art over a very wide chronological span of time, in an effort to expand our knowledge of women in Byzantium and their realia.
£999.99
Vallentine Mitchell & Co Ltd Internment in Britain in 1940: Life and Art
Book Synopsis
£63.29
Editions Flammarion Frameables: City Lights: 21 Prints for a
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£9.98
Brepols N.V. History and Images: Towards a New Iconology
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£69.39
Brepols N.V. SBHC 05 Portraits and Icons: Between Reality and
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£118.75
Brepols N.V. The Tree: Symbol, Allegory, and Mnemonic Device
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£168.38
Logos Verlag Berlin Dispositiv-Erkundungen / Exploring Dispositifs
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£56.05
Dr. Cantz'sche Verlagsgesellschaft mbH & Co. KG David Hockney - Insights
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£28.45
Mousse Publishing Blade Memory
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£26.96
L'Erma Di Bretschneider Gladiatori a Pompei
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£999.99
Peeters Publishers About Stains or the Image as Residue
Book SynopsisA stain is the evidence of something that was. It’s a trace. A stain may be something quite ordinary: the ink stain on my index finger; the mark of your fingers on this book. A stain may also be embarrassing: lipstick on a cheek; sweat rings under the arms; a bloody discharge. A stain may be forensically incriminating. A stain may be kept for sentimental reasons. Moreover, every stain has its own particular texture. Texture denotes the consistency of a surface and the sensory, often tactile imprint that is left on it. The stain may be absorbed in the thing that supports it; then again, it may stay on the surface, something separate. Every stain is unique. In this essay the author deals with seven factors that make the stain into a powerful model for rethinking the visual: the stain as prototype and prefiguration, the stain as relic, the stain of Veronica, the stain as a psycho-energetic symptom, the stain as pars pro toto for the womb, the stain and le désir mimétique and finally the stain as an image paradigm of the residue.
£46.17
Peeters Publishers Three Ladies, Three Medals
Book SynopsisCecilia Gonzaga as Diana; Isabella d’Este as Nemesis; Elisabetta Gonzaga as Danaë. The “all’antica” medal inspired by Roman imperial coins is a Renaissance invention, a new genre that originates from Pisanello’s exquisite art, which focuses on the personal qualities and virtues of the individual represented, thereby enhancing them – on the obverse in form of portrait, on the reverse in allegorical guise. On Renaissance medals not only do we find faces and war ventures of Princes, Dukes, and leaders of the time. We also see – unexpectedly – portraits of brilliant, beautiful young women, educated in Classics, destined to become the protagonists of Italian courts in the fifteenth century.
£69.00
Peeters Publishers The Knife: Temporal Ruptures in Revelation and
Book SynopsisThe Greek sculptor Lysippos of Sicyon (fourth century BCE) represented Kairos carrying a razor in his left hand. According to the epigram dedicated to this statue by Posidippus of Pella (mid-third-century BCE), the Greek divinity of the opportune moment is said to move with a swiftness that is sharper than any razor’s edge. Why does Kairos carry a razor in his hand? And how does the knife relate to opportunity and temporality? This book embarks on a narrative detour to answer these questions. Stories of revelation and transformation are anatomised to discover the moments of the knife pulsating underneath the surface. The sword grasped at the right moment by the Biblical heroine Judith, Abraham’s sacrificial knife, the eucharistic knife from the Castello Sforzesco in Milan, Psyche’s razor, the surgeon’s scalpel, or the apocalyptic double-edged sword each figure as multifaceted imaginations of these kairotic moments. Under the skin of this book lives the question raised by Gotthold Ephraim Lessing (1729–1781) in his Laokoon oder über die Grenzen der Mahlerey und Poesie (1766). Who is best suited to capture the right moment, the painter, or the poet? At the heart of it all is the disruption of time itself. The moment of the knife is the time of the wound in time. Sudden, sharp, and unexpected this moment pierces deep into the human experience, stirring the soul with a swiftness beyond imagination.
£100.00
