This Very Short Introduction decodes the key themes, signs, and symbols found in Christian art the Eucharist, the image of the Crucifixion, the Virgin Mary, the Saints, Old and New Testament narrative imagery, and iconography It also explores the theological and historical background of Christian imagery, from the devotional works of the Medieval and Renaissance periods, to the twenty first century.Williamson uses examples from, amongst others, Cimabue, Michelangelo, and Rosetti She concludes by outlining the co existence in contemporary post Christian culture of the deliberately controversial works of artists such as Andres Serrano and Chris Ofili, alongside the consciously devotional works of those such as Eric Gill and Peter Blake....
|Title||:||Christian Art: A Very Short Introduction (Very Short Introductions)|
|Publisher||:||Oxford University Press 1 edition September 9, 2004|
|Number of Pages||:||144 pages|
|File Size||:||991 KB|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Christian Art: A Very Short Introduction (Very Short Introductions) Reviews
Very cogently written. Reading in on Kindle and enjoying it even though art is far from my core education and interests. I appreciate the clear and earnest way that so much art about Jesus, Mary and others is presented. Well worth the small price. Plan to share with an art teacher colleague soon.
This is an excellent overview of Christian art on its own terms. That is, it's not about the rise of trends within art but rather about the meaning it was trying to convey. This is actually quite refreshing after reading so many art books written about influence and trends rather than meaning.
This book provides ample information on the history of Christian art such that the reader probably will look at Christian paintings in a different way after reading it. Constrained by its size (a mere 120 pages), It limits itself to paintings per se. In the introduction, it explains why iconodulism triumphed and in a sense delimited the nature of Christian paintings, and implicitly emphasized the importance and continuity of tradition. For instance, the Hodegetria essentially is the prototype of all subsequent Madonna and Child. The author skilfully links various genres with doctrinal development. Examples given include the dogma of the Immaculate Conception, the doctrine of transubstantiation, and the process of canonization. All these led quite directly to a burgeoning of different forms of paintings like the altarpiece and devotional images. The impacts of the Reformation and Counter-Reformation on style are very well discussed, using works of Caravaggio, Cranach, Holbein, Rubens, and Rembrandt to illustrate. The book also includes a chapter on the relationship between text and images. The final chapter on contemporary art is surprisingly informative. Five stars.