Critical Methods of Seeing Christianity in the History of Art
Lutterworth Press
  • 1. Auflage
  • |
  • erschienen am 25. Dezember 2014
  • |
  • 364 Seiten
E-Book | PDF mit Adobe DRM | Systemvoraussetzungen
978-0-7188-4221-5 (ISBN)
ReVisioning: Critical Methods of Seeing Christianity in the History of Art' explores some of underlying methodological assumptions in the field of art history by examining the suitability and success, as well as the incompatibility and failure, of varying art historical methodologies when applied to works of art which distinctly manifest Christian narratives, themes, motifs, and symbols.
  • Englisch
  • Cambridge
James Clarke & Co Ltd
  • 11,17 MB
978-0-7188-4221-5 (9780718842215)
0718842219 (0718842219)
weitere Ausgaben werden ermittelt
James Romaine, Associate Professor of Art History and chair of the Department of Art History at Nyack College. He is the President of the Association of Scholars of Christianity in the History of Art (ASCHA). His recent scholarship includes Art as Spiritual Perception: A Festschrift for Dr. E. John Walford (2012), and contributing to the exhibition catalog Tim Rollins and K.O.S.: A History (2009). Linda Stratford, Associate Professor at Asbury University. She is a board member of the Association of Scholars of Christianity in the History of Art (ASCHA) and has produced a number of publications and presentations that draw upon cross-disciplinary training in art history and aesthetics, including a manuscript in progress,
  • Front cover
  • Half title
  • Title page
  • Copyright
  • Contents
  • Color Plates
  • Illustrations
  • Acknowledgments
  • Expanding the Discourse on Christianity in the History of Art: JAMES ROMAINE
  • Methodological Issues from the Fields of Art History, Visual Culture, and Theology: LINDA STRATFORD
  • PART I. Methodological Issues of Iconography in Early Christian and Medieval Art
  • Iconographic Structure: Recognizing the Resurrected Jesus on the Vatican Jonah Sarcophagus: LINDA MØSKELAND FUCHS
  • Icon as Theology: The Byzantine Virgin of Predestination: MATTHEW J. MILLINER
  • Marginalia or Eschatological Iconography?: Providence and Plenitude in the Imagery of Abundance at Orvieto Cathedral: RACHEL HOSTETTER SMITH
  • Iconography of Sign: A Semiotic Reading of the Arma Christi: HEATHER MADAR
  • Hybridizing Iconography: The Miraculous Mass of St. Gregory Featherwork from the Colegio de San José de los Naturales in Mexico City: ELENA FITZPATRICK SIFFORD
  • PART II. Methodological Issues of Reading Theology in Renaissance and Baroque Art
  • Reading Hermeneutic Space: Pictorial and Spiritual Transformation in the Brancacci Chapel: CHLOË REDDAWAY
  • Color Plates
  • Reading Theological Place: Joachim Patinir's Saint Jerome in the Desert as Devotional Pilgrimage: MATTHEW SWEET VANDERPOEL
  • Reading Theological Context: A Marian Interpretation of Michelangelo's Roman Pietà: ELIZABETH LEV
  • Reading Visual Rhetoric: Strategies of Piety and Propaganda in Lucas Cranach the Elder's Passional Christi und Antichristi: BOBBI DYKEMA
  • Reading Devotion: Counter-Reformation Iconography and Meaning in Gregorio Fernández's Cristo yacente of El Pardo: ILENIA COLÓN MENDOZA
  • PART III. Methodological Issues of Historical-Religious Context in Nineteenth-, Twentieth-, and Twenty-first Century Art
  • Historicism and Scenes of "The Passion" in Nineteenth-Century French Romantic Painting: JOYCE C. POLISTENA
  • Consuming Christ: Henry Ossawa Tanner's Biblical Paintings and Nineteenth-Century American Commerce: KRISTIN A. SCHWAIN
  • Figuring Redemption: Christianity and Modernity in Max Beckmann's Resurrections: AMY K. HAMLIN
  • Embodiment as Sacrament: Francis Bacon's Postwar Horror: RINA ARYA
  • Media, Mimesis, and Sacrifice: Paul Pfeiffer's Contemporary Christological Lens: ISABELLE LORING WALLACE
  • Contributors
  • Back cover
"The essays in this book offer detailed attention to particular works in a way that often brings fresh understanding. Anyone interested in the relationship between Christian faith and art will find much that is helpful."
Richard Harries, Modern Believing, 56.3, July 2015

"Within this fulsome collection, researchers will be pleased to find no less than 39 black and white illustrations as well as 24 full-colour plates. Scholars of art history in general and more specifically researchers in theology and the arts will be well served by this rigorous and engaging exploration of how to bridge these disciplines more carefully. It represents a unique resource for faculty and graduate students."
-Taylor Worley, Theological Book Review, Vol. 27 No.1, 2016

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