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Painting --- History --- icons [devotional images] --- influence --- religious art --- receptiegeschiedenis --- kunst en godsdienst --- Orthodox Eastern --- Icon painting --- Christian art and symbolism --- Painting, European --- Byzantine influences --- Christian religion
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"A reexamination of the career of Titian, the only Renaissance artist credited by contemporaries with painting a miracle-working image. Argues that a major part of the artist's legacy is to be found in his charismatic entrance into the tradition of Christian icon painting"--
Painting --- icons [devotional images] --- Italian Renaissance-Baroque styles --- Titian --- Icon painting --- Christian art and symbolism --- Painting, Renaissance --- History --- Titian, --- Criticism and interpretation --- Italy --- Icon painting - Italy - History - 16th century --- Christian art and symbolism - Italy - 16th century --- Painting, Renaissance - Italy --- Titian, - approximately 1488-1576 - Criticism and interpretation --- Titian, - approximately 1488-1576 --- Christelijke kunst
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Icons, Russian --- Illumination of books and manuscripts, Russian --- Moscow school of icon painting --- 091.31 <47> --- 75.033.2 --- 75.033.2 Schilderkunst van Byzantium; Oud-Armenië; Oud-Rusland. Ikonen --- Schilderkunst van Byzantium; Oud-Armenië; Oud-Rusland. Ikonen --- Icon painting --- Russian icons --- Christian art and symbolism --- 091.31 <47> Verluchte handschriften--Rusland. Sovjet-Unie --- Verluchte handschriften--Rusland. Sovjet-Unie --- Russian illumination of books and manuscripts --- Exhibitions --- Painting --- Moscow
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Living Icons is the first book to explore the emergence and function of a novel pictorial format in the Middle Ages, the vita icon, which displayed the magnified portrait of a saint framed by scenes from his or her life. The vita icon was used for depicting the most popular figures in the Orthodox calendar and, in the Latin West, was deployed most vigorously in the service of Francis of Assisi. This book offers a compelling account of how this type of image embodied and challenged the prevailing structures of vision, representation, and sanctity in Byzantium and among the Franciscans in Italy between the eleventh and thirteenth centuries. Through the lens of this format, Paroma Chatterjee uncovers the complexities of the philosophical and theological issues that had long engaged both the medieval East and West, such as the fraught relations between words and images, relics and icons, a representation and its subject, and the very nature of holy presence.
Painting --- Iconography --- anno 1100-1199 --- anno 1200-1299 --- anno 1000-1099 --- Istanbul [city] --- Italy --- Christian saints in art --- Vita icons --- Painting, Byzantine --- Painting, Italian --- Saints chrétiens dans l'art --- Icônes biographiques --- Peinture byzantine --- Peinture italienne --- History. --- Histoire --- Francis, --- Art --- Saints chrétiens dans l'art --- Icônes biographiques --- Art. --- Biographical icons --- Icons --- Icons [Byzantine ] --- Icon painting --- Saints --- Iconographie --- Icônes --- Art byzantin --- Italie
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Malevitsj, Kasimir --- Icon painting --- Avant-garde (Aesthetics) --- Suprematism in art --- Painting, Russian --- Painters --- Peinture d'icônes --- Avant-garde (Esthétique) --- Suprématisme --- Peinture russe --- Peintres --- History --- Biography --- Histoire --- Biographies --- Malevich, Kazimir Severinovich, --- Criticism and interpretation. --- Peinture d'icônes --- Avant-garde (Esthétique) --- Suprématisme
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Painting --- Christian religion --- religious art --- Art styles --- religieuze kunst --- iconen (kunst) --- icons [devotional images] --- Greece --- European Russia --- Arts religieux --- Catalogues d'expositions --- Religieuze kunst --- Tentoonstellingscatalogi --- 246.5 --- 75.033 --- Schilderkunst ; ikonen --- Tentoonstellingscatalogi ; Antwerpen ; Koninklijk Museum voor Schone Kunsten --- 7.046 --- Ikonen ; 13de tot 17de eeuw --- Ikonostase --- Byzantijnse kunst --- (069) --- kunst --- ikonen --- Byzantium --- Griekenland --- Rusland --- 7.033.2 --- #gsdbA --- C3 --- iconografie --- catalogus --- 730.4 --- Iconen --- Iconografie --- Emblematiek. Iconologie. Christelijke iconografie. Dodendans --- Schilderkunst van de Middeleeuwen --- Iconografie ; epische, mythologische, religieuze voorstellingen --- (Musea. Collecties) --- Kunst en cultuur --- Exhibitions --- 75.033 Schilderkunst van de Middeleeuwen --- 246.5 Emblematiek. Iconologie. Christelijke iconografie. Dodendans --- #GGSB: Religieuze kunst --- 738.1 --- schilderkunst --- religieuze voorstellingen --- Art, Medieval --- Art, Medieval. --- Christelijke godsdienst. --- Christian art and symbolism --- Christian art and symbolism. --- Icon painting --- Icon painting. --- Iconen (schilderkunst). --- Icons, Greek --- Icons, Greek. --- Icons, Russian --- Icons, Russian. --- Kunststijlen. --- Schilderkunst. --- iconen (kunst). --- icons devotional images. --- religieuze kunst. --- religious art. --- Europees Rusland. --- Griekenland. --- Icônes
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Peut-on, en bonne théologie, représenter le Christ, à la fois homme et Dieu ? Où doit s'arrêter le culte rendu aux " saintes images " ? Comment l'homme, " créé à l'image de Dieu ", s'intègre-t-il dans cette vision hiérarchisée du visible et de l'invisible ? À ces questions fondamentales, qui furent au cœur de la crise iconoclaste des VIIIe-IXe siècles et de l'art byzantin, les réponses ne sont pas, ou pas seulement, religieuses. Elles sont à chercher dans la philosophie de la représentation de l'Antiquité finissante, dans les rapports entre un certain type de portraits peints et les mots codés de la description physique, dans une "réception" qui fait d'une image schématique le support de visions et de rêves, dans le passage de l'historique à l'imaginaire. Reprenant et complétant la matière de plusieurs études qui se sont échelonnées sur plus de vingt-cinq ans, Gilbert Dagron cherche aussi à montrer la part d'iconoclasme qui subsiste dans le portrait iconique après que les théologiens eurent célébré le " triomphe des images ", et les raisons qui poussèrent quelques grands initiateurs de la peinture moderne (Kandinsky, Matisse) à se réclamer de l'icône byzantine. Il prend appui sur une iconographie choisie - mosaïques et peintures, monnaies, manuscrits illustrés -, autant de témoins d'une riche culture qui fut et reste l'un des modèles de l'esthétique européenne. (quatrième de couverture)
Painting --- Iconography --- anno 500-1499 --- Istanbul [city] --- Icon painting --- Christian saints in art. --- Portrait painting --- Christian art and symbolism --- Painting, Byzantine --- Art --- Peinture d'icônes --- Saints chrétiens dans l'art --- Peinture de portraits --- Art et symbolisme chrétiens --- Peinture byzantine --- Themes, motives --- Philosophy --- Thèmes, motifs --- Philosophie --- Jesus Christ --- Icône --- Iconographie religieuse --- Portrait --- Icons, Byzantine --- Peinture d'icônes --- Saints chrétiens dans l'art --- Art et symbolisme chrétiens --- Thèmes, motifs --- Byzantine icons --- Art. --- Themes, motives.
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Painting
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Icon painting
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Icônes grecques
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"In a study of sixty neglected panel paintings from Roman Egypt, the authors present evidence for a lost link between the panel-painting tradition of Greek antiquity and Christian paintings of Byzantium and the Renaissance"--Provided by publisher. Staking out new territory in the history of art, this book presents a compelling argument for a lost link between the panel-painting tradition of Greek antiquity and Christian paintings of Byzantium and the Renaissance. While art historians place the origin of icons in the seventh century, Thomas F. Mathews finds strong evidence as early as the second century in the texts of Irenaeus and the Acts of John that describe private Christian worship. In closely studying an obscure set of sixty neglected panel paintings from Egypt in Roman times, the author explains how these paintings of the Egyptian gods offer the missing link in the long history of religious painting. Christian panel paintings and icons are for the first time placed in a continuum with the pagan paintings that preceded them, sharing elements of iconography, technology, and religious usages as votive offerings. Exciting discoveries punctuate the narrative: the technology of the triptych, enormously popular in Europe, traced by the authors to the construction of Egyptian portable shrines, such as the "Isis" and "Serapis" of the J. Paul Getty Museum; the discovery that the egg tempera painting medium, usually credited to Renaissance artist Cimabue, has been identified in Egyptian panels a millennium earlier; and the reconstruction of a ring of icons on the chancel of Saint Sophia in Istanbul. This book will be a vital addition to the fields of Egyptian, Graeco-Roman, and late-antique art history and, more generally, to the history of painting. "
Panel painting, Greco-Roman --- Panel painting, Medieval. --- Panel painting, Renaissance. --- Icon painting --- Christian art and symbolism --- Peinture sur panneau gréco-romaine --- Peinture sur panneau médiévale --- Peinture sur panneau de la Renaissance --- Peinture d'icônes --- Art et symbolisme chrétiens --- Influence --- Egypt --- Egypte --- Antiquities, Roman. --- Antiquités romaines --- panel painting [image-making] --- Christliche Kunst. --- Ikone. --- Malerei. --- Tafelbild. --- Antique, the --- Painting --- religious art --- Christian religion --- iconography --- Ancient history --- Iconography --- Frühchristentum. --- Kunst. --- Panel painting, Medieval --- Panel painting, Renaissance --- Icons --- Miniature painting --- Renaissance panel painting --- Greco-Roman panel painting --- Medieval panel painting --- Influence.
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Drawing on original research covering different periods and spaces, this book sets out to appreciate the specific place of images in the history of evangelisation in the long modern period. How can we reconceptualise the functions of the visual mediation of the gospel message, both in terms of the production and reception of this message and in terms of its effective mediators, artists, religious, and cultural ambassadors? The contributions in this book offer multiple geographical and historical insights regarding the circulation of the image on the global scale of the Christianised world or the world in the process of being Christianised, from China to Iberia. Combining the contribution of historians and art historians, the authors highlight the points of intercultural encounter and tension around preaching, catechesis, devotional practices, and the propagandistic use of images. Through its aesthetic and social study of the image, and by examining the inner and outer borders of Europe and the mission lands, Eloquent Images contributes significantly to the history of evangelisation, one of the major dynamics of the first European globalisation.
286 <09> --- 27 "15/16" --- 286 <09> Anabaptisten. Wederdopers--Geschiedenis van ... --- 286 <09> Anabaptistes. Baptistes--Geschiedenis van ... --- Anabaptisten. Wederdopers--Geschiedenis van ... --- Anabaptistes. Baptistes--Geschiedenis van ... --- 27 "15/16" Histoire de l'Eglise--?"15/16" --- 27 "15/16" Kerkgeschiedenis--?"15/16" --- Histoire de l'Eglise--?"15/16" --- Kerkgeschiedenis--?"15/16" --- Anabaptisten. Wederdopers--Geschiedenis van . --- Semiotics --- Christian church history --- Art --- images [object genre] --- preaching --- religieuze propaganda --- kunst en godsdienst --- conversions [activity] --- anno 1500-1799 --- Christian art and symbolism. --- Icon painting. --- Evangelistic work --- History. --- History --- Since 1500
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