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In this four-color illustrated journey that is part travelogue and part theological investigation, bestselling author and acclaimed Bible scholar John Dominic Crossan and his wife Sarah painstakingly travel throughout the ancient Eastern church, documenting through text and image a completely different model for understanding Easter's resurrection story, one that provides promise and hope for us today. Traveling the world, the Crossans noticed a surprising difference in how the Eastern Church considers Jesus' resurrection-- an event not described in the Bible. At Saint Barbara's Church in Cairo, they found a painting in which the risen Jesus grasps the hands of other figures around him. Unlike the Western image of a solitary Jesus rising from an empty tomb that he viewed across Eastern Europe, Asia, and the Middle East, the Crossans saw images of the resurrection depicting a Jesus grasping the hands of figures around him, or lifting Adam and Eve to heaven from Hades or hell, or carrying the old and sick to the afterlife. They discovered that the standard image for the Resurrection in Eastern Christianity is communal and collective, something unique from the solitary depiction of the resurrection in Western Christianity. Fifteen years in the making, Resurrecting Easter reflects on this divide in how the Western and Eastern churches depict the resurrection and its implications. The Crossans argue that the West has gutted the heart of Christianity's understanding of the resurrection by rejecting that once-co mmon communal iconography in favor of an individualistic vision. As they examine the ubiquitous Eastern imagery of Jesus freeing Eve from Hades while ascending to heaven, the Crossans suggest that this iconography raises profound questions about Christian morality and forgiveness. A fundamentally different way of understand the story of Jesus' rebirth illustrated with 130 images, Resurrecting Easter introduces an inclusive, traditional community-based ideal that offers renewed hope and possibilities for our fractured modern society.

Christian art and symbolism --- Christianity --- Eastern churches --- Illustrated books --- Western influences --- Art --- Jesus Christ --- Resurrection.

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‘This volume is both original and useful. Whilst each of the essays in and of itself offers new research, the volume taken as a whole is a substantial contribution to book, image, and media history. It deliberately disrupts the idea of a unified field, demonstrating how both books and prints (sometimes combined within the same volume) act as agents between cultures.‘ — Kate Flint, Provost Professor of Art History and English, University of Southern California, USA ‘Rather than ask the old questions, ‘what is a book’ or ‘what is a print’, Stead and her collaborators want to know: what has been the use of this text-bearing object? What does it do? Applying those queries to all manner of media – made, found, used, and re-purposed – this new approach dissolves (and complicates) the distinction between the material and textual aspects of what we read, and encourages methodologies that cross the boundaries of discipline.’ — Leslie Howsam, Emerita Distinguished University Professor, University of Windsor, Canada This book contributes significantly to book, image and media studies from an interdisciplinary, comparative point of view. Its broad perspective spans medieval manuscripts to e-readers. Inventive methodology offers numerous insights into visual, manuscript and print culture: material objects relate to meaning and reading processes; images and texts are examined in varied associations; the symbolic, representational and cultural agency of books and prints is brought forward. An introduction substantiates methods and approaches, ten chapters follow along media lines: from manuscripts to prints, printed books, and e-readers. Eleven contributors from six countries challenge the idea of a unified field, revealing the role of books and prints in transformation and circulation between varying cultural trends, ‘high’ and ‘low’. Mostly Europe-based, the collection offers book and print professionals, academics and graduates, models for future research, imaginatively combining material culture with archival data, cultural and reading theories with historical patterns.

Illustrated books --- History --- Books --- Books-History. --- Civilization-History. --- History of the Book. --- Cultural History. --- Books—History. --- Civilization—History.

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Nur ca. 100 Jahre währte die Blütezeit der Blockbücher in Mitteleuropa. Wie die Inkunabel tauchte es erstmals um die Mitte des 15. Jahrhunderts auf und dokumentiert damit eine Experimentierphase der Medien- und Drucktechnikgeschichte. Letztendlich konnte sich das Blockbuch in seiner ursprünglichen Form jedoch nicht durchsetzen, weshalb seine kulturgeschichtliche Bedeutung lange Zeit meist zu gering bewertet wurde. In dem die Funktionen, Gebrauchssituationen, Nutzungsräume und die mediengeschichtliche Rolle des Blockbuchs untersucht und hinterfragt werden, leistet diese Arbeit einen Beitrag zur Neubewertung dieses frühen Buchmediums.

Block books. --- Illustrated books --- Printing --- Books --- Blockbooks --- Xylographica --- Xylography --- Block printing --- Wood-engraving --- History --- Origin and antecedents. --- Invention --- Block books --- Origin and antecedents --- E-books

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La revue Ver Sacrum, dont le titre renvoie au Printemps Sacré des anciens peuples latins — organe officiel de la Sécession viennoise —, est une revue absolument originale qui a élaboré de nouvelles formes de conception et d'illustration typographique et éditoriale. L'influence de ces nouveautés constitue l'un des fondements de la modernité de l'art européenne. 471 dessins, 55 lithographies et gravures en taille-douce et 216 xylographies ont été créés expressément pour la revue, au cours de ses six années de publication. Conçue par Gustav Klimt, Max Kurzweil et Ludwig Hevesi, cette revue illustrée a vu le jour en 1898 et a eu ensuite une parution périodique régulière jusqu'en 1903. Ver Sacrum a proposé des interventions importantes sur la littérature, la musique et les arts contemporains, ainsi qu'une très riche moisson de gravures et d'inventions décoratives des maîtres de la Sécession. Le but de Ver Sacrum était d'éduquer le public au goût moderne et, en même temps, de créer l'oeuvre d'art totale — la Gesamtkunstwerk. C'est précisément pour cette raison que chaque numéro, dans la fusion de mots, d'images, de notes de musique et d'inventions graphiques, devait constituer une oeuvre d'art en soi, une représentation parfaite des idéaux sécessionnistes. Ce livre réunit, pour la première fois, les couvertures les plus innovantes et créatives des numéros de Ver Sacrum, ainsi qu'une anthologie des xylographies, des lithographies et des gravures en taille-douce les plus significatives qui ont fait de Ver Sacrum l'extraordinaire répertoire d'inventions graphiques que le monde entier connaît et admire.

Ver Sacrum --- Book history --- Graphics industry --- Secession Movement --- illustrated books --- Wagner, Otto --- Hoffmann, Josef --- Kurzweil, Max --- Roller, Alfred --- Moser, Koloman --- Olbrich, Joseph Maria --- Klimt, Gustav --- Vienna

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United here for the first time, the paintings of women by Jean-Baptiste-Camille Corot (1796-1875) constitute a small but stunning and important body of work. Corot: Women offers a new appraisal of these intriguing figures by one of the nineteenth century's great masters of landscape. The women painted by Corot read, dream, and gaze at the viewer, conveying an independent spirit and a sense of their inner lives. Corot's handling of color and his deft, delicate touch applied to the female form resulted in pictures of quiet majesty. Although these paintings constitute a relatively small and little-known portion of his oeuvre, they were of great importance to the founders of modernist painting, including Paul Cézanne, Pablo Picasso, and Georges Braque. This publication features more than forty paintings by Corot--from the single-figure bust and full-length images of the 1840s through the 1860s nudes and his allegorical series devoted to the model in the studio. Essays by leading experts address Corot's debt to the old masters and the impact of his pictures on both nineteenth- and twentieth-century painting, the relationship of his figural work to his more famous landscape practice, his response to the shifting social position of artists' models, and the incursion of photography into artistic practice in the Second Empire and early Third Republic--Provided by publisher.

women [female humans] --- portretschilderkunst --- vrouw in de kunst --- Corot, Camille --- Women in art --- Nude in art --- Painting, French --- Illustrated books --- 75.07 --- Corot, Jean Baptiste Camille 1796-1875 (°Parijs, Frankrijk) --- Schilderkunst ; 19de eeuw ; Camille Corot --- Schilderkunst ; portretten ; vrouwen --- Thema's in de kunst ; het naakt --- Books --- Schilderkunst ; schilders --- Corot, Jean-Baptiste-Camille, --- Corot, Camille, --- Corot, Camille-Jean-Baptiste, --- Corot, J.-B. Camille --- Keluo, --- Koro, Kamilʹ, --- Koro, Kamill, --- Themes, motives --- Exhibitions