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Likeness and presence: a history of the…
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Likeness and presence: a history of the image before the era of art (original 1990; edição 1996)

por Hans, Belting, Edmund Jephcott

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Before the Renaissance and Reformation, holy images - the only independent images then in existence - were treated not as "art" but as objects of veneration. The faithful believed that these images, through their likeness to the person represented, became a tangible presence of the Holy and were able to work miracles, deliver oracles, and bring victory on the battlefield. In this magisterial book, one of the world's leading scholars of medieval art traces the long history of the image and its changing role in European culture. Belting's study of the iconic portrait opens in late antiquity, when Christianity reversed its original ban on images, adapted the cult images of the "pagans," and began developing an iconography of its own. The heart of the work focuses on the Middle Ages, both East and West, when images of God and the saints underwent many significant changes either as icons or as statues. The final section of Likeness and Presence surveys the Reformation and Renaissance periods, when new attitudes toward images inaugurated what Belting calls the "era of art" that continues to the present day - an era during which the aesthetic quality has become the dominant aspect of the image. Belting neither "explains" images nor pretends that images explain themselves. Rather, he works from the conviction that images reveal their meaning best by their use. Likeness and Presence deals with the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images. Recognizing the tensions between image and word inherent in religion, Belting includes in an appendix many important historical documents that relate to the history and use of images. Profusely illustrated, Likeness and Presence presents a compelling interpretation of the place of the image in Western history.… (mais)
Membro:patrickym
Título:Likeness and presence: a history of the image before the era of art
Autores:Hans, Belting
Outros autores:Edmund Jephcott
Informação:Chicago, University of Chicago Press, [1996]
Coleções:Lista de desejos
Avaliação:
Etiquetas:aesthetics, art history, art criticism

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Likeness and Presence: A History of the Image before the Era of Art por Hans Belting (1990)

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This book focuses on the history of the image in art. Byzantine art is an important part of this and one of the best sources for viewing the influence of Byzantine art is in the sacred mosaics of Ravenna Italy. They are the finest outside Istanbul. A thriving seaport in ancient times (it now lies five miles inland), Ravenna rose to power in the 1st century BC under the Emperor Augustus. The Roman emperor built a port and naval base at nearby Classe, which is currently undergoing archaeological excavation. The town converted to Christianity very early, in the 2nd century AD. As Rome's power declined, Ravenna took over as capital of the Western Empire (402 AD). The following century it came under the rule of Thedoric and the Arian Ostrogoths, and in 540 the city became part of the Byzantine empire under Justinian. Ravenna's exquisite early Christian mosaics span the years of Roman, Ostrogothic and Byzantine rule. Today, Ravenna is a very pleasant town of about 140,000. It looks much like any other Italian city at first glance, with old streets, fine shops and peaceful squares, but the Byzantine domes of its churches still evoke its Eastern heritage. Ravenna's early Christian churches and mosaics have been collectively designated a World Heritage Site.

With the fall of Constantinople and the Byzantine Empire to the Ottoman Turks in 1453 some of the artists fled to Crete and established a Greek artist colony. Notable artists included Michael Damaskenos (1530/35-1592/93) and others of the "Cretan School", but the most famous today is the artist simply known as El Greco (1451-1614). It is in his early work that the influence of icons is most evident, but it can be seen in his large-scale masterpieces produced in Spain later in his career. For more than two centuries Byzantine art was out of favor, primarily as a result of the Reformation, but in mid-nineteenth century France artists rediscovered Byzantine art and the Orient in general as can be seen in the work of Gustave Moreau and Jean Renoir. This influence spread throughout Europe and can be seen in the works of such diverse artists as Gustave Klimt (Austria, 1862 – 1918), and Theodore Ralli (Greece, 1852 – 1909). The influence grew into the twentieth century, particularly through the interest and work of Henri Matisse. The interest in Byzantine art has continued to grow and the field today includes scholars, best exemplified by the work of Hans Belting on the history of the Image, interested in a multitude of aspects of this classic tradition that had its roots in Rome and Egypt. ( )
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Before the Renaissance and Reformation, holy images - the only independent images then in existence - were treated not as "art" but as objects of veneration. The faithful believed that these images, through their likeness to the person represented, became a tangible presence of the Holy and were able to work miracles, deliver oracles, and bring victory on the battlefield. In this magisterial book, one of the world's leading scholars of medieval art traces the long history of the image and its changing role in European culture. Belting's study of the iconic portrait opens in late antiquity, when Christianity reversed its original ban on images, adapted the cult images of the "pagans," and began developing an iconography of its own. The heart of the work focuses on the Middle Ages, both East and West, when images of God and the saints underwent many significant changes either as icons or as statues. The final section of Likeness and Presence surveys the Reformation and Renaissance periods, when new attitudes toward images inaugurated what Belting calls the "era of art" that continues to the present day - an era during which the aesthetic quality has become the dominant aspect of the image. Belting neither "explains" images nor pretends that images explain themselves. Rather, he works from the conviction that images reveal their meaning best by their use. Likeness and Presence deals with the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images. Recognizing the tensions between image and word inherent in religion, Belting includes in an appendix many important historical documents that relate to the history and use of images. Profusely illustrated, Likeness and Presence presents a compelling interpretation of the place of the image in Western history.

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