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A carregar... Likeness and presence: a history of the image before the era of art (original 1990; edição 1996)por Hans, Belting, Edmund Jephcott
Informação Sobre a ObraLikeness and Presence: A History of the Image before the Era of Art por Hans Belting (1990)
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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 Recognizing the tensions between image and word inherent in religion, Belting includes in an appendix many important historical documents that relate to the history and use of images.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. Não foram encontradas descrições de bibliotecas. |
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Google Books — A carregar... GénerosSistema Decimal de Melvil (DDC)704.9The arts Modified subdivisions of the arts Special topics in fine and decorative arts IconographyClassificação da Biblioteca do Congresso dos EUA (LCC)AvaliaçãoMédia:
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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. ( )