An innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1000-1600: Medieval to Renaissance" includes essays on key themes of Medieval and Renaissance art, including the theory and function of religious art and a generic analysis of art at court. Explorations cover key canonical artists such as Simone Martini and Botticelli and key monuments including St Denis and Westminster Abbey, as well as less familiar examples.The first of three text books, published by Tate in association with the Open University, which insight for students of Art History, Art Theory and Humanities. Introduction Part 1: Visual cultures of medieval Christendom 1: Sacred art as the Bible of the Poor' 2: Sacred architecture, Gothic architecture 3: Sacred in secular, secular in sacred: the art of Simone Martini 4: To the Holy Land and back again: the art of the Crusades Part 2: The shifting contexts of Renaissance art 5: Art at court 6: Botticelli 7: Did women patrons have a Renaissance? Italy 1420-1520 8: From Candia to Toledo: El Greco and his art

An innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1850-2010: Modernity to Globalisation" includes essays which engage directly with topical issues around art and gender, globalisation, cultural difference and curating, as well as explorations of key canonical artists and movements and of some less well-documented work of contemporary artists. The third of three text books, published by Tate in association with the Open University, which insight for students of Art History, Art Theory and Humanities. Introduction: stories of modern art Part 1: Art and modernity 1:Avant-garde and modern world: some aspects of art in Paris and beyond c.1850-1914 2: Victorian Britain: from images of modernity to the modernity of images 3: Cubism and Abstract Art revisited 4: Modernism in architecture and design: function and aesthetic Part 2: From modernism to globalisation 5: Modernism and figuration 6: From Abstract Expressionism to Conceptual Art: a survey of New York art c.1940-1970 7: Border crossings: installations, locations and travelling artists 8: Global dissensus: art and contemporary capitalism

An innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1600-1850 Academy to Avant-Garde" interrogates labels used in standard histories of the art of this period (Baroque, Rococo, Neo-Classicism and Romanticism) and examines both established and recent art-historical methodologies, including formalism, iconology, spectatorship and reception, identity and difference. Key topics include Baroque Rome, Dutch Painting of the Golden Age, Georgian London, the Paris Salon, and the impact of the discovery of the South Pacific.The second of three text books, published by Tate in association with the Open University, which insight for students of Art History, Art Theory and Humanities. Introduction Part 1: City and country 1600-1760 1: Bernini and Baroque Rome 2: Meaning and interpretation: Dutch painting of the golden age 3: The metropolitan urban renaissance: London 1660-1760 4: The English landscape garden 1680-1760 Part 2: New worlds of art 1760-1850 5: Painting for the public 6: Canova, Neo-classicism and the sculpted body 7: The other side of the world 8: Inventing the Romantic artist

An overarching history of women in the Christian Church from antiquity to the Reformation, perfect for advanced undergraduates and seminary students alike A History of Women in Christianity to 1600 presents a continuous narrative account of women’s engagement with the Christian tradition from its origins to the seventeenth century, synthesizing a diverse range of scholarship into a single, easily accessible volume. Locating significant individuals and events within their historical context, this well-balanced textbook offers an assessment of women’s contributions to the development of Christian doctrine while providing insights into how structural and environmental factors have shaped women’s experience of Christianity. Written by a prominent scholar in the field, the book addresses complex discourses concerning women and gender in the Church, including topics often ignored in broad narratives of Christian history. Students will explore the ways women served in liturgical roles within the church, the experience of martyrdom for early Christian women, how the social and political roles of women changed after the fall of Rome, the importance of women in the re-evangelization of Western Europe, and more. Through twelve chapters, organized chronologically, this comprehensive text: Examines conceptions of sex and gender tracing back their roots to the Jewish, Hellenistic, and Roman culture Provides a unique view of key women in the Church in the Middle Ages, including the rise of women’s monasticism and the impact of the Inquisition Compares and contrasts each of the major confessions of the Church during the Reformation Explores lesser-known figures from beyond the Western European tradition A History of Women in Christianity to 1600 is an essential textbook for undergraduate and graduate courses in Christian traditions, historical theology, religious studies, medieval history, Reformation history, and gender history, as well as an invaluable resource for seminary students and scholars in the field.

Artists have long been stimulated and motivated by the work of those who came before them—sometimes, centuries before them. Interviews with 120 international contemporary artists discussing works from The Metropolitan Museum of Art's collection that spark their imagination shed new light on art-making, museums, and the creative process. Images of works from The Met collection appear alongside images of the contemporary artists' work, allowing readers to discover a rich web of visual connections that spans cultures and millennia.

A ground-breaking new anthology in the Art in Theory series, offering an examination of the changing relationships between the West and the wider world in the field of art and material culture Art in Theory: The West in the World is a ground-breaking anthology that comprehensively examines the relationship of Western art to the art and material culture of the wider world. Editors Paul Wood and Leon Wainwright have included over 350 texts, some of which appear in English for the first time. The anthologized texts are presented in eight chronological parts, which are then subdivided into key themes appropriate to each historical era. The majority of the texts are representations of changing ideas about the cultures of the world by European artists and intellectuals, but increasingly, as the modern period develops, and especially as colonialism is challenged, a variety of dissenting voices begin to claim their space, and a counter narrative to western hegemony develops. Over half the book is devoted to 20th and 21st century materials, though the book’s unique selling point is the way it relates the modern globalization of art to much longer cultural histories. As well as the anthologized material, Art in Theory: The West in the World contains: A general introduction discussing the scope of the collection Introductory essays to each of the eight parts, outlining the main themes in their historical contexts Individual introductions to each text, explaining how they relate to the wider theoretical and political currents of their time Intended for a wide audience, the book is essential reading for students on courses in art and art history. It will also be useful to specialists in the field of art history and readers with a general interest in the culture and politics of the modern world.

A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art.

The eleven chapters in this international volume draw on a variety of theoretical and methodological approaches to focus our attention on medieval and early modern things (ca. 700–1600). The range of things includes actual objects (the Altenburg Crucifixion, a copy of Hieronymus Brunschwig’s Liber de arte distillandi, a pilgrim’s letter), imagined objects (a prayed cloak for the Virgin Mary), and narrative objects in texts (the Alliterative Morte Arthure, the Ordene de Chevalerie, Hartmann von Aue’s Erec, Heinrich of Neustadt’s Apollonius of Tyre, Luís de Camões’s Os Lusíadas, and the vita of Saint Guthlac). Each in its own way, the papers consider how things do what they do in texts and art, often foregrounding the intersection between the material and the immaterial by exploring such questions as how things act, how they express power, and how texts and images represent them. Medieval and early modern things are repeatedly shown to be more than symbolic or passive, they are agentive and determinative in both their intra- and extradiegetic worlds. The things that are addressed in this volume are varied and are embedded, or entangled, in different contexts and societies, and yet they share a concerted engagement in human life.

Through carefully chosen themes and topics rather than through a general survey, this title approaches the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. It includes essays which engage directly with topical issues around art and gender, globalisation, cultural difference and curating.

Byzantine Art and Renaissance Europe discusses the cultural and artistic interaction between the Byzantine east and western Europe, from the sack of Constantinople by the Fourth Crusade in 1204 to the flourishing of post-Byzantine artistic workshops on Venetian Crete during the fifteenth and sixteenth centuries and the formation of icon collections in Renaissance Italy. The contributors examine the routes by which artistic interaction may have taken place, and explore the reception of Byzantine art in western Europe, analysing why artists and patrons were interested in ideas from the other side of the cultural and religious divide. In the first chapter, Lyn Rodley outlines the development of Byzantine art in the Palaiologan era and its relations with western culture. Hans Bloemsma then re-assesses the influence of Byzantine art on early Italian painting from the point of view of changing demands regarding religious images in Italy. In the first of two chapters on Venetian Crete, Angeliki Lymberopoulou evaluates the impact of the Venetian presence on the production of fresco decorations in regional Byzantine churches on the island. The next chapter, by Diana Newall, continues the exploration of Cretan art manufactured under the Venetians, shifting the focus to the bi-cultural society of the Cretan capital Candia and the rise of the post-Byzantine icon. Kim Woods then addresses the reception of Byzantine icons in western Europe in the late Middle Ages and their role as devotional objects in the Roman Catholic Church. Finally, Rembrandt Duits examines the status of Byzantine icons as collectors’ items in early Renaissance Italy. The inventories of the Medici family and other collectors reveal an appreciation for icons among Italian patrons, which suggests that received notions of Renaissance tastes may be in need of revision. The book thus offers new perspectives and insights and re-positions late and post-Byzantine art in a broader European cultural context.