Fisher "translates" the symbolism found in many Old Testament stories, the rich lore of the saints, angels, devils, and monsters, as well as enduring classical myths--which has been lost to many modern readers--revealing not only the true subject matter of the works, but also the drama, color, humor, and ocassional quirkiness of these artistic narratives. 150 illustrations, 134 in color.

A readable guide to the art of looking at art. There’s an art to viewing art. A sizable portion of the population regards art with varying degrees of reverence, bewilderment, suspicion, contempt, and intimidation. Most people aren’t sure what to do when standing before a work of art, besides gaze at it for what they hope is an acceptable amount of time, and even those who visit galleries and museums regularly aren’t always as well versed as they wish they could be. This book will help remedy that situation and answer many of the most frequently asked questions pertaining to the matter of art in general: When was the first art made? Who decides which art is “for the ages”? What is art’s purpose? How do paintings get to be worth tens of millions of dollars? Where do artists get their ideas? And perhaps the most pressing question of all, have human cadavers ever been used as art materials? (Yup.) The Art of Looking at Art addresses these and countless more of the issues surrounding this frequently misunderstood microcosm, in a highly informative, yet conversational tone. History, fascinating and altogether human backstories, and information pertaining to every conceivable aspect of visual art are interwoven in twelve concise chapters, providing all the information the average person needs to comfortably approach, analyze, and appreciate art. Readers with a background in art will learn a few new things as well. This beautiful full-color book includes 45 full-page reproductions.

In this fascinating text Gunnar Olsson tells the story of an arkographer, who with Pallas Athene’s blessings, travels down the Red River Valley, navigates the Kantian Island of Truth, and takes a house-tour through the Crystal Palace, the latter edifice an imagination grown out of Gunnael Jensson’s sculpture Mappa Mundi Universalis. This travel story carries the arkographer from the oldest creation epics extant to the power struggles of today—nothing less than a codification of the taken-for-granted, a mapping of the no-man’s-land between the five senses of the body and the sixth sense of culture. By constantly asking how we are made so obedient and predictable, the explorer searches for the present-day counterparts to the biblical ark, the chest that held the commandments and the rules of behavior that came with them—hence the term “arkography,” a word hinting at an as-yet-unrecognized discipline. In Arkography Olsson strips bare the governing techniques of self-declared authorities, including those of the God of the Old Testament and countless dictators, the latter supported by a horde of lackeys often disguised as elected representatives and governmental functionaries. From beginning to end, Arkography is an illustration of how every creation epic is a variation on the theme of chaos turning into cosmic order. A palimpsest of layered meanings, a play of things and relations, identity and difference. One and many, you and me.

Studies retabloes--Mexican paintings on tin created in the latter half of the nineteenth century--from art, religious, and historical perspectives, and discusses efforts made to restore and conserve the artwork.

With Leap, Terry Tempest Williams, award-winning author of Refuge, offers a sustained meditation on passion, faith, and creativity-based upon her transcendental encounter with Hieronymus Bosch's medieval masterpiece The Garden of Delights. Williams examines this vibrant landscape with unprecedented acuity, recognizing parallels between the artist's prophetic vision and her own personal experiences as a Mormon and a naturalist. Searing in its spiritual, intellectual, and emotional courage, Williams's divine journey enables her to realize the full extent of her faith and through her exquisite imagination opens our eyes to the splendor of the world.

Katherine of Alexandria was a major object of devotion within medieval Europe, ranking second only to the Virgin Mary in the canon of female saints. Yet despite her undoubted importance, relatively little is known about the significance and function of her cult within the German-speaking territories that stood at the heart of Europe. Anne Simon's study adds a welcome new interdisciplinary perspective to the study of Saint Katherine and the wider ecclesiastical landscape of a medieval Europe poised on the edge of religious change. Taking as a case study the wealthy and politically influential merchant city of Nuremberg, this book draws on a wide variety of textual and visual sources to explore interrelated themes: the shaping of urban space through the cult of Saint Katherine; her role in the moulding and advertising patrician identity and alliances through cultural patronage; and patrician use of the saint to showcase the city's political, economic, cultural and religious importance at the heart of the Holy Roman Empire. Further , the book reveals the construction of exemplarity in Saint Katherine's legend and miracles and their resonance within the context of the city and the Dominican Convent of Saint Katherine, whose nuns came from the same status-aware, confident patrician elite that so loyally supported successive Emperors. Filling a significant gap in current research, the work has much to offer scholars of medieval history, hagiography, art history, German studies, cultural and urban studies. Hence it not only expands our understanding of Saint Katherine's importance in German-speaking territories, but also adds to the picture of her cult in its European perspective.

"A servant of servants shall he be unto his brethren." So reads Noah's curse on his son Ham, and all his descendants, in Genesis 9:25. Over centuries of interpretation, Ham came to be identified as the ancestor of black Africans, and Noah's curse to be seen as biblical justification for American slavery and segregation. Examining the history of the American interpretation of Noah's curse, this book begins with an overview of the prior history of the reception of this scripture and then turns to the distinctive and creative ways in which the curse was appropriated by American pro-slavery and pro-segregation interpreters.

Powerful attraction in one small bag Cultures worldwide have long incorporated small bags containing herbs, stones, and other sacred items as part of their belief systems, whether to ward off evil, protect them while traveling or to attract positive elements into their lives. Egyptians carried amulets for protection, Native Americans wore medicine bags filled with healing herbs, and African Americans collected “sticks, stones, roots and bones” inside flannel bags and called them “mojo” or “gris gris.” Gris gris and sachet bags are, in essence, a prayer or magical spell you can carry with you. Magic’s in the Bag explores this history, plus offers 75 simple spells to create your own gris gris bag, including bags for prosperity, safe travel, contacting spirits, protection and more. You’ll get tips on which plants to use, what stones are appropriate, what spells work best for phases of the moon — even how to grow a gris gris garden! Jude Bradley is a writer, editor, producer, and teacher. She also works as a spiritual consultant, using card readings, mediumship, and energy guidance in her practice. Jude lives in the Boston area. A native of New Orleans, Cheré Dastugue Coen is a freelance journalist, teacher, and author of both nonfiction books and a paranormal mystery series under the pen name of Cherie Claire.

An engaging collection that explores the politics of material objects.