Orient Oder Rom History And Reception Of A Historiographical Myth 1901 1970

This volume explores a basic question in the historiography of art: the extent to which iconology was a homogenous research method in its own immutable right. By contributing to the rejection of the universalizing narrative, these case studies argue that there were many strands of iconology. Methods that differed from the ‘canonised’ approach of Panofsky were proposed by Godefridus Johannes Hoogewerff and Hans Sedlmayr. Researchers affiliated with the Warburg Institute in London also chose to distance themselves from Panofsky’s work. Poland, in turn, was the breeding ground for yet another distinct variety of iconology. In Communist Czechoslovakia there were attempts to develop a ‘Marxist iconology’. This book, written by recognized experts in the field, examines these and other major strands of iconology, telling the tale of iconology’s reception in the countries formerly behind the Iron Curtain. Attitudes there ranged from enthusiastic acceptance in Poland, to critical reception in the Soviet Union, to reinterpretation in Czechoslovakia and the German Democratic Republic, and, finally, to outright rejection in Romania. The book will be of interest to scholars working in art history, visual studies, and historiography.

Explores the problems for studying art and religion in Eurasia arising from ancestral, colonial and post-colonial biases in historiography.

This is the first thorough investigation of the Brummer brothers’ remarkable career as dealers in antiques, curiosities and modernism in Paris and New York over six decades (1906-1964). A dozen specialists aggregate their expertise to explore extant dealer records and museum archives, parse the wide-ranging Brummer stock, and assess how objects were sourced, marketed, labelled, restored, and displayed. The research provides insights into emerging collecting fields as they crystallised, at the crossroads between market and museum. It questions the trope of the tastemaker; the translocation of material culture, and the dealers’ prolific relationships with illustrious collectors, curators, scholars, artists, and fellow dealers.

Surveying the content and character of early Christian iconography from the third to the sixth century CE, this substantially revised and updated new edition of Understanding Early Christian Art makes the critical tools of art historians accessible to students. It opens by discussing a series of questions pertaining to the evidence itself and how scholars through the centuries have regarded this material as expressing and transmitting aspects of the developing faith and practice of early adherents of Christianity. It considers possible sources for the various motifs and the complex relationship between words and images, as well as the importance of studying visual and material culture alongside theological and liturgical texts. Rather than organising surviving examples by medium or chronology, the chapters categorise the evidence according to their general iconographic type, such as generic symbols, biblical narratives, and portraits. Each chapter takes up important questions of visual culture, formal style, and the ways in which the iconography is distinct from or shows parallels with contemporary documentary sources like sermons, exegetical works, catechetical lectures, or dogmatic treatises. Concluding with a discussion of the late-emerging depictions of Jesus’s crucifixion, resurrection, and ascension, it remains a valuable guide to comprehending the complex theology, history, and context of Christian art. Augmented by over 140 full-colour images, accompanied by parallel text, the interdisciplinary and boundary-breaking approach taken in this extensively revised edition of Understanding Early Christian Art enables students and scholars in fields such as religion and art history to further their understanding and knowledge of the art of the early Christian era.

How did New Testament authors use Israel’s Scriptures? Use, misuse, appropriation, citation, allusion, inspiration—how do we characterize the manifold images, paraphrases, and quotations of the Jewish Scriptures that pervade the New Testament? Over the past few decades, scholars have tackled the question with a variety of methodologies. New Testament authors were part of a broader landscape of Jewish readers interpreting Scripture. Recent studies have sought to understand the various compositional techniques of the early Christians who composed the New Testament in this context and on the authors’ own terms. In this landmark collection of essays, Matthias Henze and David Lincicum marshal an international group of renowned scholars to analyze the New Testament, text-by-text, aiming to better understand what roles Israel’s Scriptures play therein. In addition to explicating each book, the essayists also cut across texts to chart the most important central concepts, such as the messiah, covenants, and the end times. Carefully constructed reception history of both testaments rounds out the volume. Comprehensive and foundational, Israel’s Scriptures in Early Christian Writings will serve as an essential resource for biblical scholars for years to come. Contributors: Garrick V. Allen, Michael Avioz, Martin Bauspiess, Richard J. Bautch, Ian K. Boxall, Marc Zvi Brettler, Jaime Clark-Soles, Michael B. Cover, A. Andrew Das, Susan Docherty, Paul Foster, Jörg Frey, Alexandria Frisch, Edmon L. Gallagher, Gabriella Gelardini, Jennie Grillo, Gerd Häfner, Matthias Henze, J. Thomas Hewitt, Robin M. Jensen, Martin Karrer, Matthias Konradt, Katja Kujanpää, John R. Levison, David Lincicum, Grant Macaskill, Tobias Nicklas, Valérie Nicolet, Karl-Wilhelm Niebuhr, George Parsenios, Benjamin E. Reynolds, Dieter T. Roth, Dietrich Rusam, Jens Schröter, Claudia Setzer, Elizabeth Evans Shively, Michael Karl-Heinz Sommer, Angela Standhartinger, Gert J. Steyn, Todd D. Still, Rodney A. Werline, Benjamin Wold, Archie T. Wright

Rather than centering on the well-known collections in Western European and North American museums, Collecting Asian Art turns to museum collections of Asian art in Central Europe which emerged from the late 19th century onwards. Highlighting the dimensions of Central European connectedness, this volume explores how these collections evolved and changed under changing cultural and political conditions from the pre-World War I to the post-World War II periods. With a primary focus on collections of East Asian, South Asian, and West Asian art in Vienna, Prague, Berlin, Warsaw, Kraków, Budapest, and Ljubljana, it outlines the transregional connections and networks that gradually developed. Collecting Asian Art locates Asian art across the twentieth-century in Central Europe via discourse and ideology, and discusses key collections and the way individual collectors built their networks. It thus explores transregional connections that developed through collecting activities and strategies in the prewar, interwar and postwar eras. Contributors also examine the personal connections between a group of Indologists from postwar Prague and modernist Indian artists from the early 1950s to the 1980s and also discuss the systematic archiving of East Asian art collections in Slovenia. A concluding conversation looks at colonisation and decolonisation from a broader perspective by approaching it through recent art historical discussions on the global dimensions of modernism. By defining the region through its external relationships and its entanglements with regions across Asia rather than as a self-contained unit, the contributions in this volume outline how these transregional connections and networks evolved and changed over time, thus highlighting their singularity in comparison to developments in Western Europe. Based on recent research, Collecting Asian Art reveals neglected sources while reinterpreting well-known ones.

This volume assesses how current approaches to iconology and iconography break new ground in understanding the signification and reception of medieval images, both in their own time and in the modern world. Framed by critical essays that apply explicitly historiographical and sociopolitical perspectives to key moments in the evolution of the field, the volume’s case studies focus on how iconographic meaning is shaped by factors such as medieval modes of dialectical thought, the problem of representing time, the movement of the viewer in space, the fragmentation and injury of both image and subject, and the complex strategy of comparing distant cultural paradigms. The contributions are linked by a commitment to understanding how medieval images made meaning; to highlighting the heuristic value of new perspectives and methods in exploring the work of the image in both the Middle Ages and our own time; and to recognizing how subtle entanglements between scholarship and society can provoke mutual and unexpected transformations in both. Collectively, the essays demonstrate the expansiveness, flexibility, and dynamism of iconographic studies as a scholarly field that is still heartily engaged in the challenge of its own remaking. Along with the volume editors, the contributors include Madeline H. Caviness, Beatrice Kitzinger, Aden Kumler, Christopher R. Lakey, Glenn Peers, Jennifer Purtle, and Elizabeth Sears.

The end of World War I in 1918 meant a radical transformation of Central Europe: the multicultural space of former empires became divided into individual nation-states. This altered all spheres of life, deeply impacting the discipline of art history as well. The cosmopolitan vision of art history developed by figures from the Vienna School such as Franz Wickhoff and Alois Riegl was gradually replaced by new self-referential narratives. This nationalist tendency was reinforced by the division of Europe after World War II. In the wake of Jiří Kroupa’s pioneering studies, this volume takes a truly transcultural approach to art produced in the Central European region from the 12th to the 20th century. Freed from national prejudices, a region shaped by the constant movement of people, ideas, and objects emerges.

This Element discusses the Early Byzantine Church of St. Polyeuktos. One of the most magnificent, but also most peculiar architectural achievements in Byzantine Constantinople.