Byzantine

History of Italian Renaissance Art

This book focuses on works of art, their creators, and the circumstances affecting their creation. This revision is designed to provide readers with a more streamlined approach to understanding Italian Renaissance art without losing the enthusiasm and appreciation that Hartt demonstrated for this area and which earlier editions of this book conveyed so successfully. Italy and Italian Art; Duecento Art in Tuscany and Rome; Florentine Art of the Early Trecento; Sienese Art of the Early Trecento; Later Gothic Art in Tuscany and Northern Italy; The Beginnings of Renaissance Architecture; Gothic and Renaissance in Tuscan Sculpture; Gothic and Renaissance in Florentine Painting; The Heritage of Masaccio and the Second Renaissance Style; The Second Renaissance Style in Architecture and Sculpture; Absolute and Perfect Painting: The Second Renaissance Style; Crisis and Crosscurrents; Science, Poetry, and Prose; The Renaissance in Central Italy; Gothic and Renaissance in Venice and Northern Italy; The High Renaissance in Florence; The High Renaissance in Rome; High Renaissance and Mannerism; High and Late Renaissance in Venice and on the Mainland; Michelangelo and the Maniera.

Early Christian & Byzantine Art: A&I (Art and Ideas)

The Gospel of Judas

For 1,600 years its message lay hidden. When the bound papyrus pages of this lost gospel finally reached scholars who could unlock its meaning, they were astounded. Here was a gospel that had not been seen since the early days of Christianity, and which few experts had even thought existed–a gospel told from the perspective of Judas Iscariot, history’s ultimate traitor. And far from being a villain, the Judas that emerges in its pages is a hero.

In this radical reinterpretation, Jesus asks Judas to betray him. In contrast to the New Testament Gospels, Judas Iscariot is presented as a role model for all those who wish to be disciples of Jesus. He is the one apostle who truly understands Jesus.

This volume is the first publication of the remarkable gospel since it was condemned as heresy by early Church leaders, most notably by St. Irenaeus, in 180. Hidden away in a cavern in Middle Egypt, the codex (or book) containing the gospel was discovered by farmers in the 1970s. In the intervening years the papyrus codex was bought and sold by antiquities traders, hidden away, and carried across three continents, all the while suffering damage that reduced much of it to fragments. In 2001, it finally found its way into the hands of a team of experts who would painstakingly reassemble and restore it.

The Gospel of Judas has been translated from its original Coptic in clear prose, and is accompanied by commentary that explains its fascinating history in the context of the early Church, offering a whole new way of understanding the message of Jesus Christ.

Byzantine Art (Oxford History of Art)

Mostly religious in function, but preserving the classicism of Greco-Roman art, Byzantine buildings and art objects communicate the purity and certainties of the public face of early Christian art. Focusing on the art of Constantinople between 330 and 1453, this book probes the underlying motives and attitudes of the society which produced such rich and delicate art forms. It examines the stages this art went through as the city progressed from being the Christian center of the Eastern Roman Empire, to its crisis during attack from the new religion of Islam, to its revived medieval splendor and then, after the Latin capture of 1204 and the Byzantine reoccupation after 1261, to its arrival at a period of cultural reconciliation with East and West.

Heaven on Earth: Art and the Church in Byzantium

The Clash of Gods: A Reinterpretation of Early Christian Art (Princeton Paperbacks)

Between the third and sixth centuries, the ancient gods, goddesses, and heroes who had populated the imagination of humankind for a millennium were replaced by a new imagery of Christ and his saints. Thomas Mathews explores the many different, often surprising, artistic images and religious interpretations of Christ during this period. He challenges the accepted theory of the "Emperor Mystique," which, interpreting Christ as king, derives the vocabulary of Christian art from the propagandistic imagery of the Roman emperor. This revised edition contains a new preface by the author and a new chapter on the origin and development of icons in private domestic cult.

Early Medieval Art 300-1150: Sources and Documents (MART: The Medieval Academy Reprints for Teaching)

Originally published by Prentice-Hall, 1971.

Holy Image, Hallowed Ground (Getty Trust Publications: J. Paul Getty Museum)

Isolated in the remote Egyptian desert, at the base of Mount Sinai, sits the oldest continuously inhabited monastery in the Christian world. The Holy Monastery of Saint Catherine at Sinai holds the most important collection of Byzantine icons remaining today. This catalogue, published in conjuction with the exhibition Holy Image, Hallowed Ground: Icons from Sinai, on view at the J. Paul Getty Museum from November 14, 2006, to March 4, 2007, features forty-three of the monastery's extremely rare--and rarely exhibited--icons and six manuscripts still little-known to the world at large.
The exhibition and catalogue bring to life the central role of the icon in Byzantine religious practices. Themes include the icon's status as holy object, the ways in which the icon sanctified the place of worship, and the monks' quest for the holy. The Greek Orthodox monastery at Mount Sinai not only functioned as a major pilgrimage site for centuries but was also a cultural crossroads at the center of the shifting sands of ecclesiastical and secular politics. The accompanying essays explore how the monastery's contact with the outside world, through pilgrimage, resulted in aesthetic exchanges between the monastery and Coptic, Crusader, and Islamic art; and between the Greek Orthodox and Roman Catholic communities in Europe.

Medieval Illuminators and Their Methods of Work

In this beautiful book Jonathan Alexander surveys European manuscript illumination from the fourth to the sixteenth century. Illustrating his discussion with examples chosen from all over Europe, he discusses the social and historical context of the illuminators` lives, considers their methods of work, and shows the range and nature of the visual sources and the ways in which they were adapted, copied, or created anew.

Books of Hours (Phaidon Miniature Editions)