Book Description

From 1958 to 1966, master color field painter Barnett Newman created The Stations of the Cross - Lema Sabachthani, a cycle of fourteen canvas paintings, each of them 5 x 6 1/2 feet. Their scale is so large that the viewer is never able to take them all in at once. With The Stations of the Cross, Newman undertook one of the most demanding assignments in the history of modern art, namely to thematize, without the use of color and only in black and white, the tragedy of human existence vis-à-vis an almighty God--bringing it to new pictorial form. Accompanying texts consider the thematic content of the work, as well as the series' inaugural hanging in 1966 at the Guggenheim Museum in New York. ... Read more

Book Description

‘In the sixth month the Angel Gabriel was sent by God to a town in Galilee called Nazareth, to a virgin engaged to a man whose name was Joseph, of the house of David. The virgin’s name was Mary. And he came to her and said, "Greetings favoured one! The Lord is with you." But she was much perplexed by his words and pondered what sort of greeting this might be. The angel said to her, "Do not be afraid, Mary, for you have found favour with God. And now, you will conceive in your womb and bear a son, and you will name him Jesus."’

The drama, the symbolism, the poignant simplicity of the imagined scene evoked by these words, have proved irresistible to artists over the centuries. Presented here, in a chronological sequence, are over 100 of the finest representations of this encounter. All depicting the same subject, yet all wonderfully and subtly different, these images are an inexhaustible source of pleasure and inspiration, taking the viewer on a journey of meditation through the ages. The design of the book is simple and the theme is unchanging, but the outcome is rich and endlessly varied.

While the message is Christian, the human drama of the Annunciation has a universal appeal; the artists, attempting to express an awe-inspiring mystery, have at the same time invested the scene with the deepest humanity. The images in this book are simultaneously expressions of religious devotion, depictions ofhuman drama and emotion, and great works of art. ... Read more

Reviews (1)

A treasure to all those who love great art .
This entire of collection of four books (Annunciation, Last Supper, Crucifixion, Descent) will be a treasure to all those who love great art and especially those attracted to religious art.Each book is beautifully bound in its own brilliant metallic color: gold, silver, bronze and copper.The unique size and color ofthe books make this set aestheticallypleasing.It is a wonderful collection to display on any shelf.The prints, more than 100 in each book, are of superbquality.Phaidon, the publisher, is recognized for excellence and elegance in all their printing.There is scanttext; each book has a New Testament scriptural preface, then a brief caption accompanieseach image.

As the titles project, a central event in Christ's life is elucidated by the world's best artistic masters; eachbrings their own commentary to the selected Christological theme.Most enjoyable, and educational, is the progression through time, starting with early art pieces and finishing with contemporary masters: Salvador Dali, Andy Warhol and Craigie Aitchison to mention just a few. From beginning to end, each book is a wonderful journey through time.

In "Annunciation," a book more about Mary than her son, each artist strives to capture thisphenomenal encounter; a meetingunlike any other recorded in history.The Apostle Luke wrote;"the Angel Gabriel was sent from God... and he came to her and said..." Each photo plate vividly showsthrough form, color and light this astonishing angelic address. The progression of art shows how Mary's imagehas changed over the last two millenniums. This is a wonderful book, in a fantastic collection, at a very reasonable price. Highly recommended ... Read more

Book Description

Reviews (2)

A Good General Overview
The volume is a good introduction to a neglected aspect of religious art. The range is good although there are some notable omissions. The contribution of many of the womens' religious communities could have had a little more coverage as many were famous for their artwork as well as their contributions to the Gothic Revival and Arts and Crafts movements. There are a few technical problems with the book in that at least 17 of the illustrations are reproduced in reverse i.e. in mirror image. The western rose window of the Cathedral of St. John the Divine on pg. 24 is upside down. The frontispiece illustration is incorrectly identified as by Raphael, it is one of the Barbarini tapestries illustrating the life of Christ, the illustration on pg. 68 is not from the Litlyington missal (it looks like a 13th text on Gregory the Great?), the caption on pg. 157 'monastic' should read 'canonical' as York Minster was never a monastic cathedral, it was served by secular canons.

Beautiful Survey of Anglican - with a few surprises!
Most people are familiar with the sacred art of the Catholic Church - but few realize that the Anglican Communion has made a significent contribution as well - particulary in the 19th century when Sacred art elsewhere as stagnent or waning. From the stain glass of Tiffany to the sculpture of August Saint-Guadens, Anglican Churches, particular those in America, set the standard. But this book also covers much more - the from ancient English cathedrals to small chapels in the Caribbean there is suprise on every page. It is especailly refreshing to see so many contemporar works that are carrying on this tradition and at the same time, paving new ground. my only "problem" with this book is it did not contain Fred. Hart's beautiful carvings at the National Cathedral in Washington -no only one of the great works of Sacred art in recent years, but probably one of the most overlooks masterworks of the 20th century ... Read more

Reviews (1)

Easy to read study of an illuminated manuscript
The scope of this book is best described by the chapter titles: 1) Lindisfarne and Saint Cuthbert 2) The men who made the manuscript 3) The text of the Gospels 4) The script 5) How the manuscript was made 6) The great decorated pages 7) The smaller initials 8) Some comparisons (with contemporary works) 9) The later history of the manuscript

The text is lively, including, for example, an old riddle describing the wax table used for sketches. The Anglo-Saxom instruments used in illuminations are shown in a photograph; you aren't expected to have detailed knowledge of medieval tools. The color plates of the Gospels are magnificant. The art shown for comparison includes not only other manuscripts but metalwork etc.

This book is not only an introduction to the Lindisfarne Gospels but is a good starting point for illuminated manuscripts in general. ... Read more

Book Description

Infinitas Gracias is the first collection of the work of Alfredo Vilchis Roque, one of Mexico's most famous contemporary painters, and his sons. In the tradition of Catholic votives, each painting tells a miraculous tale and gives thanks to the intervening saint. Ablaze with intense color hearkening back to the natural pigment dyes of ancient Mexico, these works portray the kaleidoscope of issues that constitute modern urban existence. With over 200 paintings, from circus adventures to household accidents to adultery, drugs, and prostitution, Infinitas Gracias weaves together a bizarre tapestry of stories, some disturbing, some comical -- all unerringly wrought and profoundly touching. ... Read more

Reviews (1)

It's about time!
Schnorr Von Carolsfeld's Bible in picture form has been the standard teaching Bible for German children of the past 130 years. These most Raphaelite compositions are perfect in their drawing, design and storytelling. Each of Von Carolsfeld's compositions have the paradoxical qualities of balance and spontaniety, of grace and strength and of monumentality and minute attention to detail. So, it is about time that the art world's great publishing friend, Dover Books, makes these somewhat forgotten illustrations easily and widely available with this handsome edition. Thank You, Dover! ... Read more

Reviews (10)

Amazing Book about a PHENOMENAL artist!!
Anything showing photos of this fellow's incredible oevre would probably deserve the highest praise even without editorial guidance. But just browsing thru this one will stun anyone not familiar with Caravaggio, which is probably 98% of the populace.Ms. Puglisi interweaves the artist's life and times around the glorious color photos. The print may be a tad small,but the fact that there's around two spaces between each line of text makes it, IMHO, even easier to read than otherwise. The raw,harrowing originality of this artist are beyond description, and his life is a near match. He died violently before the age of 40...Especially recommended for those (mainly males) who may think that Art and Art History are less than manly pursuits!! (Yes there are plenty of guys out there who think like this.) Give this book, the author,publisher, and the artist way more than five stars!!

A valuable contribution but print is hard to read.
I have been looking for recent books on Caravaggio for use in an art history class that I will give this Spring. I've done "spot" reading of this text, and found fascinating insights. However, it is hard for me to understand why such difficult to read silvery grey text was used. Perhaps younger eyes than mine would not have problems with this choice. However, my eyes rebelled rapidly, and although fascinated with the message, the medium proved exhausting. The font choice and size are also, in my opinion, poor ones. I suppose the aim was to produce a beauiful book, and it is that, but in my opinion the book's function of transmitting information is undercut by the odd typography design.

no, that's not this book
WARNING! the editorial reviews and reader reviews on this page have nothing to do with this book! puglisi's text is a hefty phaidon paperback; the book you buy here is a slim rizzoli hardback. the quadrifolio is actually a set of folded up posters glued into a hard binding. there is a meager introduction, no critical apparatus, no captioning or text describing the paintings, no page numbering, no table of contents, no index. the reproductions themselves are not optimally color balanced, veering sometimes toward green, sometimes toward red. fine if you want it, but don't expect puglisi's magnificent volume.

Size does matter
If you can't have the real thing, get the Quadrifolio. Who would think that a book this manageable in size would unfold to reveal the huge images that it does? I don't want to go back to my average, oversized art books. This series is great for students, art-lovers, and anyone else who wants to take a closer look at fine paintings.

This is a Review of the HARD COVER BOOK
I picked up this book a while back when it first came out. I couldn't put it down. As a figurative artist, learning about Caravaggio is a most. Ms. Puglisi's language is down to earth. The book is extremely well presented, including the high quality plates. Unfortunately, some people have complained about the small gray print which makes it hard to read. The print is not an obstacle when you immerse yourself in the life, painting technique and history of this most interesting artist. ... Read more

Book Description

Includes 160 pages of text with drawings, 13 black and white and 51 full color plates.It is linen-cloth and paper bound.

In the last decades the art of icons has gained increased attention.Once icons were passed over by the art critics, or at most classified as popular art, although painters such as Matisse or Picasso went to Russia especially for the sake of studying this art.Most recently many books have been published on icon painting.Yet the present work is the first of its kind to give a reliable introduction into the spiritual background of this art.

The nature of the icon cannot be grasped by means of pure art criticism, nor by the adoption of a sentimental point of view.Its forms are based on the wisdom contained in the theological and liturgical writings of the Eastern Orthodox Church and are intimately bound up with the experience of contemplative life.

The introduction into the meaning and the language of the icons by Ouspensky imparts to us in an admirable way the spiritual conceptions of the Eastern Orthodox Church which are often so foreign to us, but without the knowledge of which we cannot possibly understand the world of the icon.

"It is not the purpose of the icon to touch its contemplator.Neither is it its purpose to recall one or the other human experience of natural life; it is meant to lead every human sentiment as well as reason and all other qualities of human nature on the way to illumination."

"The entire visible world as depicted in the icon is to foreshadow the coming Unity of the whole creation, of the Kingdom of the Holy Ghost."

The theological justification of the icon was derived by the Seventh Ecumenical Council from the fact of the Incarnation of God.God became human for the elation and deification of Man.This deification becomes visible in the saints.The Byzantine theologian often sets the calling of an icon painter on an equal level with that of a priest.Devoted to the service of a more sublime reality, he exercises his objective duty the same way as the liturgical priest.The "spiritual genuineness" of the icon, the cryptic, almost sacral power to convince, is not alone due to accurate observation of the iconographic canon, but also the ascetic fervor of the painter.

A very interesting section of the technique of icon painting is followed by the main part of the book, in which both authors describe the most important types of icons.Apart from a detailed description of the icon screen (iconostas) of the Russian Church, 58 types are explained with the aid of an equal number of illustrations, amongst which there are alone 10 various representatives of the virgin.Special mention is due to 51 icons reproduced in their complete colorful splendor.

The section of subjects made in order to reveal the main features of Orthodox iconography was naturally limited to the examples available outside of Russia.But this not in the least diminishes the value of the book; on the contrary, it led to the reproduction of many beautiful icons which had never been published before or had been unknown to wider public.A considerable number of museums and private collectors in Europe and America spontaneously placed their collections at the disposal of the authors. ... Read more

Reviews (1)

Icons viewed by the Orthtodox
Among the many books on icons, this is one of the oldest still in print. Why has it become a classic? Because it was written by one of the greatest twentieth century theologians, Vladimir Lossky, and by one of the greatest 20th century iconographers,Leonide Ouspensky who spent the whole of his artistic life in France painting icons and frescoes. Their approach is unique not only because of their deep experience of the Orthodox faith, but also because of the way they decided to describe the colour prints reproduced in this volume. What we have here is a superb commentary in the form of selection of poetry from the feasts during which these icons are placed in the middle of the church. Much of this Byzantine hymnography has no parallel in the West. It is what is heard in the eastern Christian church throughout the liturgical year which this volume beautifully illustrates both in word and image. The authors' feeling for the uplifting prayer of which icons play such a vital part is genuine and rarely found in any other book about the iconographic tradition. All Christians and many non-Christians will appreciate their respectful presentation of the revelation of God to man as it is presented in this book. ... Read more

Reviews (1)

A Chronological Aproach
This book has great plates and is a great picture book. It also approaches the subject of Islamic art in a way unique compared to most introductory western art books. Rather then go chronologically, it breaks the subject up by themes. This works great for this material. This book is very readable, but sometimes a little simplistic. It's a great introduction to the subject. ... Read more

Book Description

In Imaging the Early Medieval Bible, five outstanding medievalists challenge conventional wisdom on the beginnings of biblical illustration. Traditionally, scholars have maintained that the subjects and format of Bible illustration were largely determined by archetypes of the earliest years of Christian artistic culture. Taken together, the essays in this book present a convincing argument that illustrated and decorated Bibles were shaped by ad hoc decisions that resulted in a creative variety of approaches.

First, John Lowden asserts that biblical manuscript illumination is more likely to have derived from, than to have inspired, biblical monumental painting. Katrin Kogman-Appel provides a thorough survey of the debate over how Jewish motifs entered Christian art.In her discussion of Roman manuscript art, Dorothy Verkerk proposes that the celebrated Ashburnham Pentateuch, rather than the hypothetical Leo Bible proffered by Koehler, should be taken as a witness to the capital’s approach to Bible illustration and the kind of model sent to the monastic scriptoria north of the Alps.Lawrence Nees presents the northern Bibles, Insular and Carolingian, as individual commissions for specific donors made at certain specific moments in time.Finally, John Williams studies the Bible of 960 in León, an ideal vehicle to examine the premises underlying reigning theories of the evolution of Bible illustration.Although its format and extensive imagery have been taken as a sign that it reflected early stages of Bible illustration, it standsrevealed as owing little to pictorial traditions.

Taken together, these essays present a convincing argument that illustrated and decorated Bibles were shaped by ad hoc decisions that resulted in a creative variety of approaches. ... Read more

Reviews (1)

Insight into Gargolye History
I think Gargoyles have always been a little misunderstood, and this book shows then in all their glory.

Great pictures! ... Read more

Book Description

Reviews (2)

Interesting but not perfect
Read my review with the following caveat: I have absolutely no training in art history and most of my reading in art has been in the field of icons.

This book is useful in providing a structuring principle for the visual art in Italian Churches - I had previously only seen materials about the organization of the visual art in Orthodox Churches. I appreciated the time range of the book as it covers both the conquest of the Eastern Church by Islam (sending Eastern Christians fleeing to the West) and the split between the Orthodox and Catholic Churches. The description / interpretation of the narrative scenes is sufficiently detailed to teach a neophyte how to recognize the event being portrayed. After the world tour of art from Assisi, the section on Assisi gained clarity as I had actually seen art from a church discussed. I would have preferred more colored plates and could have done without some of the detail of the computer work supporting the book. But the latter may be important to the intended audience.

looks good but disappointing
This book reads somewhat like a badly written PhD thesis. It results from collecting quantative information about religious cycles in churches, shoving them into a mathematical tool, and calling the results a book. The subject of narrative in art is fascinating, for an insightful book see: Andrews, Lew. Story and Space in Renaissance Art : The Rebirth of Continuous

http://www.amazon.com/exec/obidos/ASIN/0521646634/qid=945708301/sr=1-14/002-9101355-4400266 ... Read more

Book Description

The first comprehensive study of the Indian power symbol that allows the individual to take a journey to the primordial center of life

• Highly illustrated exploration of every aspect of the yantra, including itsrelated rituals, sounds, and meditation practices • Investigates the continued use of the yantra in modern India as a magic talisman • First North American Edition • 39 color and 134 b&w illustrations

The yantra is both a complex metaphysical symbol and a tool of ritual and meditation. In kundalini yoga, the patterns contained in this metaphysical and geometrical construct correspond to the psychic centers of the subtle body, therefore making the body itself a functioning yantra. In this book, which is the first comprehensive study of the subject, the author provides a step-by-step explanation of the dynamic process wherein the yantra aids the individual in the spiritual journey to return to original wholeness.

Every aspect of this important Indian symbol is explored, from its related sounds, rituals, and use in meditation to its application in traditional temple architecture and sculpture. The author also looks at its continued use in both the "black" and "white" magic traditions of the subcontinent, as well as its power as a talisman. ... Read more

Reviews (1)

Exhaustive Analysis of Yantras and the Philosophy behind it
This book details all kinds of historical Yantras as revealed in various Vedas (historic Hindu scriptures). Yantras are cosmic machines which directs energies to the human body/mind to attain various psychic states. The author dwells deeply in to the philosophy behind it, which in essence is Hinduism. Understanding the Hindu concept of the world, the cosmos and the human being is the key to unlocking the power of Yantra. A reader who is not exposed to Eastern religious philosophies will find it difficult to comprehend the description of concepts behind the Yantra.

This book has many illustrations of historic Yantras and details of the significance of its geometric drawings. I liked this book for the depth of analysis and the description of underlying concepts. Please note that this is NOT an instruction work book on Yantras which details about how to make a Yantra.

One disappointing fact is that the author uses little space to describe Occult Yantras which are commonly used by ordinary people for protection, healing and power. The Sri Yantra, which enables a person to attain higher states is described in detail. Overall this book gave me indepth knowledge about the working of a Yantra - the energized cosmic machine. ... Read more

Amazon.com

The Image of Christ by Gabriele Finaldi is a beautifully illustrated, colorful history of how Christ has been portrayed by artists from the early church to the present. It is not, however, a life of Christ told in pictures. Instead, the book explores the challenges Christian artists have faced as they have tried to imagine what Jesus looked like. Since no eyewitness descriptions of Jesus' physical appearance survived, the earliest artists' depictions of Christ played on the symbols and images that he used in his parables--such as the Good Shepherd, the Light, and the Vine. Later, artists became concerned with capturing Christ's true physical likeness, based on miraculous relics such as the cloth that Saint Veronica offered him on his way to Calvary, which was believed to be imprinted with an image of his face. These stages in the history of Christian art are described by several art historians in brief essays, each of which is lavishly illustrated. The book, which was inspired by Seeing Salvation: The Image of Christ, an exhibition at the National Gallery, London, will be treasured by secular and believing readers alike. A deeper understanding of the religious context of these works will sharpen viewers' experience of their universal relevance. The dozens of pictures, paintings, and sculptures reproduced here bear profound witness not only to the events of Jesus' life, but also to the enduring power of a mother's love for her children, the suffering of innocents, and love's triumph over death. --Michael Joseph Gross ... Read more

Reviews (4)

Wonderful Pictorial and Exposition
The focus of this book is the Collection in Trafalgar Square but is not exclusive to it. It contains works of art that either picture a representation of Christ or allude to Him. I found my reading to be a delightful and awe-inspiring theological journey. Each chapter deals with a different aspect of how Christ is perceived. Several authors have compiled brief descriptions of the works that explain their significance and meaning. The book traces it course through predominately Catholic art. This may have been done mostly out of necesity because the plethera of art from the 13th to 20th centuries is largely by Catholics. However, it would have been nice to see some more Protestant imagery to complete the respesentation of Christ in art.

This is the Real Thing
I have noticed that Christian Art books have been growing in popularity. Many of these are cheap opportunities to jump on a commercial bandwagon in an attempt to make a quick buck. This book is the REAL THING. It is outstanding. The pictures are large and sharp. The articles are informative and written well. This book values its subject and covers a wide spectrum of Christ centered art. I found this book both thoughtful and moving.

An Artistic and Theological Treasure
This book is equivalently the catalog of an art exhibit at the National Gallery London from February to May, 2000 on how Christ has been portrayed in art from a fourth century Good Shepherd statue to Stanley Spencer's 1926 Resurrection, Cookham. The magnificently illustrated 79 items in the show are supplemented with photographs of 52 additional pieces of art that develop the theology out of which each set of images arose. It is a thing of beauty and pleasure, useful for prayer and theology, and the sort of thing needed in today. Too many postmodern art students have lost contact with the Christian symbols of the western world and are unaware of the depths of their own cultural heritage. This book will be very informative for them and even for the already theologically educated.

An impressive treatise.
The Image of Christ provides an overview of the heritage of Christian art, from paintings and prints to sculptures from the early Christian era to modern times, examining the purposes for each and exploring their meaning to viewers. Depictions of Christ via symbol and image are examined in a treatise recommended for art libraries and religious holdings alike. ... Read more

Book Description

The monastery of Tabo lies in northern India in the secluded Spiti valley, which was at one time part of the ancient kingdom of Western Tibet. The oldest continuously operating Buddhist enclave in India and the Himalayas, Tabo's historical role as an intermediary between India and Tibet and the extraordinary beauty of its frescoes make it a place of unique importance. The main temple of Tabo is one of the masterpieces of Indian and Tibetan art. Built in 996 and renovated in 1042, the temple is remarkable not only for the exceptional quality of its sculpture and the decorative paintings that cover every surface, but also for the numerous portraits of royal patrons, members of the local nobility, and ecclesiastical figures, all identified by name. Tabo played a pivotal role in the history of Buddhism in the tenth and eleventh centuries, when Tibetan monks and Indian pandits studied together and translated scripture from Sanskrit into Tibetan. This meeting of trans-Himalayan cultures, and the devotions of their faithful, are vividly preserved in the magnificent paintings and sculptures that adorn the original temple and the monastery that surrounds it. Deborah Klimburg-Salter, who has published widely on this period, describes the art, iconography, and contemporary rituals of Tabo with the aid of more than 200 photographs, plans, and diagrams. The color photographs, which are largely the work of Jaroslav Poncar, illustrate the hidden glories of one of the most important sites in Buddhist history. Tabo also includes contributions by Luciano Petech, Professor Emeritus, University of Rome; and Christian Luczanits, Ernst Steinkellner, and Erna Wandl of the Institute of Tibetan and Buddhist Studies, University of Vienna. ... Read more

Reviews (1)

A Fascinating Exposé
This books shows the historical development of a tiny Buddhist kingdom perched high in the western Himalayas. Tabo, the oldest Buddhsit monestary in India today, was the main religious and cultural centre of the Western Himalayas, and, situated on a vital nexus of the Silk Road, was of critical importance. Part of Deborah Klimburg-Salter's books shows how this monastery survived and prospered, and offers revealing insights to this vital cultural and economic cross-road. A huge wealth of photographs documents the great sculptures, wall paintings, and documents that the monastery is famous for. As an art-historian, the author explains with easy the meanings of the various deities, and what their ornamental details and placement can tell us about the history of the region. For anyone interested in Buddhist Art history or the history of Western Himalayas, this is a great book that should not be missed. ... Read more

Book Description

Originally published by Bulfinch Press in 1994 in hardcover, ONE HUNDRED SAINTS is still the only version of Butler's long-revered Lives of the Saints that presents saints in all their splendor-in both word and image. The selection reflects contemporary interest and patronage. All the Apostles are featured, as are the Church Fathers (e.g., Augustine, Jerome, Thomas Aquinas). Also included are saints whose lives and works provide fascinating glimpses into their holy lives and the traditions and beliefs that have grown because of them. We see Bernini's sculptural representation of Teresa of Avila in ecstasy; Sebastian's martyrdom as pictured by Titian; and El Greco's penetrating rendering of St. Martin and the Beggar. ... Read more

Book Description

This book combines history and art history in very readable form. It is through an imagined woman's eyes that the authors and the reader see and are affected by the religious sites and ritualsof Rome 1300 (e.g., the night-long procession of the icon of Christ from the Lateran to join the icon of Mary at S. Maria Maggiore across the city).The purpose of the book is to present medieval Rome as a living environment, to show how the major churches and the sacred relics, frescoes, icons, and mosaics within them actually served in the Middle Ages to attract the faithful and to confirm and teach belief among the throngs of pilgrims who flocked to the eternal city. The authors not only look back at what pilgrims ventured to see in Rome during the first Jubilee but forward to the Holy Year of 2000, when an estimated 45 million Catholics will retrace the steps of their forebears in search of plenary absolution. ... Read more