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A social history of reception, this study focuses on sacred art and Catholicism in Rome during the late sixteenth and seventeenth centuries. The five altarpieces examined here were painted by artists who are admired today - Caravaggio, Guercino, and Guido Reni - and by the less renowned but once influential Tommaso Laureti and Andrea Commodi. By shifting attention from artistic intentionality to reception, Pamela Jones reintegrates these altarpieces into the urban fabric of early modern Rome, allowing us to see the five paintings anew through the eyes of their original audiences, both women and men, rich and poor, pious and impious. Because Italian churchmen relied, after the Council of Trent, on public altarpieces more than any other type of contemporary painting in their attempts to reform and inspire Catholic society, it is on altarpieces that Pamela Jones centers her inquiry. Through detailed study of evidence in many genres - including not only painting, prints, and art criticism, but also cheap pamphlets, drama, sermons, devotional tracts, rules of religious orders, pilgrimages, rituals, diaries, and letters - Jones shows how various beholders made meaning of the altarpieces in their aesthetic, devotional, social, and charitable dimensions. This study presents early modern Catholicism and its art in an entirely new light by addressing the responses of members of all social classes - not just elites - to art created for the public. It also provides a more accurate view of the range of religious ideas that circulated in early modern Rome by bringing to bear both officially sanctioned religious art and literature and unauthorized but widely disseminated cheap pamphlets and prints that were published without the mandatory religious permission. On this basis, Jones helps to illuminate further the insurmountable problems churchmen faced when attempting to channel the power of sacred art to elicit orthodox responses.

A social history of reception, this study focuses on sacred art and Catholicism in Rome during the late sixteenth and seventeenth centuries. The five altarpieces examined here were painted by artists who are admired today - Caravaggio, Guercino, and Guido Reni - and by the less renowned but once influential Tommaso Laureti and Andrea Commodi. By shifting attention from artistic intentionality to reception, Pamela Jones reintegrates these altarpieces into the urban fabric of early modern Rome, allowing us to see the five paintings anew through the eyes of their original audiences, both women and men, rich and poor, pious and impious. Because Italian churchmen relied, after the Council of Trent, on public altarpieces more than any other type of contemporary painting in their attempts to reform and inspire Catholic society, it is on altarpieces that Pamela Jones centers her inquiry. Through detailed study of evidence in many genres - including not only painting, prints, and art criticism, but also cheap pamphlets, drama, sermons, devotional tracts, rules of religious orders, pilgrimages, rituals, diaries, and letters - Jones shows how various beholders made meaning of the altarpieces in their aesthetic, devotional, social, and charitable dimensions. This study presents early modern Catholicism and its art in an entirely new light by addressing the responses of members of all social classes - not just elites - to art created for the public. It also provides a more accurate view of the range of religious ideas that circulated in early modern Rome by bringing to bear both officially sanctioned religious art and literature and unauthorized but widely disseminated cheap pamphlets and prints that were published without the mandatory religious permission. On this basis, Jones helps to illuminate further the insurmountable problems churchmen faced when attempting to channel the power of sacred art to elicit orthodox responses.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.92

·Interdisciplinary approach to a major work in art history, offering new insights·Lavishly illustrated·Includes details that have come to light using state-of-the-art techniques during the restoration and conservation project that are not always visible to the naked eye The Ghent Altarpiece or the Adoration of the Mystic Lamb, by the Van Eyck brothers (1432), is recognized worldwide as a great work of art, and one of the most influential paintings ever made. It was the world's first major oil painting, and it is laced with religious mysticism. The work almost reads like an A to Z of Christianity - from the Annunciation to the symbolic sacrifice of Christ, with the 'Mystic Lamb' on an altar in a heavenly meadow, bleeding into the Holy Grail.For the first time, this book gathers together diverse insights on the Ghent Altarpiece, the monumental poliptych that the brothers Hubert and Jan van Eyck realized with the assistance of a large workshop and advisers on the painting's subject matters. This book has the same aim: to bring together experts from the most diverse disciplines. Only by combining the perspectives of (art) historians, philosophers, religious studies scholars, mathematicians and specialists in optics can one fully understand the riches and depth of this masterpiece.Lavishly illustrated, including details that have come to light using state-of-the-art techniques during the current conservation project and are not always visible to the naked eye.

The painting and carving of altarpieces was one of the most important and characteristic tasks of Italian Renaissance artists. This book focuses on Venice from 1450 to 1530. Peter Humfrey, an authority on Venetian painting, explores a wide range of issues surrounding altarpieces as an art form. These include the traditions of decoration of Venetian churches, the sacred and secular functions that altarpieces were expected to perform, the market for altarpieces, and the professional world of the Venetian artist. He discusses altarpieces by Bellini, Cima, the three Vivarini, and the young Titian, as well as by numerous other painters and sculptors of the period. A central theme of the book is the relation between the altarpieces and their original physical and liturgical context. Throughout, Humfrey tries to reintegrate altarpieces with their intended settings, both for the sake of recapturing their full visual effect and as a basis for examining the ideological relationship between their subject matter and the altar table below. He also examines the complex mixture of motives, worldly as well as pious, that prompted 15th-century Venetians to spend large sums of money on commissioning altarpieces for the churches of their city. The first part of the book is thematic, dealing with the making, placement, and function of the altarpiece. The second part is a chronological discussion of specific works, focusing on the ways in which the artists met challenges posed by specific commissions. An appendix to the book gives further factual and bibliographical information about 100 major Venetian altarpieces of the period.

Quarto. Hardcover. White paper boards with blue titles in paper jacket with full flaps. The retable of Pedro de Montoya, bishop of Osma (1453-1474), is the largest example of an embroidered altarpiece. Today, it is part of the collection of the Art Institute of Chicago. The altarpiece underwent conservation/restoration and technical documentation in the Abegg-Stiftung. This was followed by an international workshop on the concept and technique of the altarpiece as well as on its art historical and historical context. The essays locate this masterpiece of an ambitious donor in the artistic milieu of fifteenth-century Castile. Contributions of the art of embroidery in the Crown of Aragon complete the volume" --. English language edition. VG. Small closed tear to jacket at base of spine and light bumping at the corners. Otherwise clean and unmarked.

·Interdisciplinary approach to a major work in art history, offering new insights·Lavishly illustrated·Includes details that have come to light using state-of-the-art techniques during the restoration and conservation project that are not always visible to the naked eye The Ghent Altarpiece or the Adoration of the Mystic Lamb, by the Van Eyck brothers (1432), is recognized worldwide as a great work of art, and one of the most influential paintings ever made. It was the world's first major oil painting, and it is laced with religious mysticism. The work almost reads like an A to Z of Christianity - from the Annunciation to the symbolic sacrifice of Christ, with the 'Mystic Lamb' on an altar in a heavenly meadow, bleeding into the Holy Grail.For the first time, this book gathers together diverse insights on the Ghent Altarpiece, the monumental poliptych that the brothers Hubert and Jan van Eyck realized with the assistance of a large workshop and advisers on the painting's subject matters. This book has the same aim: to bring together experts from the most diverse disciplines. Only by combining the perspectives of (art) historians, philosophers, religious studies scholars, mathematicians and specialists in optics can one fully understand the riches and depth of this masterpiece.Lavishly illustrated, including details that have come to light using state-of-the-art techniques during the current conservation project and are not always visible to the naked eye.

Following the completion of the construction of new St. Peter's in the second decade of the seventeenth century, a series of monumental altarpieces was commissioned to decorate its altars. Here for the first time the altarpieces of St. Peter's are considered collectively, within the liturgical and artistic program of the building as a whole. Louise Rice takes a comprehensive approach to this critical chapter in the history of Italian Baroque art, offering insight into the mechanisms, motives, and meanings of papal patronage in the premier church of Catholicism.

428 pages, 268 figs., 40 plates, hardcover, 24 x 31.5 cm. The retable of Pedro de Montoya, bishop of Osma (1453 1474), is the largest example of an embroidered altarpiece. Today, it is part of the collection of the Art Institute of Chicago. The altarpiece underwent conservation / restoration and technical documentation in the Abegg-Stiftung. This was followed by an international workshop focusing on the concept and technique of the altarpiece as well as on its art historical and historical context. The essays locate this masterpiece of an ambitious donor in the artistic milieu of fifteenth-century Castile. Contributions on the art of embroidery in the Crown of Aragon complete the volume.

Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

The description for this book, The Ghent Altarpiece and the Art of Jan Van Eyck, will be forthcoming.

Original publisher's sewn paperback, pictorial frontcover, large 8vo: Vol. 1: coloured frontispiece, vi,164pp., 138 illustrations, 16 diagrams, notes, bibliography, index. With a contribution: "On architectural and liturgical aspects of Siena Cathedral in the Middle Ages", by Kees van der Ploeg. Vol. 2: coloured frontispiece, 262pp., 225 illustrations, notes, bibliography, index. With a contribution: "A Description of the Altars in Siena Cathedral in the 1420s", by Gail Aronov. Vol. 1: Paperback. Vol. 2: Clothbound. Very fine copies - as new. Still shrink-wrapped. Volume 4 & 9: Mediaevalia Groningana.

“It is a well-known fact that The Isenheim Altarpiece has in the past been seen as having central significance as a ‘medium for healing’ by the Antonites. To what extent this function has taken hold again in our ‘modern’ times can be seen not only in the steadily growing numbers of visitors, but also in the fact that this book had to be republished after such a short time.” ―Michael Schubert (preface to 2nd ed.)The Isenheim Altarpiece by Matthias Grünewald is one of the most important and monumental works of Western art. Even today, five hundred years after its completion, it continues to present riddles to its viewers―its origin and creator, as well as its theological and esoteric content and intent. The book offers a systematic and informed introduction to the history, meaning, and background of the altarpiece. Moreover, numerous new interpretations are presented, which elaborate upon and fundamentally alter previous perspectives. Included are more than 200 high-quality color reproductions and in-depth visual analysis.

“It is a well-known fact that The Isenheim Altarpiece has in the past been seen as having central significance as a ‘medium for healing’ by the Antonites. To what extent this function has taken hold again in our ‘modern’ times can be seen not only in the steadily growing numbers of visitors, but also in the fact that this book had to be republished after such a short time.” ―Michael Schubert (preface to 2nd ed.)The Isenheim Altarpiece by Matthias Grünewald is one of the most important and monumental works of Western art. Even today, five hundred years after its completion, it continues to present riddles to its viewers―its origin and creator, as well as its theological and esoteric content and intent. The book offers a systematic and informed introduction to the history, meaning, and background of the altarpiece. Moreover, numerous new interpretations are presented, which elaborate upon and fundamentally alter previous perspectives. Included are more than 200 high-quality color reproductions and in-depth visual analysis.

Andrée Hayum approaches Matthias Grünewald's Isenheim Altarpiece, now at the Musée d'Unterlinden in Colmar, as a structural and iconographic entity and restores it to its broader cultural context in the early sixteenth century. She interprets the altarpiece in terms of its hospital context, then explores how this polyptych functions as a system of communication, in relation to contemporary sermons and in response to an emerging print culture. The meaning and motivation behind the direct visual appeal of the Isenheim panels are considered within the liturgy and the sacramental economy.

Following the completion of the construction of new St. Peter's in the second decade of the seventeenth century, a series of monumental altarpieces was commissioned to decorate its altars. Here for the first time the altarpieces of St. Peter's are considered collectively, within the liturgical and artistic program of the building as a whole. Louise Rice takes a comprehensive approach to this critical chapter in the history of Italian Baroque art, offering insight into the mechanisms, motives, and meanings of papal patronage in the premier church of Catholicism.

Ships from the UK. Former library book; may include library markings. Used book that is in excellent condition. May show signs of wear or have minor defects.

Created in an age of faith, the polyptychs chosen for this volume are all altarpieces, works that came into being in response to changes in the Roman Catholic liturgy decreed as far back as 1274 at the Council of Lyons. According to the new dispensation, the priest would no longer say Mass facing the congregation (versus populum) but rather facing the altar and as often as possible in the presence of a sacred image. Also involved was a redefinition of the doctrine of Transubstantion, which encouraged private devotions in chapels, intimate spaces where the faithful could become more directly involved in the Eucharistic service. Both developments proved, in time, to be conducive to the realization of grand altarpieces in polyptych form, placed against the wall over an altar in a chapel or upon the high altar in a church or cathedral where it would function as a kind of splendid partition separating the sanctuary from the choir. The form had been evolving for well over a century, but it came into full flower only in the late 14th century and throughout the 15th, bringing the Late Gothic era to its final burst of glory and launching the Renaissance both in Northern Europe and in the Mediterranean countries.Alas, few of the great polyptychs, wonderful as they are, survive in their original form or place of installation, having suffered the vicissitudes of history, as the authors explain in detail, particularly the misadventures that followed upon the secularization laws promulgated by Napoleon in the late 18th century. Along with this story and countless others comes the extended series of full-color illustrations, over 400 in all, many of them full-page and full-bleed. Great Altarpieces is a book for everyone with an interest in civilization and culture, art and history, and the role of religion in human affairs.

Great work of documentation with great pictures of Belgian and Dutch Museums and Monuments

Created in an age of faith, the polyptychs chosen for this volume are all altarpieces, works that came into being in response to changes in the Roman Catholic liturgy decreed as far back as 1274 at the Council of Lyons. According to the new dispensation, the priest would no longer say Mass facing the congregation (versus populum) but rather facing the altar and as often as possible in the presence of a sacred image. Also involved was a redefinition of the doctrine of Transubstantion, which encouraged private devotions in chapels, intimate spaces where the faithful could become more directly involved in the Eucharistic service. Both developments proved, in time, to be conducive to the realization of grand altarpieces in polyptych form, placed against the wall over an altar in a chapel or upon the high altar in a church or cathedral where it would function as a kind of splendid partition separating the sanctuary from the choir. The form had been evolving for well over a century, but it came into full flower only in the late 14th century and throughout the 15th, bringing the Late Gothic era to its final burst of glory and launching the Renaissance both in Northern Europe and in the Mediterranean countries.Alas, few of the great polyptychs, wonderful as they are, survive in their original form or place of installation, having suffered the vicissitudes of history, as the authors explain in detail, particularly the misadventures that followed upon the secularization laws promulgated by Napoleon in the late 18th century. Along with this story and countless others comes the extended series of full-color illustrations, over 400 in all, many of them full-page and full-bleed. Great Altarpieces is a book for everyone with an interest in civilization and culture, art and history, and the role of religion in human affairs.