Rather than presenting a life of Christ in art, this beautiful book explores the challenges facing artists when representing Jesus God who became a man. It traces how the image of Christ that we recognize today evolved over two millennia, from the earliest metaphorical symbols of the Shepherd, the Lamb and the Vine to the emergence of a 'true likeness'. The book elegantly describes how artists have conveyed the paradox of Christ's dual nature - human and divine, weak and powerful - in portrayals of his infancy, and it also shows how images of his suffering convey a cosmic, as well as personal, significance. The moments of Christ's life become, through art, archetypes of all human experience: Christ nursed by the Virgin expresses the feelings of love every mother has for her child; Christ mocked is innocence beset by violence. A reissue of a successful book (first published in 2000), 'The Image of Christ' is an essential volume for anyone seeking a deeper understanding of European art, in which Christian subjects have featured so prominently.
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Gabriele Finaldi is deputy director of the Prado Museum, Madrid, and a former curator at the National Gallery, London. Neil MacGregor is director of the British Museum and former director of the National Gallery, London. Susanna Avery-Quash is research curator in the History of Collecting at the National Gallery, London. Xavier Bray is chief curator at Dulwich Picture Gallery and a former curator at the National Gallery, London. Erika Langmuir is former head of education at the National Gallery, London. Alexander Sturgis is director of The Holburne Museum of Art, Bath, UK.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Paperback. Etat : Very Good. The Image of Christ expresses the view that modern secular audiences can engage with the masterpieces of Christian art at an emotional as well as a purely aesthetic or historical level. This book aims to help the viewer understand these pictures by focusingattention on the purpose for which they were made, and explores what they might have meant to their original viewers. The authors trace how a recognizable image of Christevolved, starting with the earliest symbols and metaphorical images such as the Sheperd, the Lamb and the Vine. They trace the emergence of a "true likeness," emphasizing the importance of the Veronica, the"miraculous portrait" said to have been imprinted on the cloth held out to Jesus on the way to Calvary. They describe how artists conveyed the paradox ofChrist's dual naturehuman and divine, weak and powerful, victim and victorin portrayals of his infancy. They also show howimages of Christ's suffering during the Passion were intended to convey acosmic,not just a personal significance. Artists have attempted to put extremes of suffering and despair into an overal context of hopea vein of hope that runs from the catacombs to Hiroshima and beyond. These are imagesthat speak, even to those who do not hold Christian beliefs. Artists had to make it clear that in representing the life and death of Jesus they were offering a continuing truth; we the spectators have to become eyewitnesses to anevent that matters to us now. As a result, the different moments and aspects of Christ's life become, in the hands of great artists, a reflection of all human experience. TheVirgin nursing her sonexpresses thefeelings of love every mother has for her child. Christ mocked in innocence beset by violence. Christ risen and appearing to Mary Magdalene is a universal reaffirmation that love cannot be destroyed by death. Beyond their obvious religious significance, these are paintings that have a universalmeaning. Published by National Gallery Company/Distributed by Yale University Press. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. N° de réf. du vendeur GOR001270697
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