BELTING LIKENESS AND PRESENCE PDF

There is an old legend that St. Luke himself painted an image of the Virgin and Child. There are many icons in Rome and in other places that claim to be the original image painted by Luke. Share Miscellaneous Clarifications Filoque dispute: A dispute between the Roman Catholic Church Western Church and the Greek Orthodox Church Eastern Church over the inclusion of the word "filoque," meaning "and from the son" in the Nicene Creed The Second Council of Nicaea, - This was an ecumenical council meaning a council that involved representatives from both the Roman and Greek Church that established the veneration of images in Christianity. Aby Warburg was an art historian who died in

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Before the Renaissance and Reformation, holy images were treated not as "art" but as objects of veneration which possessed the tangible presence of the Holy. In this magisterial book, Hans Belting traces the long history of the sacral image and its changing role in European culture. Likeness and Presence looks at the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images, and presents a compelling interpretation of the place of the image in Western history.

One of the most intellectually exciting and historically grounded interpretations of Christian iconography. An impressively detailed contextual analysis of medieval objects.

It is a work that anyone interested in art, or in the history of thought about art, should regard as urgent reading. It is a tremendous achievement. Danto, New Republic "synopsis" may belong to another edition of this title.

From the Back Cover: Before the Renaissance and Reformation, holy images - the only independent images then in existence - were treated not as "art" but as objects of veneration.

The faithful believed that these images, through their likeness to the person represented, became a tangible presence of the Holy and were able to work miracles, deliver oracles, and bring victory on the battlefield. The heart of the work focuses on the Middle Ages, both East and West, when images of God and the saints underwent many significant changes either as icons or as statues.

The final section of Likeness and Presence surveys the Reformation and Renaissance periods, when new attitudes toward images inaugurated what Belting calls the "era of art" that continues to the present day - an era during which the aesthetic quality has become the dominant aspect of the image.

Belting neither "explains" images nor pretends that images explain themselves. Rather, he works from the conviction that images reveal their meaning best by their use. Likeness and Presence deals with the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images. Recognizing the tensions between image and word inherent in religion, Belting includes in an appendix many important historical documents that relate to the history and use of images.

Profuselyillustrated, Likeness and Presence presents a compelling interpretation of the place of the image in Western history.

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Likeness and Presence

If we step outside this millennium into the modern period, we find art in our way, a new function that fundamentally transformed the old image [. Seeking to overcome the barriers hans belting Bild und Kult represented by Art with a capital A, Belting tells the story of the image from the earliest icons that survive at Sinai and Rome through the development of the altarpiece in late medieval Italy. Focusing on the interrelationship of function and pictorial rhetoric, Belting helped tip the balance in discussions of medieval art and beyond from issues of production to conditions of reception. As part of this process, Belting, with others, redrew the art-historical topography of the Mediterranean, charting cross-currents stirred up by cultural exchange, colonisation and the Crusades. Still more important, he recast the origins of the independent easel painting, the canonical vehicle of modern art.

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ISBN 13: 9780226042145

Before the Renaissance and Reformation, holy images were treated not as "art" but as objects of veneration which possessed the tangible presence of the Holy. In this magisterial book, Hans Belting traces the long history of the sacral image and its changing role in European culture. Likeness and Presence looks at the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images, and presents a compelling interpretation of the place of the image in Western history. One of the most intellectually exciting and historically grounded interpretations of Christian iconography. An impressively detailed contextual analysis of medieval objects. It is a work that anyone interested in art, or in the history of thought about art, should regard as urgent reading. It is a tremendous achievement.

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HANS BELTING LIKENESS AND PRESENCE PDF

Tar Likeness and Presence: A History of the Image before the Era of Art The frontal pose of the Child in this model was meant to remind the signori of their civic duties. The tol- because of its imprecision and the possibility of misunderstanding. The faithful believed that these images, through their likeness to the person represented, became a tangible presence of the Holy and were able to work miracles, deliver oracles, and bring victory on the battlefield. This polemical use of images culminated in the figure of Mary, because in this discussion, always had a practical end in view. Stefaneschi commissioned an altarpiece that Giotto was to paint for St. Likeness and Presence: A History of the Image before the Era of Art, Belting, Jephcott What they rejected in the name of religion overshadowed as it is by the Eastern icon, has no secure place in intellectual history had long since lost the old substance of unmediated pictorial revelation. Desert rated it it was amazing Jan 06, Early Icons in Papal Rome e: Annemarie rated it it was amazing Aug 24, Mancinelli accompanied me to the private quarters of hane pope, have sought to strip them of their power.

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Israel Hans Belting. Translated by Edmund Jephcott. Chicago: University of Chicago Press, Were Hans Belting known by future generations of historians, art historians and specialists, only for this book, his reputation would be secure.

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