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This publication explores the connection among faith and the visible arts--and vice versa--within Christianity and different significant spiritual traditions. It identifies and describes the most historic, theological, sociological and aesthetic dimensions of "religious" paintings, with specific awareness to "popular" in addition to "high" tradition, and inside societies of the constructing global.
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A complete and extremely good written booklet. I learn it in an outdated variation with many black and white plates. i'm hoping an all color version is accessible via now. Rewald covers the entire artists and the Parisian paintings scene - it was once the 1st time I understood how the relationships of the painters and their position in nineteenth century France.
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4 This hiving off of religious subject matter to an increasingly speciﬁc place in the genre was, one might argue, both similar toandpartofabroadersecularisingprocesswhichwasalready operating to relocate worship, theology, even belief itself, to a more discrete and implicitly marginal place in Victorian culture. ’8 Hedged about by such constraints, it is unsurprising thereforethatVictorianpaintingsofreligiousthemes,although possessing,aswehaveseen,anexplicitifdiminishingroleand status,alsohadnoreallysigniﬁcantmarket.
31 Even today Soviet newspapers and television newssometimescarrypicturesofyoungconscriptsenroutefor Chechnyaﬁlingpast,andkissing,areplicaofthe‘Vladimir’icon profferedbyanOrthodoxpriest. 32 four dimensions Such an argument may provide a powerful and pessimistic counterpoint both to facile aesthetic progressivism (not unknown,forexample,insomecontemporaryclericalcircles)and to the fashionable Jungian heresy (held by some theologians and artists alike) that ‘the archetypes by which spiritual realities express themselves are both available to modern man and constantlyclothedintheformsofmodernart’.
Inpracticethetransformation ofthegenretookthreedistinct,ifofteninterlocking,forms. Suchreligiousartasthisnotonlyfusedwith butreafﬁrmedsecularbourgeoismorality. ’17 This conscious dismantling of the formal barriers between the sacred and the secular as legitimatesubjectmatterfora‘religious’painting–evenifitwasto degenerateultimatelyintoartworkswhichdidlittlemorethan eitherportrayacovertlyreligiousthemeinanovertlyreligious setting (‘Contemplation’ was a typical title) or depict religious activityperse(‘HerFirstSermon’or‘LateforChurch’)while makingnocredalstatementwhatever–wasaclearindicatorof therelativelyuncertainpassageoftheprocessofsecularisation alreadymanifestingitselfinthisparticularculture.