"After a century of Rationalist scepticism and political upheaval, the nineteenth century awakened to a fierce battle between the forces of secularization and the crusaders of a Christian revival. From this battlefield arose an art movement that would become the torchbearer of a new religious art: Nazarenism. From its inception in the Lukasbund of 1809, this art was controversial. It nonetheless succeeded in becoming a lingua franca in religious circles throughout Europe, America, and the world at large. This is the first major study of the evolution, structure, and conceptual complexity of this archetypically nineteenth-century language of belief. The Nazarene quest for a modern religious idiom evolved around a return to pre-modern forms of biblical exegesis and the adaptation of traditional systems of iconography. Reflecting the era's historicist sensibility as much as the general revival of orthodoxy in the various Christian denominations, the Nazarenes responded with great acumen to pressing contemporary concerns. Consequently, the artists did not simply revive Christian iconography, but rather reconceptualized what it could do and say. This creativity and flexibility enabled them to intervene forcefully in key debates of post-revolutionary European society: the function of eroticism in a Christian life, the role of women and the social question, devotional practice and the nature of the Church, childhood education and bible study, and the burning issue of anti-Judaism and modern anti-Semitism. What makes Nazarene art essentially Romantic is the meditation on the conditions of art-making inscribed into their appropriation and reinvention of artistic tradition. Far from being a reactionary move, this self-reflexivity expresses the modernity of Nazarene art. This study explores Nazarenism in a series of detailed excavations of central works in the Nazarene corpus produced between 1808 and the 1860s. The result is a book about the possibility of religious meanin"--Provided by publisher.

After a century of Rationalist scepticism and political upheaval, the nineteenth century awakened to a fierce battle between the forces of secularization and the crusaders of a Christian revival. From this battlefield arose an art movement that would become the torchbearer of a new religious art: Nazarenism. From its inception in the Lukasbund of 1809, this art was controversial. It nonetheless succeeded in becoming a lingua franca in religious circles throughout Europe, America, and the world at large. This is the first major study of the evolution, structure, and conceptual complexity of this archetypically nineteenth-century language of belief. The Nazarene quest for a modern religious idiom evolved around a return to pre-modern forms of biblical exegesis and the adaptation of traditional systems of iconography. Reflecting the era's historicist sensibility as much as the general revival of orthodoxy in the various Christian denominations, the Nazarenes responded with great acumen to pressing contemporary concerns. Consequently, the artists did not simply revive Christian iconography, but rather reconceptualized what it could do and say. This creativity and flexibility enabled them to intervene forcefully in key debates of post-revolutionary European society: the function of eroticism in a Christian life, the role of women and the social question, devotional practice and the nature of the Church, childhood education and bible study, and the burning issue of anti-Judaism and modern anti-Semitism. What makes Nazarene art essentially Romantic is the meditation on the conditions of art-making inscribed into their appropriation and reinvention of artistic tradition. Far from being a reactionary move, this self-reflexivity expresses the modernity of Nazarene art. This study explores Nazarenism in a series of detailed excavations of central works in the Nazarene corpus produced between 1808 and the 1860s. The result is a book about the possibility of religious meanin

A view of artistic development which argues that the Paris-orientated orthodoxy of modern art does not allow for achievements which, in the eyes of the author, can be fairly called major. Other work by the author includes The Romantic Child, and The Jeff Koons Handbook.

Romanticism is multifaceted, and a wide range of nostalgic, emotional, and exotic concerns were expressed in such styles and movements as the Gothic Revival, Classical Revival, Orientalism, and the Pre-Raphaelite Brotherhood. Some movements were regional and subject-specific, such as the Hudson River School of landscape painting in the United States and the German Nazarene movement, which focused primarily on religious art in Rome. The movements range across Western Europe and include the United States. This dictionary will provide a fuller historical context for Romanticism and enable the reader to identify major trends and explore artists of the period. This second edition of Historical Dictionary of Romantic Art and Architecture contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on major artists of the romantic era as well as entries on related art movements, styles, aesthetic philosophies, and philosophers. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic art.

The Catholic "thing" - the concrete historical reality of Catholicism as a presence in human history - is the richest cultural tradition in the world. It values both faith and reason, and therefore has a great deal to say about politics and economics, war and peace, manners and morals, children and families, careers and vocations, and many other perennial and contemporary questions. In addition, it has inspired some of the greatest art, music, and architecture, while offering unparalleled human solidarity to tens of millions through hospitals, soup kitchens, schools, universities, and relief services. This volume brings together some of the very best commentary on a wide range of recent events and controversies by some of the very best Catholic writers in the English language: Ralph McInerny, Michael Novak, Fr. James V. Schall, Hadley Arkes, Robert Royal, Anthony Esolen, Brad Miner, George Marlin, David Warren, Austin Ruse, Francis Beckwith, and many others. Their contributions cover large Catholic subjects such as philosophy and theology, liturgy and Church dogma, postmodern culture, the Church and modern politics, literature, and music. But they also look into specific contemporary problems such as religious liberty, the role of Catholic officials in public life, growing moral hazards in bio-medical advances, and such like. The Catholic Thing is a virtual encyclopedia of Catholic thought about modern life.

'ReVisioning: Critical Methods of Seeing Christianity in the History of Art' explores some of underlying methodological assumptions in the field of art history by examining the suitability and success, as well as the incompatibility and failure, of varying art historical methodologies when applied to works of art which distinctly manifest Christian narratives, themes, motifs, and symbols.

From the 1770s through the 1840s, German, Austrian, and Swiss artists used the medium of printmaking to create works that synthesized poetry, literature, music, and the visual arts in new and captivating ways. Finding an eager audience in the growing number of educated middle-class collectors, printmakers experimented with modern technologies, such as lithography, and drew on the contemporary interest in regional folklore and traditional fairy tales to produce innovative compositions that both contributed to and reflected the dramatic cultural and political upheavals of the Romantic era. Featuring the work of more than 120 artists, including Casper David Friedrich, Ludwig Emil Grimm, Joseph Anton Koch, Philipp Otto Runge, and Johann Gottfried Schadow, this authoritative book contains many unique and never-before-published examples of prints from the Philadelphia Museum of Art's unrivaled collection. Published in association with the Philadelphia Museum of Art