The crucifixion of Christ has been richly portrayed by countless artists for hundreds of years, but it was European Renaissance styles and painters such as Kurz, Benjamin West and John Valentine Haidt that first informed American artists of the possibilities for depicting the crucifixion. This work features artists living and working in America from the mid-18th to the 21st century who depicted the crucifixion of Christ in their artwork. The 19th century saw painters like Julian Russell Story, John Singer Sargent, Vassili Verestchagin and Fred Holland break from the Renaissance tradition of the 18th century to begin a religious art revolution. The 20th century saw painters like Thomas Eakins and George Bellows continuing the traditions of the 19th until the Realist style became dominant, which lasted until the latter part of the century and the rise of Abstract Expressionism and a number of experimental styles such as Op, Pop, and Super-realism.

A collection of essays exploring prominent African American artists' engagement with Christian themes. Essays examine the ways in which an artist's engagement with religious symbols can be an expression of concerns related to racial, political, and socio-economic identity.

'Carefully edited, this beautiful little volume is a rare gem . . . highly recommended for anyone seeking new inspiration in prayer.' - The Reader Between 1924 and 1938, Evelyn Underhill compiled two personal prayer books for use when conducting spiritual retreats at Pleshey (the retreat house for the diocese of Chelmsford). The prayers were carefully selected and include quotes from a variety of theologians and writers in Christian spirituality, as well as her own very rich, metaphorical and theologically deep prayers. These collections are now available for the first time.

"This book will examine the iconography of death as well as that of its symbolic opposite - resurrection and rebirth."--Introduction.

In this book, Beatrice E. Kitzinger explores the power of representation in the Carolingian period, demonstrating how images were used to assert the value and efficacy of art works. She focuses on the cross, Christianity's central sign, which simultaneously commemorates sacred history, functions in the present, and prepares for the end of time. It is well recognized that the visual attributes of the cross were designed to communicate its theology relative to history and eschatology; Kitzinger argues that early medieval artists also developed a formal language to articulate its efficacious powers in the present day. Defined through form and text as the sign of the present, the image of the cross articulated the instrumentality of religious objects and built spaces. Whereas medieval and modern scholars have pondered the theological problems posed by representation, Kitzinger here proposes a visual argument that affirms the self-reflexive value of art works in the early medieval West. Introducing little-known sources, she re-evaluates both the image of the cross and the project of book-making in an expanded field of Carolingian painting.

Analyzes American painting depicting various aspects of World War II, including battle, prisoners, the homefront, recreation, and victory.