Bernard Berenson and Byzantine Art. Correspondence, 1920-1957
Par :Formats :
- Nombre de pages697
- PrésentationRelié
- FormatGrand Format
- Poids1.3 kg
- Dimensions16,0 cm × 24,0 cm × 4,7 cm
- ISBN978-2-503-59671-6
- EAN9782503596716
- Date de parution01/01/2022
- CollectionMedieval and Early Modern
- ÉditeurBrepols
- ContributeurSpyros Koulouris
- PréfacierMassimo Bernabo
Résumé
A focus on Europe - and in particular the cultural sphere of 'Western Christendom' — has long been central to research into social and political developments and their intellectual traditions. In recent years, however, as part of a move so `deprovinicalize' Europe, increasing attention has been paid to interactions along the European periphery, as well as to broader encounters between Europe and the non-Western world.
The series Medieval and Early Modern Europe and the World builds on this trend by providing a forum for innovative scholarship that challenges traditional narratives. It opens up new areas of debate by exploring intercultural dialogue and the impact of cross-cultural contacts between medieval and early modern Europe and non-Western societies. The series invites both monographs and thematic collections from scholars across a wide range of disciplines including political, social, cultural, and intellectual history ; literature ; anthropology ; philosophy ; religious studies ; historiography.
BERNARD BERENSON AND BYZANTINE ART CORRESPONDENCE, 1920-1957 The American art historian Bernard Berenson, born in 1865, is famous for his pioneering studies of the Italian Renaissance, but his work on Byzantine art remains less well-known and less studied. Yet his passion for studies of Byzantium - dubbed the 'Byzantine infection' — played a major role throughout Berenson's life, andin the 1920s, he began work on a magnum opus on this topic that was sadly never completed.
This volume aims to illuminate and revisit Berenson's approach to Byzantium and the art of the Christian East through an exploration and analysis of the correspondence, travel notes, and photo archive that Berenson built up over his lifetime, and that taken together, clearly points to an explicit recognition by Berenson of the importance of Byzantine art in the Latin Middle Ages. Drawing together Berenson's correspondence with art historians, collectors, and scholars from across Europe, the USA, and the Near East, together with an overview of his numerous photography campaigns, the book is able to open a new window into Byzantine art historiography from the 1920s to the 1950s.
In doing so, it sheds light onto a period in which important discoveries and extensive restoration campaigns were carried out, such as those of the mosaics of Hagia Sophia and Kariye Camii in Istanbul, as well as of the Basilica of San Marco in Venice and its decoration.
The series Medieval and Early Modern Europe and the World builds on this trend by providing a forum for innovative scholarship that challenges traditional narratives. It opens up new areas of debate by exploring intercultural dialogue and the impact of cross-cultural contacts between medieval and early modern Europe and non-Western societies. The series invites both monographs and thematic collections from scholars across a wide range of disciplines including political, social, cultural, and intellectual history ; literature ; anthropology ; philosophy ; religious studies ; historiography.
BERNARD BERENSON AND BYZANTINE ART CORRESPONDENCE, 1920-1957 The American art historian Bernard Berenson, born in 1865, is famous for his pioneering studies of the Italian Renaissance, but his work on Byzantine art remains less well-known and less studied. Yet his passion for studies of Byzantium - dubbed the 'Byzantine infection' — played a major role throughout Berenson's life, andin the 1920s, he began work on a magnum opus on this topic that was sadly never completed.
This volume aims to illuminate and revisit Berenson's approach to Byzantium and the art of the Christian East through an exploration and analysis of the correspondence, travel notes, and photo archive that Berenson built up over his lifetime, and that taken together, clearly points to an explicit recognition by Berenson of the importance of Byzantine art in the Latin Middle Ages. Drawing together Berenson's correspondence with art historians, collectors, and scholars from across Europe, the USA, and the Near East, together with an overview of his numerous photography campaigns, the book is able to open a new window into Byzantine art historiography from the 1920s to the 1950s.
In doing so, it sheds light onto a period in which important discoveries and extensive restoration campaigns were carried out, such as those of the mosaics of Hagia Sophia and Kariye Camii in Istanbul, as well as of the Basilica of San Marco in Venice and its decoration.
A focus on Europe - and in particular the cultural sphere of 'Western Christendom' — has long been central to research into social and political developments and their intellectual traditions. In recent years, however, as part of a move so `deprovinicalize' Europe, increasing attention has been paid to interactions along the European periphery, as well as to broader encounters between Europe and the non-Western world.
The series Medieval and Early Modern Europe and the World builds on this trend by providing a forum for innovative scholarship that challenges traditional narratives. It opens up new areas of debate by exploring intercultural dialogue and the impact of cross-cultural contacts between medieval and early modern Europe and non-Western societies. The series invites both monographs and thematic collections from scholars across a wide range of disciplines including political, social, cultural, and intellectual history ; literature ; anthropology ; philosophy ; religious studies ; historiography.
BERNARD BERENSON AND BYZANTINE ART CORRESPONDENCE, 1920-1957 The American art historian Bernard Berenson, born in 1865, is famous for his pioneering studies of the Italian Renaissance, but his work on Byzantine art remains less well-known and less studied. Yet his passion for studies of Byzantium - dubbed the 'Byzantine infection' — played a major role throughout Berenson's life, andin the 1920s, he began work on a magnum opus on this topic that was sadly never completed.
This volume aims to illuminate and revisit Berenson's approach to Byzantium and the art of the Christian East through an exploration and analysis of the correspondence, travel notes, and photo archive that Berenson built up over his lifetime, and that taken together, clearly points to an explicit recognition by Berenson of the importance of Byzantine art in the Latin Middle Ages. Drawing together Berenson's correspondence with art historians, collectors, and scholars from across Europe, the USA, and the Near East, together with an overview of his numerous photography campaigns, the book is able to open a new window into Byzantine art historiography from the 1920s to the 1950s.
In doing so, it sheds light onto a period in which important discoveries and extensive restoration campaigns were carried out, such as those of the mosaics of Hagia Sophia and Kariye Camii in Istanbul, as well as of the Basilica of San Marco in Venice and its decoration.
The series Medieval and Early Modern Europe and the World builds on this trend by providing a forum for innovative scholarship that challenges traditional narratives. It opens up new areas of debate by exploring intercultural dialogue and the impact of cross-cultural contacts between medieval and early modern Europe and non-Western societies. The series invites both monographs and thematic collections from scholars across a wide range of disciplines including political, social, cultural, and intellectual history ; literature ; anthropology ; philosophy ; religious studies ; historiography.
BERNARD BERENSON AND BYZANTINE ART CORRESPONDENCE, 1920-1957 The American art historian Bernard Berenson, born in 1865, is famous for his pioneering studies of the Italian Renaissance, but his work on Byzantine art remains less well-known and less studied. Yet his passion for studies of Byzantium - dubbed the 'Byzantine infection' — played a major role throughout Berenson's life, andin the 1920s, he began work on a magnum opus on this topic that was sadly never completed.
This volume aims to illuminate and revisit Berenson's approach to Byzantium and the art of the Christian East through an exploration and analysis of the correspondence, travel notes, and photo archive that Berenson built up over his lifetime, and that taken together, clearly points to an explicit recognition by Berenson of the importance of Byzantine art in the Latin Middle Ages. Drawing together Berenson's correspondence with art historians, collectors, and scholars from across Europe, the USA, and the Near East, together with an overview of his numerous photography campaigns, the book is able to open a new window into Byzantine art historiography from the 1920s to the 1950s.
In doing so, it sheds light onto a period in which important discoveries and extensive restoration campaigns were carried out, such as those of the mosaics of Hagia Sophia and Kariye Camii in Istanbul, as well as of the Basilica of San Marco in Venice and its decoration.
