Women in Religious Art

2016 ◽  
Author(s):  
Diane Apostolos-Cappadona
Keyword(s):  
Race And Ethnicity ◽  
Common Denominator ◽  
Religious Art ◽  
Male Body ◽  
Western Model ◽  
The Arts ◽  
Political Perceptions ◽  
Body Project ◽  
History Of ◽  
Human Figure

Like religion, art has been a fundamental component of human experience since the beginning of time. Often working in partnership, occasionally at odds, art and religion form a combination that has been a source of inspiration, pedagogy, contemplation, and celebration of the relationship between the human and the divine. However, each individual religion and its culture have encountered the arts differently; these encounters are reflected in distinctive attitudes toward the human, sex, gender, sexuality, race, ethnicity, and class, as well as configuration of the holy. The human figure has been a common denominator in the arts envisioning transformations in cultural and societal attitudes, economic and political perceptions, and religious doctrines. Traditional wisdom suggests that the majority of world cultures and religions are established upon a patriarchal structure so that representations of the male body project attitudes of power while the female body projects negative attributes. More recent scholarship by feminist art historians, critics, cultural historians, and religious historians provides new ways of looking at the female figure and the role of women in religious art including the history of women artists, patrons, collectors, and, most recently, as critics and curators. Further surveying the iconography of specific women, whether deities, historical personages, or legendary beings, in the history of a religion affords the opportunity not simply to analyze variations in artistic styles but also to witness how religion shapes and informs cultural, societal, and even legal definitions of women. While the majority of scholarly investigations have focused on Western religions, the possibilities of both comparative analyses and innovative studies of non-Western iconographies of women in religious art can both inform and expand global recognition of the categories of gender, race, and ethnicity as well as research methodologies. The Western model of iconography may be found wanting and open to enrichment through engagement with new categories and models of analysis.

Visualizing Christ Our Redeemer, Man Our Brother

2017 ◽  
Author(s):  
Kymberly N. Pinder
Keyword(s):  
Public Art ◽  
Black People ◽  
Black Churches ◽  
Religious Art ◽  
Black Liberation ◽  
Black Liberation Theology ◽  
The Arts ◽  
Historical Figures ◽  
Black Public Sphere ◽  
History Of

This book explores the visualization of religious imagery in public art for African Americans in Chicago between 1904 and the present. It examines a number of case studies of black churches whose pastors have consciously nurtured a strong visual culture within their congregation. It features examples of religious art associated with some of Chicago's most historically significant black churches and art in their neighborhoods. It considers how the arts interact with each other in the performance of black belief, explains how empathetic realism structures these interactions for a variety of publics, and situates public art within a larger history of mural histories. It also highlights the centrality of the visual in the formation of Black Liberation Theology and its role alongside gospel music and broadcasted sermons in the black public sphere. Finally, the book discusses various representations of black Christ and other black biblical figures, often imaged alongside black historical figures or portraits of everyday black people from the community.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

Reuniting the Arts: Notes on the History of an Idea

1994 ◽  
Vol 18 (1) ◽  
pp. 3-9 ◽  
Author(s):  
Wolfgang Domling
Keyword(s):  
The Arts ◽  
History Of

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

Impact of the 2020 crises on the arts and culture in the United States: The effect of COVID-19 and the Black Lives Matter movement in historical context

2020 ◽  
Vol 27 (4) ◽  
pp. 449-465
Author(s):  
Stanley N. Katz ◽  
Leah Reisman
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Cultural Organizations ◽  
Black Lives Matter ◽  
The Arts ◽  
Arts And Culture ◽  
History Of ◽  
Cultural Sector ◽  
The Impact

AbstractThis article discusses the impact of the COVID-19 pandemic and the Black Lives Matter movement on the arts and cultural sector in the United States, placing the 2020 crises in the context of the United States’s historically decentralized approach to supporting the arts and culture. After providing an overview of the United States’s private, locally focused history of arts funding, we use this historical lens to analyze the combined effects of the pandemic and Black Lives Matter movement on a single metropolitan area – Philadelphia, Pennsylvania. We trace a timeline of key events in the national and local pandemic response and the reaction of the arts community to the Black Lives Matter movement, arguing that the nature of these intersecting responses, and their fallout for the arts and cultural sector, stem directly from weaknesses in the United States’s historical approach to administering the arts. We suggest that, in the context of widespread organizational vulnerability caused by the pandemic, the United States’s decentralized approach to funding culture also undermines cultural organizations’ abilities to respond to issues of public relevance and demonstrate their civic value, threatening these organizations’ legitimacy.

Hooke recommemorated

1996 ◽  
Vol 50 (1) ◽  
pp. 139-140
Keyword(s):  
Social Life ◽  
Royal Society ◽  
Early Years ◽  
Domestic Life ◽  
Robert Hooke ◽  
Arts And Sciences ◽  
Personal Interaction ◽  
The Arts ◽  
Christ Church ◽  
History Of

Richard Nichols, The Diaries of Robert Hooke, The Leonardo of London, 1635-1703 . Lewes, Sussex: The Book Guild, 1994, Pp. 185, £15.00. ISBN 0- 86332-930-6. Richard Nichols is a science master turned historian of science who celebrates in this book Robert Hooke’s contributions to the arts and sciences. The appreciation brings together comments from Hooke’s Diaries , and other works, on each of his main enterprises, and on his personal interaction with each of his principal friends and foes. Further references to Hooke and his activities are drawn from Birch’s History of the Royal Society, Aubrey’s Brief Lives , and the Diaries of Evelyn and of Pepys. The first section of the book, ‘Hooke the Man’, covers his early years of education at home in Freshwater, at Westminster school and at Christ Church, Oxford, where he soon joined the group of experimental philosophers who set him up as Curator of the Royal Society and Professor of Geometry at Gresham College, Bishopsgate. Hooke’s domestic life at Gresham College is described - his intimate relationships with a series of housekeepers, including his niece, Grace Hooke, and his social life at the College and in the London coffee houses.

Novel Approaches for Assessing the Preservation of Historic Silks: A Case Study of the First Ladies' Gowns

MRS Bulletin ◽  
1992 ◽  
Vol 17 (1) ◽  
pp. 39-44 ◽  
Author(s):  
Mary Becker ◽  
Noreen Tuross
Keyword(s):  
American History ◽  
The United States ◽  
National Museum ◽  
First Ladies ◽  
Current Conservation ◽  
Unique Challenge ◽  
Conservation Project ◽  
The Arts ◽  
History Of ◽  
Analytical Approaches

Friable natural products are often used in articles of personal adornment, and the perishable nature of these materials presents a unique challenge to museums. At the Smithsonian's National Museum of American History, a collection of gowns worn by the First Ladies of the United States is a popular display of historical and sentimental import. Opened to the public on February 1, 1914, fifteen gowns were displayed as part of a “Period Costumes“ exhibit in the U.S. National Museum (now known as the Arts and Industries Building). Within just a few years, the exhibit was recognized as “one of the most interesting and popular in the Museum.” A First Ladies' Hall was created in the mid-1950s to exhibit the gown collection in period room settings. This design theme continued when the Hall moved to the Museum of American History and Technology (now the National Museum of American History) in 1964. The First Ladies' Hall was closed for renovation in 1987, allowing the curatorial staff to reassess the collection's use and conservators to perform long overdue examinations and treatments. Reinstallation of the exhibit is scheduled for spring 1992.The First Ladies' conservation project includes a history of each gown's use and exhibition as related to its physical condition and also includes stabilization treatments to meet the demands of future display. The current conservation project provided an unusual opportunity for extensive research into fabric deterioration of a popular and important collection. The goals of the research are twofold: first, to determine each object's state of preservation by studying the effectivenss of several analytical approaches with minimal destructive sampling and, second, to begin investigating the mechanisms involved in the degradation of silk, the material predominant in this collection.

Gender Dysphoria “I Am A Woman Soul Trapped In Male Body”: A Case Report

2016 ◽  
Vol 3 (4) ◽  
Author(s):  
Dr. Tenali. Rajini ◽  
Dr. Podaralla. Ramakrishna
Keyword(s):  
Case Report ◽  
Case History ◽  
Gender Dysphoria ◽  
Male Body ◽  
Male Adult ◽  
Psychological Assessments ◽  
History Of

The etiology of Gender Dysphoria case is explored through the case history of a male adult with depressive features. Elicited Psychological ramifications. Emotional turmoil and cultural obligations are also highlighted. Standardardized Psychological Assessments were administered and interpreted accordingly.

Religious Art and Architecture in 18th-Century Europe

2021 ◽  
Author(s):  
Sean DeLouche
Keyword(s):  
French Revolution ◽  
18Th Century ◽  
Cultural Tradition ◽  
Religious Art ◽  
Spiritual Power ◽  
Grand Tour ◽  
Gothic Revival ◽  
Works Of Art ◽  
The Arts ◽  
Art And Architecture

The 18th century was an era of transition for the arts and religion. Monarchs continued to commission religious art and architecture for a variety of reasons, including fulfillment of vows, expressions of faith and piety, and celebrations of dynastic power. The period saw simultaneous trends toward sumptuous decoration and sober display, as well as the rise of new artistic styles, including the Rococo, Neoclassicism, and the Gothic Revival. The Grand Tour brought many northern European Protestants to the seat of Catholicism. Protestant attitudes toward “popish” art softened in the 18th century, due in part to the increasing contact between Catholic and Protestant culture in Rome and to the perception that Catholicism was no longer a plausible threat. As the temporal and spiritual power of Rome declined in the 18th century, the papacy sought to reestablish itself as a cultural authority. The papacy embellished Rome with a number of archaeological and architectural initiatives, linking the popes with classical civilization and casting themselves as the custodians of the shared Western cultural tradition. With a growing art market and the consumer revolution, the populace had expanding access to religious imagery, from fine religious canvases collected by Catholic and Protestant elites, to reproducible prints that were available to nearly every member of society. However, the Enlightenment brought a profound questioning of religion. Religious works of art faced a loss of context in private displays and in the official Salon exhibitions, where they were intermixed with secular and erotic subjects and judged not on the efficacy of their Christian message or function but rather on aesthetic terms in relation to other works. The century ended with the French Revolution and brought violent waves of de-Christianization and iconoclasm. In order to save France’s Christian heritage, religious works of art had to be stripped of their associations with church and crown.

Understanding Culture

2017 ◽  
Author(s):  
Babette Hellemans
Keyword(s):  
Gender Studies ◽  
Duration Analysis ◽  
International Perspective ◽  
Theoretical Background ◽  
The Arts ◽  
Long Duration ◽  
Historical Investigation ◽  
History Of ◽  
And Gender ◽  
The Relationship

This pioneering textbook explores the theoretical background of cultural variety, both in past and present. How is it possible to study 'culture' when the topic covers the arts, literature, movies, history, sociology, anthropology and gender studies? Understanding Culture examines the evolution of a concept with varying meanings depending on changing norms. Offering a long-duration analysis of the relationship between culture and nature, this book looks at the origins of studying culture from an international perspective. Using examples from the several scholarly traditions in the practice of studying culture, Understanding Culture is a key introduction to the area. It identifies the history of interpreting culture as a meeting point between the long-standing historical investigation of 'humanism' and 'postmodernism' and is a comprehensive resource for those who wish to further their engagement with culture as both a historical and contemporary phenomenon.

Sign in / Sign up

Export Citation Format

Share Document