Essays exploring how methodologies of the history of art have been used to address the Christian content of artistic works, from iconography to postwar modernism.
Trade Information: LPOD
Available as: Paperback, PDF
Specifications: 229x153mm, 376pp, colour and b&w illustrations
Published: December 2014
Specifications: 355pp, colour and b&w illustrations
Published: December 2014
ReVisioning examines the application of art-historical methods of investigation to the study of Christianity and art. As art history has become more interdisciplinary, discussions of religion in art and visual culture more generally have emerged. The contents of this book represents the first critical examination of scholarly methodologies applied to the study of Christian subjects, themes, and contexts in art. ReVisioning contains original work from a range of scholars, each of whom addresses the question "How have particular methods of art history been applied, and to what effect?" with regard to a well-known work of art or body of work. The study moves from the third century to the present, providing extensive treatment and analysis of the history of Christianity and art.
James Romaine is Associate Professor of Art History and Chair of the Department of Art History at Nyack College, Nyack, NY. He is also the President of the Association of Scholars of Christianity in the History of Art (ASCHA). His recent scholarship includes Art as Spiritual Perception: A Festschrift for Dr. E. John Walford (2012), and contributing to the exhibition catalogue, Tim Rollins and K.O.S.: A History (2009).
Linda Stratford is Associate Professor at Asbury University, Wilmore, KY. She is a board member of ASCHA and has produced a number of publications and presentations that draw upon cross-disciplinary training in art history and aesthetics, including a manuscript in progress, "Artists into Frenchmen", a study of art and identity in modern France.
Romaine and Stratford's collection raises the question of how methodologies of art history – formulated within the secular context of modern academe – have failed and succeeded at understanding the Christian content of works of art. The question becomes urgent when the artworks under examination are also from the modern period and thus suffer from the doubling of denial of Christian content, but the collection is also enriched by material from earlier periods of art. Natasha Seaman, Rhode Island College, Providence, RI
ReVisioning sustains intellectual sophistication while it revises, reconsiders, and reimagines the rich threads in the fabric of critical Christianity. These thoughtful essays venture courageously into the space within academe too often dismissed, suppressed, or maligned – that is to say, the space of the sacred. ReVisioning is a courageous and long-overdue stake in the ground. Ronald R. Bernier, Wentworth Institute of Technology, Boston, MA