1 comments about Art and Faith in Mexico: The Nineteenth-Century Retablo Tradition.

1. I have been searching for a book such as this for years! Scholars and novices alike will not be dissapointed with this comprehensive text by Elizabeth Zarur and Charles Lovell. This exceptional publication documents an exhibit of mexican retablos and ex votos held at the New Mexico State University Art Gallery (holders of THE largest collection of retablos in the USA). The catolog raisonne provides a wealth of information on the topic, that will become an invaluable reference source. The publication however goes far beyond documenting the exhibit. Undoubtably this text will become the "bible" for chronicling and deciphering these treasures. The two editors have brought together prominent scholars on the subject who comment on the works from an interdisciplinary ( art history, anthropological, folk art, and religioious) point of view. The iconography within the retablos is clearly deciphered throughout the text in a manner that will enlighten the reader who is new to these works, and will serve as an invaluable resource to the learned hagiographer. Additional topics in the text will provide the reader with information that has not been covered in other texts on the subject, such as: insights into religious orders who influenced the visual qualities and symbolism in the artworks, conservation and care of retablos in general. Of particular interest is editor Zarur's commentary on the impact of Spanish missionization upon the indigenous people of Mexico. She presents profound insights into how the fusing of these cultures impacted and altered visual representations of the saints and cult imagery. The visual reproductions of the works are exceptional! One can feel as though they are viewing the works in person. Brushstrokes, tin surfaces, and age of the artworks are evident in the photographs. Many of the works are complemented with close up photos. If you purchase one book on Mexican religious artworks this is it. You will not be disappointed with this one!

3 comments about The Clash of Gods: A Reinterpretation of Early Christian Art (Princeton Paperbacks).

1. Mathews is primarily concerned to refute a particular early 20th-Century German and Eastern European ideological theory that the portrayal of Jesus in art was derived directly from the detailed portrayal of Roman emperors in art and that this artistic portrayal of Jesus as emperor legitimates imperial political structure, with an emperor, in the contemporary era (of 1920-1950).
   
   Mathews shows that the early artistic portrayal of Jesus presented him as a counter-Jupiter and all-ruler (pantokrator), not as a worldly emperor (kosmocrator). Jesus was also portrayed in early Christian art as androgynous and as the most powerful magician, and as a philosopher. The portrayal of Jesus in art consciously and deliberately presented him as anti-emperor.
   
   Sometimes Mathews confusingly asserts that the way Jesus was portrayed had absolutely nothing to do with the emperor, but in other chapters, originally published as separate articles, he asserts that Jesus was portrayed consciously and deliberately as a non-emperor. Mathews' extremist manner of expression and apparent self-contradiction reveals his succumbing to political fear of 20th-Century re-institution of emperors, resulting in a polemical mode of expression, which lacks precision. Mathews' overweening concern to refute an early 20th-Century political theory causes him to misstate or inconsistently describe his theory about how Jesus was portrayed and what the portrayals meant in the first few centuries.
   
   He ought to strike most of his invective against the very specific, quirky, and particular early 20th-century theory of artistic derivation that he confusingly labels with the ambiguous term "the emperor mystique", and instead explain consistently his positive position about how the Jesus figure did relate to or refute the figure of the emperor -- and, more to the point, how the Christ religion overall was artistically portrayed in relation to how the Roman imperial system of Pax Romana was artistically portrayed.
   
   Mathews ought to engage with the latest theories of Roman imperial theology/ideology, starting with the work of S.R.F. Price, and contribute directly to that effort, rather than devoting so much coverage to a particular 1930s-era view. That's the hardest aspect of reading this book: today's reader comes to it expecting commentary on Price and Horsley, but instead, finds a concern that seems to affirm most of Price and Horsley while being positioned as somehow "against the Emperor Mystique".
   
   This book is dissonant and confusing polemics until you figure out how to harmonize it with the sensible views of Price and Horsley. By the phrase 'the Emperor Mystique', Mathews doesn't have Price and Horsley's view in mind as one naturally expects these days, but rather, a particular quirky, specific theory of artistic-elements derivation of Jesus' portrayal, a theory that was in service of 20th-Century pro-emperor politics.
   
   No scholars are currently asserting that the artistic portrayal of Jesus is directly derived from the portrayal of emperors in their "purely political" function. Rather, what Price, Horsley, and N.T. Wright are stressing these days is that the New Testament books were highly intent on presenting a rebuttal and sociopolitical alternative to the religiously legitimated political ideology and imperial theology of Pax Romana and Roman imperial Ruler Cult -- a view that is supported by Mathews' Christ Pantokrator (almighty all-ruler), magician, and personally caring philosopher.
   
   The book presents a somewhat useful picture of Jesus as philosopher, counter-Jupiter, and healer-magician, but unfortunately that clarification is tangled up with confusing polemics in a self-contradictory, overheated manner of expression, all the more confusing because you get that battle (tilting against a long-dead windmill of 1930s German politics) where you expect instead an engagement with more recent scholarship clarifying the relationship of Christianity and the late-antique Roman empire.
   
   As a rebuttal to the particular artistic-derivation theory of Grabar, the book succeeds, but it doesn't engage with the more general, recent, systematic studies of Christianity as rebuttal and alternative to the system of the Roman empire.



2. While Mathews has crafted an thorough polemic against what he calls the "Emperor Mystique" prevalent as a key hermenuetic of early christian art, he stimulated me to go beyond the declared intent of his thoughtful book. The author opens the door to the polyvalence of the symbolism of the art of the church, particularly from the third through the sixth centuries. Mathews presents the adaptation of Greco-Roman art forms and their translation into the competitive contexts of christian origins. While I was persuaded that Alfoldi and Grabar probably went too far in their attempt to link the art of the church with an exclusively imperial model, I still believe that many christians would have recognized elements of this model in viewing the paintings and mosaics of the church. Religious symbolism can function in multiple ways, both singly and in combinations depending on various religious, political, social, and economic agenda. This book is a useful complement to Averil Cameron's "Christianity and the Rhetoric of Empire."



3. This is a bold and clear reinterpretation of Early Christian Art. It moves the reader through a cany reseeing that respects and illuminates both the message and the people who received it. Mathews explains in an open and well documented way how Christian images fought and defeated the pagan gods. As an art historian trained with the rather confusing cannon of earlier scholarship I found it delightful reading.

2 comments about The Meaning of Icons.

1. About icons and their meaning I already had (and read) a lot in the Russian language, but until now I didn't have content and illustrations in one hand. That's for me the meaning of the Meaning. It is short, gives the theological and canonical information about the role of the icon in Eastern Orthodoxy from inside, the themes are worked out and clearly arranged, the illustrations are big and beautyful. So, I am very glad that I sought for it and bought it.



2. Among the many books on icons, this is one of the oldest still in print. Why has it become a classic? Because it was written by one of the greatest twentieth century theologians, Vladimir Lossky, and by one of the greatest 20th century iconographers,Leonide Ouspensky who spent the whole of his artistic life in France painting icons and frescoes. Their approach is unique not only because of their deep experience of the Orthodox faith, but also because of the way they decided to describe the colour prints reproduced in this volume. What we have here is a superb commentary in the form of selection of poetry from the feasts during which these icons are placed in the middle of the church. Much of this Byzantine hymnography has no parallel in the West. It is what is heard in the eastern Christian church throughout the liturgical year which this volume beautifully illustrates both in word and image. The authors' feeling for the uplifting prayer of which icons play such a vital part is genuine and rarely found in any other book about the iconographic tradition. All Christians and many non-Christians will appreciate their respectful presentation of the revelation of God to man as it is presented in this book.

2 comments about Infinitas Gracias: Contemporary Mexican Votive Painting.

1. This book is a wonderful glimpse into the lives of ordinary people who struggle with all the problems you can imagine. It is a testament to deeply-held faith and how it works. It made me happy to read all the stories and see that you CAN get through the worst of times.



2. Retablos are oil paintings on metal that give thanks for divine intervention in a tough time, like escaping before your best friend finds you in bed with his wife. There is very little text besides a translation of the explanation of each event painted on each picture. There are probably about 100 pictures of retablos in this book, mostly by Afredo Vilchis Roque or his sons.There are a few from the artists own collection going back to the 1920's. There are twenty different sections based on subject like prostitution, drowning, circus accidents and September 11. The artwork is very colorful and humble, if someone fell from the roof she is pictured upside down, the way a child would probably paint it. The prayers are written in a more phonetic Spanish, for example, gracias is spelled grasias, vende becomes bende, etc. A great introduction to the subject and you can't beat the price.

1 comments about Idols Behind Altars: Modern Mexican Art and Its Cultural Roots (Economy Editions).

1. This book is of course dated, but it's well wort the read anyways. The Mexican muralists were so deeply tied to Mexico's revolutionary culture that having a contemporary account of their place in society such as this provides a unique source for understanding the relationship between art and society in that period. Later accounts may be more objective, but it's precisely Ms. Brenner's being caught up in the times that makes the book so interesting. She knew all these people and she was in a unique position to describe the movement to the english speaking world.
   The book is very well written. Brenner is a very polished writer. Her prose is very well crafted.
   The downside to the book is that it is written before many of the most important works of artists she writes about were executed. Also her emphases at time to seem slightly askew. For example her chapter on Goitia seems rather odd given the way in which he has become such a minor figure over the intervening years.

1 comments about Art in Action: Toward a Christian Aesthetic.

1. I am a graduate student in the fine arts at a major university in the United States. I ordered this book with an eye on enriching my own theological reflection on the arts, an area that presently suffers from near pervasive theological negligence and fundamentalist reductive tendencies.
   
   Wolterstorff's "Art in Action" is commendable in so far as it offers careful analysis of and convincing argumentation against predominate contemporary Western views on the arts. This offering is additionally refreshing because Wolterstorff avoids the reactionary views of books with similar topics.
   
   This book advances an argument rooted in Christian narrative but driven largely by a philosophical engine that privileges rigorous analytic logic and careful scientific scrutiny. I see this as both the book's great strength and weakness.
   
   Wolterstorff spends an overwhelming majority of the book developing exacting analysis on what he rightly considers the narrowness of contemporary Western notions regarding the arts, with frequent discussions of analytic/scientific evidence regarding the arts and the nature of perception. Unfortunately, this privileging of analytic/scientific discourses significantly undermines the development of a prophetic, coherent narrative that distills a broader, more compelling Christian view of the arts in our lives.
   
   I make this criticism partly because Wolterstorff himself claims that this volume is meant to be the more accessible work of a set of philosophical reflections he has written on the arts.
   
   Those whose philosophical leanings run in the pragmatic/poststructuralist direction, or those whose theological narratives are indebted more to a Christ-story rather than a creation-story (Wolterstorff relies primarily on the latter), will find that the arguments of this book occasionally seem to miss the mark. Nevertheless, they will also find a cogent analysis and critique of contemporary Western notions of the arts as well as the messy birth of a Christian perspective for the arts.

1 comments about Fra Angelico.

1. Fra Angelico is a captivating showcase of the classical creations of Fra Giovanni de Fiesole (c. 1390/95-1455), one of the great painters of the early Italian Renaissance, especially known for his Christian artwork. Nearly 200 full color illustrations take the reader on a wondrous tour of Angelico's beautiful expressions of faith, while the text spares no detail in chronicling Angelico's life, inspiration, and legacy to later masters including Raphael, the Nazarenes, and the Symbolists. A classical art lover's treasury, enthusiastically recommended for public library and private artbook collections.

5 comments about Symbolism of the Celtic Cross.

1. A previous commentator mentioned that he was unable to trust anything but the dates and locations. I'm afraid he shouldn't even trust the dates. For example, on page 40 the author lists the date of St. Aidan's ordination as Bishop of Lindisfarne as 653 AD, which is difficult since Aidan died in 642. The true date is 635 AD. Also, on the very next page, Bryce lists the date of the Synod of Whitby as 644; in actuality it took place in 664. While this may seem to be an exercise in nit-picking, since the book focuses strongly on the Celtic Christian church, and since these are quite possibly the two most formative dates in that church's history, it is disturbing that the author would offer them incorrectly. Beware of the others...



2. What a disappointment! The author clearly had an agenda, which was focused on the christian influence on Celtic Crosses. Many of his assumptions are self-serving, and I was tempted to put the book down halfway through in disgust. Other reviewers have noted good artwork, which I'll concede, but photos would have been better. I purchased this expecting some enlightenment into what the pre-Christian crosses symbolised, and was sorely disappointed.



3. The value of this book lies in its bringing together a number of drawings of Celtic Crosses - as additions to market cross, as free standing crosses, as illustrations within a paten ... etc. And the author calls attention to details within the crosses that might otherwise be overlooked.

   However, if you are looking for a book to interpret the crosses, one can better spend one's time looking for better sources. Bryce feels comfortable asserting that early Christianity was estoteric (the Gnostic Christianity was), asserting that Hindu worldviews are imbedded in the Celtic symbolism (they are both IndoEuropean there could be a connection), and otherwise assuming that "universal" can be assumed - it doesn't require proof. By the end, I was unwilling to trust anything the author wrote beyond the dates, locations and other basis information associated with the crosses. On too many points I wanted to steer him to reliable sources such as Pelikan on the history of images of Christ to modify his over simplification.

   Nonetheless, the book is worth its cost for the illustrations - and some of what the author writes is useful.




4. I've gotten in the habit of carrying this book around to show all my friends who ask me why I wear a cross when I'm pagan... like the way this book points out (as so few do) that crosses DID exist before Christianity



5. Derek Bryce illuminates the history and precise symbolism of the Celtic cross. Reminding us that the wheel suggests the halo of the divine takes us to the growing humber of empty crosses in Europe and USA showing Christ as victor over death. This expresses the divine shining through many holy beings. For interpretation of the four figures around Christ over the main door of Chartres cathedral read A New Sense of Destiny from Ancient Symbols.

No comments about Sacred and Profane Beauty: The Holy in Art (American Academy of Religion Texts and Translations Series).

No comments about The Art of the Sacred: An Introduction to the Aesthetics of Art and Belief.