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Titel: The Apocalypse and the Shape of Things to ...
Verlag: British Museum Press
Zustand: Near Fine
Zustand des Schutzumschlags: Near Fine
Auflage: 1st edition.
Art des Buches: Binding tight, text unmarked
~No ownership marks. Top edges dust-spotted. Dustwrapper unclipped. Size: 352pp, illus. 4to. Buchnummer des Verkäufers KK0885
Inhaltsangabe: The end of the second millenium is an appropriate moment to evaluate the legacy of one of the most vivid and controversial writings in the Christian canon, the Book of Revelation. The idea of an apocalypse that was both destructive and redemptive provided a rich vein of visual and literary imagery that remains a force in contemporary culture. This book examines the tradition as represented by illuminated manuscripts, books, prints, and drawings from the eleventh century up to the end of the Second World War, concentrating on particular episodes or apocalyptic phases, which have often occurred at the end of centuries and have always been rooted in historical and political circumstances.The defining moment in the development of the pictorial tradition was Durer's great Apocalypse cycle, published in 1498. Apocalyptic imagery was quickly appropriated as a vehicle for propaganda and satire, becoming secularised at the hands of artists such as the late eighteenth-century satirist James Gillray. Gillray's contemporary William Blake evolved a concept of Apocalypse and Judgement that responded to the millenarian currents and revolutionary upheavals of his time.In our own century, apocalyptic metaphor has been a powerful vehicle for many writers, artists, and film directors to convey their visions of worldly and spiritual destruction and regeneration.
Inhaltsangabe: "The Book of Revelation", with its vision of an apocalypse that is both destructive and redemptive, has provided a rich vein of imagery which remains a force in contemporary culture. This work examines the depiction of the Apocalypse in the visual arts over nearly 1000 years. after the great medieval manuscripts cycles, the pivotal point in the development of the pictorial tradition was Durer's famous set of woodcuts, published in 1498. Apocalyptic imagery was quickly exploited for propaganda and satire by artists such as James Gillray, while Gillray's contemporary William Blake used it as part of a personal mythology that pervaded every aspect of his work. In the 20th century apocalyptic metaphor has been a powerful vehicle for visions of worldly and spiritual devastation and regeneration, particularly through the medium of cinema. As the century, and with it the second millennium AD, comes to an end, this is an appropriate moment to re-evaluate the legacy of one of the most vivid and controversial texts of all time. Including essays by seven distinguished scholars and detailed discussions of approximately 240 works of art, the book is illustrated throughout.
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