The Resource Contrasting images of the Book of Revelation in late medieval and early modern art : a case study in visual exegesis, Natasha F.H. O'Hear

Contrasting images of the Book of Revelation in late medieval and early modern art : a case study in visual exegesis, Natasha F.H. O'Hear

Label
Contrasting images of the Book of Revelation in late medieval and early modern art : a case study in visual exegesis
Title
Contrasting images of the Book of Revelation in late medieval and early modern art
Title remainder
a case study in visual exegesis
Statement of responsibility
Natasha F.H. O'Hear
Creator
Subject
Genre
Language
eng
Cataloging source
BTCTA
http://library.link/vocab/creatorDate
1980-
http://library.link/vocab/creatorName
O'Hear, Natasha
Dewey number
704.9484
Illustrations
  • illustrations
  • plates
Index
index present
LC call number
ND3361.R52
LC item number
O34 2011
Literary form
non fiction
Nature of contents
bibliography
http://library.link/vocab/subjectName
Apocalypse in art
Label
Contrasting images of the Book of Revelation in late medieval and early modern art : a case study in visual exegesis, Natasha F.H. O'Hear
Instantiates
Publication
Bibliography note
Includes bibliographical references and index
Contents
  • Lambeth Apocalypse: Reading, Viewing, and `Internalizing' the Book of Revelation in the Thirteenth Century
  • Durer's cultural context: apocalyptic speculation in the 1490s
  • 5.3.3.
  • Durer's personal and theological development, 1496--8
  • 5.3.4.
  • Durer's artistic influences
  • 5.3.5.
  • layout of Durer's Apocalypse Series
  • 5.3.6.
  • Durer as interpreter of the Book of Revelation
  • 5.4.
  • 1.1.
  • Lucas Cranach and the Book of Revelation
  • 5.4.1.
  • Lucas Cranach: artist and entrepreneur
  • 5.4.2.
  • Lucas Cranach's Passional Christi und Antichristi
  • 5.4.3.
  • Cranach's Book of Revelation illustrations, publication and reaction
  • 5.4.4.
  • Luther's role in the illustrations for the Book of Revelation
  • 5.4.5.
  • Introduction
  • Durer's and Cranach's Apocalypse images: a comparison
  • 5.5.
  • Conclusion
  • 6.
  • Hermeneutical Reflections and Visual Exegesis
  • 6.1.
  • Introduction
  • 6.2.
  • Part One: Visual exegesis as Sachexegese: A critical summary of the main findings
  • 6.3.
  • 1.2.
  • Text-image issues
  • 6.4.
  • Visualizing John's visions
  • 6.5.
  • Second-order reflection
  • 6.5.1.
  • Darstellung versus Vorstellung
  • 6.5.2.
  • Decoding versus actualizing visualizations
  • 6.6.
  • Anglo-Norman Apocalypse: Genre, patrons, and purpose
  • Hermeneutical conclusions and a contemporary example of Sachexegese
  • 6.7.
  • Part Two: Re-envisioning the Book of Revelation
  • 6.8.
  • Blake's re-envisioning of biblical texts
  • Conclusion
  • Appendices
  • 1.
  • Book of Revelation: A Visionary Text?
  • 2.
  • 1.3.
  • Brief Descriptions of the Koberger, Durer, and Cranach Apocalypse Images
  • 3.
  • Tables 1--5; Graph 1
  • Berengaudus Commentary and the development of apocalyptic exegesis
  • 1.4.
  • Lambeth Apocalypse
  • 1.4.1.
  • Machine generated contents note:
  • Questions of date, provenance, and patron
  • 1.4.2.
  • Questions of style and unity in Lambeth
  • 1.4.3.
  • reading/viewing experience
  • 1.4.4.
  • role of John in the Lambeth Apocalypse
  • 1.5.
  • Contemporary theological issues and the Lambeth Apocalypse
  • 1.5.1.
  • 1.
  • `elect' and the `reprobates'
  • 1.5.2.
  • Anti-Judaism, Antichrist, and the future in the Lambeth Apocalypse
  • 1.6.
  • Conclusion
  • 2.
  • Angers Apocalypse Tapestry: A Fourteenth-Century Walking Tour of the Book of Revelation
  • 2.1.
  • Introduction
  • 2.2.
  • Rationale behind the study and choice of visual case studies
  • Patron and possible purpose of the Angers Apocalypse Tapestry
  • 2.3.
  • Jean de Bondol and the manuscript models for Angers
  • 2.4.
  • Angers Apocalypse Tapestry: Form and composition
  • 2.5.
  • Issues of style, physicality, and temporality in the Angers Apocalypse Tapestry
  • 2.6.
  • role of John
  • 2.7.
  • 2.
  • Exegetical emphases of the Angers Apocalypse Tapestry
  • 2.8.
  • Conclusion
  • 3.
  • Visualizing the Book of Revelation for the Fifteenth-Century Congregation: The Ghent Altarpiece (1432) and the St John Altarpiece (1479)
  • 3.1.
  • Introduction
  • 3.2.
  • Ghent Altarpiece
  • 3.3.
  • Brief outline of the study
  • patrons of the Ghent Altarpiece, its original location and function
  • 3.4.
  • theological programme of the Ghent Altarpiece and its likely sources
  • 3.5.
  • Conclusion
  • 3.6.
  • Hans Memling's St John Altarpiece
  • 3.7.
  • Setting and function of the altarpiece
  • 3.8.
  • 3.
  • Memling's iconographic and textual influences
  • 3.9.
  • Detailed analysis of the Apocalypse panel of the St John Altarpiece
  • 3.10.
  • Conclusion
  • 4.
  • Mystic Nativity: Botticelli and the Book of Revelation
  • 4.1.
  • Introduction
  • 4.2.
  • Towards an interdisciplinary methodology
  • artist: Alessandro Botticelli
  • 4.3.
  • Botticelli's cultural and intellectual context
  • 4.4.
  • Patron, place, and purpose of The Mystic Nativity
  • 4.5.
  • Mystic Nativity
  • 4.6.
  • Conclusion
  • 5.
  • 1.
  • Time of Transition: Visual Representations of the Book of Revelation in Germany in the Late Medieval and Early Modern Period
  • 5.1.
  • Introduction
  • 5.2.
  • Koberger Bible
  • 5.3.
  • Durer's Apocalypse Series
  • 5.3.1.
  • Durer's artistic development: preparing for the `Apocalypse'
  • 5.3.2.
Dimensions
24 cm.
Extent
xvii, 287 p., [16] p. of plates
Isbn
9780199590100
Other physical details
col. ill.
System control number
  • (CaMWU)u2206263-01umb_inst
  • 2352837
  • (Sirsi) i9780199590100
  • (OCoLC)607987844
Label
Contrasting images of the Book of Revelation in late medieval and early modern art : a case study in visual exegesis, Natasha F.H. O'Hear
Publication
Bibliography note
Includes bibliographical references and index
Contents
  • Lambeth Apocalypse: Reading, Viewing, and `Internalizing' the Book of Revelation in the Thirteenth Century
  • Durer's cultural context: apocalyptic speculation in the 1490s
  • 5.3.3.
  • Durer's personal and theological development, 1496--8
  • 5.3.4.
  • Durer's artistic influences
  • 5.3.5.
  • layout of Durer's Apocalypse Series
  • 5.3.6.
  • Durer as interpreter of the Book of Revelation
  • 5.4.
  • 1.1.
  • Lucas Cranach and the Book of Revelation
  • 5.4.1.
  • Lucas Cranach: artist and entrepreneur
  • 5.4.2.
  • Lucas Cranach's Passional Christi und Antichristi
  • 5.4.3.
  • Cranach's Book of Revelation illustrations, publication and reaction
  • 5.4.4.
  • Luther's role in the illustrations for the Book of Revelation
  • 5.4.5.
  • Introduction
  • Durer's and Cranach's Apocalypse images: a comparison
  • 5.5.
  • Conclusion
  • 6.
  • Hermeneutical Reflections and Visual Exegesis
  • 6.1.
  • Introduction
  • 6.2.
  • Part One: Visual exegesis as Sachexegese: A critical summary of the main findings
  • 6.3.
  • 1.2.
  • Text-image issues
  • 6.4.
  • Visualizing John's visions
  • 6.5.
  • Second-order reflection
  • 6.5.1.
  • Darstellung versus Vorstellung
  • 6.5.2.
  • Decoding versus actualizing visualizations
  • 6.6.
  • Anglo-Norman Apocalypse: Genre, patrons, and purpose
  • Hermeneutical conclusions and a contemporary example of Sachexegese
  • 6.7.
  • Part Two: Re-envisioning the Book of Revelation
  • 6.8.
  • Blake's re-envisioning of biblical texts
  • Conclusion
  • Appendices
  • 1.
  • Book of Revelation: A Visionary Text?
  • 2.
  • 1.3.
  • Brief Descriptions of the Koberger, Durer, and Cranach Apocalypse Images
  • 3.
  • Tables 1--5; Graph 1
  • Berengaudus Commentary and the development of apocalyptic exegesis
  • 1.4.
  • Lambeth Apocalypse
  • 1.4.1.
  • Machine generated contents note:
  • Questions of date, provenance, and patron
  • 1.4.2.
  • Questions of style and unity in Lambeth
  • 1.4.3.
  • reading/viewing experience
  • 1.4.4.
  • role of John in the Lambeth Apocalypse
  • 1.5.
  • Contemporary theological issues and the Lambeth Apocalypse
  • 1.5.1.
  • 1.
  • `elect' and the `reprobates'
  • 1.5.2.
  • Anti-Judaism, Antichrist, and the future in the Lambeth Apocalypse
  • 1.6.
  • Conclusion
  • 2.
  • Angers Apocalypse Tapestry: A Fourteenth-Century Walking Tour of the Book of Revelation
  • 2.1.
  • Introduction
  • 2.2.
  • Rationale behind the study and choice of visual case studies
  • Patron and possible purpose of the Angers Apocalypse Tapestry
  • 2.3.
  • Jean de Bondol and the manuscript models for Angers
  • 2.4.
  • Angers Apocalypse Tapestry: Form and composition
  • 2.5.
  • Issues of style, physicality, and temporality in the Angers Apocalypse Tapestry
  • 2.6.
  • role of John
  • 2.7.
  • 2.
  • Exegetical emphases of the Angers Apocalypse Tapestry
  • 2.8.
  • Conclusion
  • 3.
  • Visualizing the Book of Revelation for the Fifteenth-Century Congregation: The Ghent Altarpiece (1432) and the St John Altarpiece (1479)
  • 3.1.
  • Introduction
  • 3.2.
  • Ghent Altarpiece
  • 3.3.
  • Brief outline of the study
  • patrons of the Ghent Altarpiece, its original location and function
  • 3.4.
  • theological programme of the Ghent Altarpiece and its likely sources
  • 3.5.
  • Conclusion
  • 3.6.
  • Hans Memling's St John Altarpiece
  • 3.7.
  • Setting and function of the altarpiece
  • 3.8.
  • 3.
  • Memling's iconographic and textual influences
  • 3.9.
  • Detailed analysis of the Apocalypse panel of the St John Altarpiece
  • 3.10.
  • Conclusion
  • 4.
  • Mystic Nativity: Botticelli and the Book of Revelation
  • 4.1.
  • Introduction
  • 4.2.
  • Towards an interdisciplinary methodology
  • artist: Alessandro Botticelli
  • 4.3.
  • Botticelli's cultural and intellectual context
  • 4.4.
  • Patron, place, and purpose of The Mystic Nativity
  • 4.5.
  • Mystic Nativity
  • 4.6.
  • Conclusion
  • 5.
  • 1.
  • Time of Transition: Visual Representations of the Book of Revelation in Germany in the Late Medieval and Early Modern Period
  • 5.1.
  • Introduction
  • 5.2.
  • Koberger Bible
  • 5.3.
  • Durer's Apocalypse Series
  • 5.3.1.
  • Durer's artistic development: preparing for the `Apocalypse'
  • 5.3.2.
Dimensions
24 cm.
Extent
xvii, 287 p., [16] p. of plates
Isbn
9780199590100
Other physical details
col. ill.
System control number
  • (CaMWU)u2206263-01umb_inst
  • 2352837
  • (Sirsi) i9780199590100
  • (OCoLC)607987844

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