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|Condition||A sequel to the landmark catalogue The Glory of Byzantium, this magnificent book features work from the last golden age of the Byzantine empire.|
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Byzantium: Faith and Power (1261-1557) by the New York Metropolitan Museum of Art and Helen C. Evans (Editor).
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DESCRIPTION: Softcover. Publisher: Metropolitan Museum (2004). Pages: 658. Size: 12 x 9 x 1½ inches; 7 pounds. A sequel to the landmark catalogue The Glory of Byzantium, this magnificent book features work from the last golden age of the Byzantine empire. During the last centuries of the "Empire of the Romans", Byzantine artists created exceptional secular and religious works that had an enduring influence on art and culture. In later years, Eastern Christian centers of power emulated and transformed Byzantine artistic styles, the Islamic world adapted motifs drawn from Byzantium's imperial past, and the development of the Renaissance from Italy to the Lowlands was deeply affected by Byzantine artistic and intellectual practices. This spectacular book presents hundreds of objects in all media from the late thirteenth through mid-sixteenth centuries. Featured in full-color reproductions are sacred icons, luxuriously embroidered silk textiles, richly gilded metalwork, miniature icons of glass, precious metals and gemstone, and elaborately decorated manuscripts. In the accompanying text, renowned scholars discuss the art and investigate the cultural and historical interaction between these major cultures: the Christian and Islamic East and the Latin West. Continuing the story of the critically acclaimed Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843-1261, this book, the first to focus exclusively on the last centuries of the Byzantine era, is a highly anticipated publication that will not be superseded for generations.
CONDITION: NEW. MASSIVE softcover. Metropolitan Museum of Art (2004) 658 pages. Unblemished, unmarked, pristine in every respect. Pages are pristine; clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! Meticulous and accurate descriptions! Selling rare and out-of-print ancient history books on-line since 1997. We accept returns for any reason within 14 days! #7985a.
PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK.
PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW.
REVIEW: The fall of the Byzantine capital of Constantinople to the Latin West in 1204 during the Fourth Crusade abruptly interrupted nearly nine hundred years of artistic and cultural traditions. In 1261, however, the Byzantine general Michael VIII Palaiologos triumphantly re-entered Constantinople and reclaimed the seat of the empire, initiating a resurgence of art and culture that would continue for nearly three hundred years, not only in the waning empire itself but also among rival Eastern Christian nations eager to assume its legacy. Byzantium: Faith and Power (1261–1557), and the groundbreaking exhibition that it accompanies, explores the artistic and cultural flowering of the last centuries of the "Empire of the Romans" and its enduring heritage.
Conceived as the third of a trio of exhibitions dedicated to a fuller understanding of the art of the Byzantine Empire, whose influence spanned more than a millennium, "Byzantium: Faith and Power (1261–1557)" follows the 1997 landmark presentation of "The Glory of Byzantium," which focused on the art and culture of the Middle Byzantine era—the Second Golden Age of the Byzantine Empire (843–1261). In the late 1970s, "The Age of Spirituality" explored the early centuries of Byzantium's history. The present concluding segment explores the exceptional artistic accomplishments of an era too often considered in terms of political decline. Magnificent works—from splendid frescoes, textiles, gilded metalwork, and mosaics to elaborately decorated manuscripts and liturgical objects—testify to the artistic and intellectual vigor of the Late and Post-Byzantine era. In addition, forty magnificent icons from the Holy Monastery of Saint Catherine, Sinai, Egypt, join others from leading international institutions in a splendid gathering of these powerful religious images.
While the political strength of the empire weakened, the creativity and learning of Byzantium spread father than ever before. The exceptional works of secular and religious art produced by Late Byzantine artists were emulated and transformed by other Eastern Christian centers of power, among them Russia, Serbia, Bulgaria, and Cilician Armenia. The Islamic world adapted motifs drawn from Byzantium's imperial past, as Christian minorities in the Muslin East continued Byzantine customs. From Italy to the Lowlands, Byzantium's artistic and intellectual practices deeply influenced the development of the Renaissance, while, in turn, Byzantium's own traditions reflected the empire's connections with the Latin West. Fine examples of these interrelationships are illustrated by important panel paintings, ceramics, and illuminated manuscripts, among other objects. In 1557 the "Empire of the Romans," as its citizens knew it, which had fallen to the Ottoman Turks in 1453, was renamed Byzantium by the German scholar Hieronymus Wolf.
The cultural and historical interaction and mutual influence of these major cultures—the Latin West and the Christian and Islamic East—during this fascinating period are investigated in this publication by a renowned group of international scholars in seventeen major essays and catalogue discussions of more than 350 exhibited objects.
REVIEW: These papers on the Late Byzantine period were inspired by the major loan exhibition "Byzantium: Faith and Power (1261–1557)," which was held at The Metropolitan Museum of Art from March 23 through July 5, 2004. They were first presented by a group of renowned international scholars who gathered at the Museum on April 16–18, 2004, for a symposium examining the resurgence of artistic, cultural, and religious life during the last centuries of Byzantium. For the broadest possible perspective, the speakers, who were drawn from various disciplines, considered not only art history but also those developments in such fields as economics, politics, literature, and urban life that profoundly affected the visual arts.
For almost two centuries after 1261, the year in which Michael VIII Palaiologos recaptured Constantinople from its Latin occupiers, Byzantine creativity and learning spread farther than ever before, even though the political strength of the empire was on the wane. The texts collected here examine issues central to life in the capital, including artistic patronage and the changing physiognomy of the city, but they also describe the continued growth of Byzantine influence on the Christian and Muslim East and the Latin West. Essays on the Eastern lands include studies of trade, which during these years stretched eastward across Asia and northward through the Black Sea; of relations with powers in the Caucasus, Asia Minor, and Central Asia, as reflected in the life of the Georgian princess T'amar; and of scholarly exchanges between Byzantine and Arabic writers.
Among the texts focusing on the West are one describing Byzantine elements in the decoration of the basilica of San Marco in Venice and another tracing the evolution of the cult of Saint Catherine of Alexandria from its beginnings in the monastery at Sinai to its enthusiastic adoption in Europe. Byzantine religious life in this "age of icons" (forty exceptional works from the Sinai monastery appeared in the exhibition) is the subject of insightful essays on the place of icons during the empire's long history and on Palaiologan iconography and liturgy.
The sixth in the Metropolitan Museum's Symposia series, this volume sheds valuable new light on the world in which Late Byzantine art was created and viewed.
REVIEW: Evans is associate curator of Early Christian and Byzantine Art in the Department of Medieval Art at the Metropolitan Museum of Art, New York. Alice-Mary Talbot is Director of Byzantine Studies Emerita, Dumbarton Oaks Research Library and Collection. Slobodan Curcic i is Associate Professor of History of Architecture at the University of Illinois, Urbana-Champaign. His doctoral dissertation on Gra anica, written for the Institute of Fine Arts of New York University, was awarded the 1977 prize from the Joint Committee on Eastern Europe of American Council of Learned Societies and the Social Science Research Council. The book has also received a grant from The Millard Meiss Publication Fund of the College Art Association of America.
Sarah T. Brooks is Research Associate in the Department of Medieval Art and The Cloisters, The Metropolitan Museum of Art. Annemarie Weyl Carr is Professor Emerita of Art History at Southern Methodist University. Scott Redford is Associate Professor, Department of Archaeology and History of Art, and Director of the Research Center for Anatolian Civilizations at Koc University, Istanbul. Thomas is Associate Professor of the history of Art and Associate Curator of the Kelsey Museum at the University of Michigan.
Anne Derbes is the author of Picturing the Passion Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Levant. She has published on medieval art in journals such as The Art Bulletin, Speculum and Gesta. Robert S. Nelson teaches music theory and composition at the Moores School of Music, University of Houston. A composer in residence and music director of the Houston Shakespeare Festival for 17 seasons, he has also received numerous commissions for compositions and arrangements for the Houston Symphony Orchestra. Ainsworth is senior research fellow in the Department of Paintings Conservation at The Metropolitan Museum of Art.
REVIEW: TABLE OF CONTENTS.
Statement by His All Holiness Bartholemew, Archbishop of Constantinople, New Rome, and Ecumenical Patriarch of the Orthodox Christian Church.
Lenders to the Exhibition.
Contributors to the Catalogue.
Note to the Reader.
Map: Byzantium and Its Neighbors, 1261–1577.
Byzantium: Faith and Power (1261–1557) by Helen C. Evans.
Revival and Decline: Voices from the Byzantine Capital by Alice-Mary Talbot.
Catalogue numbers 1–33.
Religious Settings of the Late Byzantine Sphere by Slobodan Ćerurcic.
Catalogue numbers 34–48.
Sculpture and the Late Byzantine Tomb by Sarah Brooks.
Catalogue numbers 49–59.
Liturgical Implements by Anna Ballian.
Catalogue numbers 60–76.
Images: Expressions of Faith and Power by Annemarie Weyl Carr.
Catalogue numbers 77–125.
Images of Personal Devotion: Miniature Mosaic and Steatite Icons by Arne Effenberger.
Catalogue numbers 126–49.
Precious-Metal Icon Revetments by Jannic Durand.
Catalogue numbers 150–55.
Manuscript Illumination in Byzantium, 1261–1557 by John Lowden.
Catalogue numbers 156–76.
Liturgical Textiles by Warren Woodfin.
Catalogue numbers 177–200.
The Icon as a Ladder of Divine Ascent in Form and Color by His Eminence Archbishop Damianos of Sinai, Faran, and Raitha, Abbot of the Greek Orthodox Monastery of Saint Catherine, Sinai, Egypt.
Catalogue numbers 201–42.
Byzantium and the Islamic World, 1261–1557 by Scott Redford.
Catalogue numbers 243–55.
The Arts of Christian Communities in the Medieval Middle East by Thelma K. Thomas.
Catalogue numbers 256–71.
Italy, the Mendicant Orders, and the Byzantine Sphere by Anne Derbes and Amy Neff.
Catalogue numbers 272–97.
Venice and the Byzantine Sphere by Maria Georgopoulou.
Catalogue numbers 298–313.
Byzantium and the Rebirth of Art and Learning in Italy and France by Robert S. Nelson.
Catalogue numbers 314–28.
"À la façon grèce": The Encounter of Northern Renaissance Artists with Byzantine Icons by Maryan W. Ainsworth.
Catalogue numbers 329–55.
Notes to the Essays.
REVIEW: Written to accompany the exhibition held at the Metropolitan Museum of Art in 2004, this handsome catalogue matches in ambition and scholarly depth the exhibition itself, which featured over 350 works, the majority of them loaned from collections worldwide, many of them rarely seen outside their religious setting. The catalogue is organized around thematic essays written by specialists worldwide, with the appropriate works from the exhibition following each essay, each with a full entry. Among the topics for the essays are religious settings, sculpture, liturgical implements, miniature mosaic and steatite icons, manuscript illumination, liturgical textiles, Byzantium and the Islamic world, Christian communities of the Middle East, Italy and the mendicant orders, Venice, the role of Byzantium in the revival of art and learning in Italy and France, and the use of icons by artists of the Northern Renaissance. Evans is curator of Early Christian and Byzantine art at the Metropolitan. [Book News].
REVIEW: Yeats imagined Byzantium -- another multifarious world of East and West -- as an aesthetic utopia, with Grecian goldsmiths fashioning miraculous things ''to keep a drowsy Emperor awake. “Byzantium: Faith and Power (1261-1557)”, edited by Helen C. Evans, discerns a more complicated picture in the final phase of Byzantine art, when the Orthodox Church still knit a vast region, from Greece to Russia, together with a lively trade in miracle-working icons, relics of the true cross and pilgrimages to the holy Mount Athos. [New York Times].
REVIEW: Both lavish and hefty (it weighs almost seven pounds), this book has been issued in conjunction with New York's Metropolitan Museum of Art's recent exhibition of the same name. The text covers the 300-year period starting with the restoration in 1261 of Greek Orthodox rule in Byzantium and demonstrates the artistic and cultural importance of this period primarily through the arts of the Orthodox Church. The book focuses on objects in the exhibit-350 examples of Byzantine art from 26 countries and the Vatican-with detailed descriptions written by over 100 scholars and curators drawn from around the world. The radiant gold iconic Virgins, frescoes, textiles, illuminated manuscripts, gilded metalwork, and other liturgical objects are beautifully reproduced, many for the first time. Expertly edited by Evans, curator of the museum's Department of Medieval Art, this comprehensive and scholarly work is highly recommended for academic libraries and larger public and high school libraries where there is a serious interest in religious art and world history. [Library Journal].
REVIEW: Covering an eponymous Metropolitan Museum of Art exhibition that runs from March to July 2004, this massive catalogue examines almost 300 years of history. It begins in 1261—when Christianity and remnants of the Roman Empire’s power structure were brought back to dominance in Constantinople—and ends in 1557, when the region formerly known as basileia ton Rhomaion (Greek for "The empire of the Romans") was changed to Byzantium. Evans, curator at the Metropolitan’s department of medieval art and The Cloisters, has brought together a stellar collection of scholars and works for the volume. There are 17 essays in all, covering everything from liturgic instruments to the reach of Byzantine icons into northern Europe. The layout is text-heavy. The 150 black & white and 450 color plates are clear, and represent the works without ostentation or ornament, but they are also often reproduced at a scale that seems designed not to overwhelm the arguments being waged around them. Yet some piece, like Simon Marmion’s The Mass of Saint Gregory or the early 14th century Two-Sided Icon with the Virgin Psychosostria and the Annunciation, come through in a way that approximates the depth and beauty of the originals. As catalogues go, this one is rather less accessible to laypeople, but for scholars, it will be a feast.
REVIEW: Icons, manuscripts, textiles and other religious artifacts from the Byzantine era of Christianity are on display through July 4 at New York City’s Metropolitan Museum of Art (and to be found in the exhibition publication "Byzantium, Faith and Power"). Sponsored by the Alpha Bank, the J.F. Costopoulos Foundation, the A.G. Leventis Foundation and the Stavros S. Niarchos Foundation, the exhibit features 350 Byzantine treasures created from 1261 to 1557, a period when religious art flourished.
The exhibition’s 296-year time span begins with Michael VIII Palaeologus’ reclamation of Constantinople on Aug. 15, 1261. The Byzantine leader’s official lead seal, commemorating his reconquest of the city 57 years after it fell to the knights of the Fourth Crusade, is one of the earliest works included in the exhibition.
Curator Helen C. Evans told the Washington Report on Middle East Affairs, that she chose to end the show at the year 1557 because, she believed, that year the German librarian Hieronymous Wolfe first used the word “Byzantium” in a publication. “He is supposed to have based the Latin neuter word on the Greek name of the town founded by the legendary king Byzas in the sixth century BC,” Evans explained, “the site on which Constantinople, New Rome, was built. In changing the name of the ”˜empire of the Romans’ to ”˜Byzantium,’” the curator noted, “Wolfe made the real state into a memory.”
Many of the exhibit’s faith-inspired art treasures are being displayed for the first time outside the churches, monasteries and museums of the 30 countries that house them. Among the works are 40 ancient icons from the Monastery of St. Catherine at Mount Sinai, Egypt, the oldest continually occupied monastery in Christendom. Icons (the Greek word for image or picture) always have played an important role in the Orthodox Christian Church. Large ones adorn the walls of churches, while for centuries small icons have been carried by monks, pilgrims and religious devotees for protection and solitary devotion. Also on view at the Metropolitan are several early 14th century icons from the famed Iconic Gallery in Orhid, in the former Yugoslav republic of Macedonia.
His All Holiness Bartholomew, Archbishop of Constantinople, New Rome, and Ecumenical Patriarch, lent a unique 14th century double-sided processional icon of tempera and gold on wood with silver-gilt and enamel revetment—the Virgin pafsolype (Cessation of Sorrow)—that features the Virgin and Child on one side with the Crucifixion on the reverse.
An excellent example of the attention to detail that typified the works of Middle Ages artisans, who created art primarily for the Orthodox Church, is the 13th century Holy Face of Laon, from the cathedral of the same name in northern France. On a primed gesso panel, the artist used the ancient medium of egg tempera, a mixture of egg and pigment, to depict the face of Jesus.
A leaf from Rashid al-Din’s early 14th century Compendium of Chronicles, on loan from the Edinburgh University Library, demonstrates the influence of Byzantine iconography on Islamic composition.
In another exhibition gallery one encounters at about eye level a cast copper chandelier, 15 feet high and 11 feet in diameter, featuring crosses and animal forms such as double-headed eagles and sphinxes. The museum’s special overhead lighting lends a spiritual aura to the piece.
Seven years in the making, this extraordinary exhibit of sacred painted icons, luxuriously embroidered silk textiles and religious vestments, gilded metal work, manuscripts, mosaics, bas-reliefs and sculptures reflects Evans’ painstaking efforts in choosing the items from collections in Russia, Greece, Turkey, Bulgaria, Egypt, France, Italy, Romania, Serbia and Montenegro, and other countries.
REVIEW: Byzantium: Faith and Power (1261–1557)—a masterpiece of exhibition-making that opened last week at the Metropolitan Museum of Art—is the latest show in the museum’s landmark survey of Byzantine art. Some observers anticipated a letdown from the two earlier shows, “The Age of Spirituality” (1977) and “The Glory of Byzantium” (1997), since the years covered here mark the final decline and fall of the Byzantine Empire. No such letdown occurs: The rotting-away of the empire was political rather than artistic. The three centuries covered by this show begin with a moment of cultural exaltation—the restoration of the “Empire of the Romans” in 1261, 57 years after Constantinople fell to Western crusaders—and end in 1557 with Constantinople under the firm control of the Ottoman Turks. During this period, Byzantine art flourished in many areas no longer ruled by the emperor.
The scale of the exhibition is vast and somewhat disorienting—in keeping with the subject. Led by the curator Helen C. Evans, the organizers have borrowed more than 350 works from about 30 different countries, including icons, frescoes, manuscript illuminations, textiles, and liturgical objects. The show naturally focuses upon Greece, Constantinople, and the Balkans, but Russia is also well represented, and the Holy Monastery of Saint Catherine in Sinai, Egypt, founded in the fourth century, has sent about 40 icons. Smaller shows within the show explore Byzantine influence upon Western and Islamic art. The diplomatic and organizational skills necessary to stitch together this exhibition suggest one reason it matters so much to the art world: Byzantium, to a Eurocentric public, remains a confusing puzzle of scattered pieces. Scholars, too, know less about Byzantium than they do about medieval Europe. In short, this exhibit should help clarify one of the world’s great traditions of art.
But that’s just the educational part. Byzantine art is more than the visage of a civilization or the artifact of a historical period. It is also surpassingly mysterious, with a spiritual presence that is singular, powerful, and—for viewers in this secular city—radical in its challenge to the way life is lived now. Like many other great religious traditions, the Byzantine embodies values of concentration and stillness that, today, have little power beyond the Spirit-Lite forms of New Age thought. But Byzantine artists also created a metaphysical space between the human and the divine that is particularly distinctive, a shared space that partakes of both earth and heaven. A Byzantine chalice, Bible, or wood carving has a kind of heft, a hand-made brawniness. Yet the flickering of pattern and color appears to discharge its heaviness—its mortal weight.
“Byzantine art has a spiritual presence that is radical in its challenge to the way life is lived now.” The Byzantine icons, the greatest expression of this shared space, are painted with extraordinary tact. Too realistic an image would overemphasize this world; an abstract one would lose touch with the human and appear, in any case, presumptuous in its claim to represent the spirit. The Byzantines unerringly found the subtle in-between. The golden light elevates colors that have a blood-of-the-earth savor. The childlike quality isn’t unsophisticated. Instead, it symbolizes the low but hopeful position of those who aspire to the divine; the Christ child himself often seems part child, part adult. In many icons, the figure stares—with startling frankness—at the staring viewer. This common gaze also creates a kind of shared space. In the Virgin and Child pictured here, the Virgin looks directly at the viewer while nuzzling her child, who, with his head upside down and his arms outstretched, stares heavenward. The line of sight seems to circulate endlessly between Virgin, viewer, child, and God.
REVIEW: Byzantium – the state which has brought in the big contribution to development of culture to Europe of middle ages. Here the Christianity for the first time became an official religion. Christianity affected the Byzantine art. In Byzantine art the main subject of paintings – icons (Greek – image) were holy figures: Christ, the Virgin Mary, the saints, and the apostles. One of the most famous is icon with Archangel Gabriel, Byzantine (Constantinople or Sinai?), 13th century. There is the exhibition devoted to the art of Byzantine civilization at the Metropolitan Museum of Art. The exhibition begins in 1261, when the capital Constantinople was restored to imperial rule, and concludes in 1557. It is last period of existence of Byzantium and time of last blossoming of its culture.
One of the great example of Byzantine icons is Two-Sided Icon with the Virgin Pafsolype and Feast Scenes and the Crucifixion and Prophets, Byzantine (Constantinople) second half of the 14th century. On the observe side there is the picture of the Virgin and Child surrounded by ten feast scenes. At the upper left corner we can see Archangel Gabriel tells to the Virgin that she will have a Child. The last scene is the death of the Virgin. On the reserve side we can see the Crucifixion of the Christ. Mother and apostle stand near Christ with a great sorrow on their faces.
The other great icon from that epoch is icon with Saint Catherine of Alexandria and Scenes of her Passion and Martyrdom, Sinai, 13th century. The image of Saint Catherine also surrounded by twelve small scenes from her life. There are scenes of her imprisonment and torture, and we can see that angel never leaves her. The last scene is her beheading. If we look at this icon we can see that the Saint Catherine holds the cross on her hands; it means that she was murdered because of her faith in Christianity. She dressed as a royal person. The background of an icon symbolizes divine essence. For example, gold – Divine light, white – cleanliness of the Christ and light of his Divine, green - youth and vivacity, red – a sign on an imperial dignity. These both icons are represented on a gold background; this means a Divine light. The same concerned elements of clothes and their colors. These two icons are made with tempera on wood. And both those icons were used in processions.
The paintings from the Byzantine civilization are similar to Italian paintings of Renaissance period. In Renaissance they also used religious motive in their paintings. The shapes of figures and colors are similar too. Byzantine art is very unique and special.
REVIEW: The Metropolitan Museum of Art has put together its third monumental exhibition reflecting early Christian and Byzantine art. The first exhibition, "The Age of Spirituality", organized by Helen C. Evans was shown in 1977 and explored Christian art between the third and eighth centuries. Twenty years later, the persevering Ms. Evans was responsible for the wonderful "The Glory of Byzantium, A.D. 843-1261". This exhibit, "Byzantium: Faith and Power (1261 - 1557) is the last of this historic trilogy and is a testimony to Ms. Evans and her team, including Mahrukh Tarapor, who visited 35 countries and in a feat of international diplomacy convinced 129 museums, churches, monasteries, collectors and libraries to part with their treasures. Approximately 350 examples of Byzantine art have been contributed with only the monasteries of Mount Athos holding out. The exhibit runs through July 4, 2004.
The eminent and long respected icon dealer, Dick Temple, writes: "The exhibition 'Byzantium, Faith and Power (1261-1557)' currently at the Metropolitan Museum in New York is, in my view, the greatest icon exhibition I have ever seen or ever will see. There are loans from 27 countries around the world. Monasteries and museums in Greece, Egypt, Russia and the Balkans as well as the great collections of Europe and the USA have given up their most fabulous treasures for this incredible event. If, 20 or 30 years ago, someone had said to me that one day I would see under the same roof the Annunciation from Ohrid, the Twelve Apostles from the Pushkin Museum, two monumental icons by Andrei Rublyov from the Tretyakov Gallery, 40 icons from Saint Catherine's Monastery at Sinai, the British Museum's icon of the Triumph of Orthodoxy and other similar wonders, I would not have believed them. Well, it is happening now."
There are many other important examples that Mr. Temple could have used. This sumptuous and amazing exhibition should not be missed. The one in 1997 drew nearly 500,000 visitors and this one should top that. The catalogue, which accompanies this exhibition, is massive. It spans 680 pages and contains more than 800 color plates. The illustrations are beautifully reproduced. It contains important essays and descriptions of the objects by a renowned group of over 100 scholars. Please, please please - do yourself a favor and see this once-in-a-lifetime exhibition and purchase the accompanying catalogue, which will give you much pleasure. Ms. Evans is owed every civilized person's gratitude for her awe-inspiring effort.
REVIEW: This catalog is the Metropolitan Museum at its best. It is a textbook in the best sense of the word. It has comprehensive essays on the later history of the Byzantine Empire, and documents the religious and artistic flowering that marked a civilization in decline. It is almost as if the Byzantine Empire (or what was left of it, which continued to shrink as time went on) turned its back on the world an looked inward intensely. This, along with the other catalogs of the exhibitions the Metropolitan has done on Byzantium, is a must have for anyone interested in this significant part of European history. The selection of icons and other artifacts is first rate, and the quality of the printing and reproduction of photographs is to the high standard the Metropolitan has for its catalogs. Get it while it is still available!
REVIEW: The first exhibition, "The Age of Spirituality", shown in 1977, was organized by the eminent scholar, Kurt Weitzmann, Professor Emeritus of Princeton University (1904 -1993). It is also important to note the essay written by Archbishop Damianos of Sinai, Pharan, and Riatho, Abbot of the Holy Greek Orthodox Monastery of Saint Catherine, Sinai, Egypt who on page 335 writes,"...holy icons are more than artful and historical objects. They are a vital entity and a vibrant presence in the liturgical life of the Church, which is the very context that sanctioned and fostered their creation, existence, and use from early Christian times." He goes on to say, "Indeed, by their captivating formal purity, transparency, and clarity, icons create what we may call a resonance or an uplifting in the spiritual sense. They are statements of faith ..." Lastly, mention must be made of the conclusion of the catalogue and exhibition, which focuses on the influence of Late Byzantine icons on Northern Renaissance art. Many masterpieces are exhibited including Memling, van der Weyden, Jan Van Eyck and Gerard David. They are breathtaking, but perhaps too much icing. A preview of Ms. Evans's next exhibition?
REVIEW: Wonderful catalogue of one of the best exhibitions on Byzantium in years. It is scholarly and accessible.
REVIEW: There is a great need for such books on Byzantine Art. These three expositions and books by the Metropolitan Museum of Art on Byzantium are magnificent! I wish others will follow on Post-Byzantine Art.
REVIEW: This is a really great collection of Byzantine icons, I would really recommend it to somebody interested in the subject.
REVIEW: Five stars! Wonderful book, exquisitely done.
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All of our shipments are sent via insured mail so as to comply with PayPal requirements. We do NOT recommend uninsured shipments, and expressly disclaim any responsibility for the loss of an uninsured shipment. Unfortunately the contents of parcels are easily “lost” or misdelivered by postal employees – even in the USA. That’s why all of our domestic shipments (and most international) shipments include a USPS delivery confirmation tag; or are trackable or traceable, and all shipments (international and domestic) are insured. We do offer U.S. Postal Service Priority Mail, Registered Mail, and Express Mail for both international and domestic shipments, as well United Parcel Service (UPS) and Federal Express (Fed-Ex). Please ask for a rate quotation. We will accept whatever payment method you are most comfortable with. If upon receipt of the item you are disappointed for any reason whatever, I offer a no questions asked return policy. Send it back, I will give you a complete refund of the purchase price (less our original shipping costs).
Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. However many of the items also come from purchases I make in Eastern Europe, India, and from the Levant (Eastern Mediterranean/Near East) from various institutions and dealers. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology. After my retirement however, I found myself drawn to archaeology as well. Aside from my own personal collection, I have made extensive and frequent additions of my own via purchases on Ebay (of course), as well as many purchases from both dealers and institutions throughout the world - but especially in the Near East and in Eastern Europe. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. In fact much of what we generate on Yahoo, Amazon and Ebay goes to support The Hermitage Museum in St. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology.
I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. I would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from me. There is a $2 fee for mailing under separate cover. Whenever I am overseas I have made arrangements for purchases to be shipped out via domestic mail. If I am in the field, you may have to wait for a week or two for a COA to arrive via international air mail. But you can be sure your purchase will arrive properly packaged and promptly - even if I am absent. And when I am in a remote field location with merely a notebook computer, at times I am not able to access my email for a day or two, so be patient, I will always respond to every email. Please see our "ADDITIONAL TERMS OF SALE."
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Price distribution "Byzantium 1261-1557 Art Icons Mosaics Islam Middle East Venice 1st Hand Accounts" vs 28 similar items
Average price: 61.49$
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