Benjamin Channing was born into a prominent New England family with a respectable fortune, an Ivy League pedigree, and stalwart Presbyterian values of rectitude and public service.
Leonardo Da Vinci was a child prodigy whose development can be traced from age five to the beginning of his adolesence, two years before he entered Verrocchio's workshop.
Drawing on unpublished archival sources, this book reconstitutes the experiences of a wide range of American artists, critics, and writers working in Rome in a charged environment of Cold War cosmopolitanism.
This volume explores how narratives and iconographic codes in literature, art, music, material culture and social, political, and economic discourses were appropriated and thereby - sometimes radically - transformed by religious agents, and how religious narrations, discourses and iconographic practices were reimagined and used (up to radical deconstruction) in non-religious contexts as well as in different or transformed religious contexts.
Since its original publication in 1979, The Possibility of Naturalism has been one of the most influential works in contemporary philosophy of science and social science.
Jesus' Crown of Thorns has become one of the most ubiquitous features of Christian religious art, but was the crown of history anything like the crown of popular medieval art and piety?
A brave princess sets off on an epic journey with a snow merchant, a reindeer, and a snowman to find her sister, who has trapped the kingdom in eternal winter.
Die kunstwissenschaftliche Perspektivierung auf Heiner Müllers Werk lässt gänzlich neue Bezugssysteme und Lesarten zu und widmet sich der Erforschung bislang wenig erschlossener Dimensionen seines Gesamtkunstwerks.
William Holman Hunt's "e;The Triumph of the Innocents"e; explores themes of innocence, suffering, and redemption through an intricate narrative framed by the Biblical Massacre of the Innocents.
This book investigates the aesthetic and political dialectics of East Berlin to argue how its theater and opera stages incited artists to act out, fuel, and resist the troubled construction of political legitimacy.
