Hans Belting

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Art History After Modernism

Hans Belting

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Other editions: Softcover - 2003

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Bill Viola: The Passions

Hans Belting; Bill Viola; John Walsh; Peter Sellars

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Quel Corps: Eine Frage Der Reprasentation

Hans Belting; Dietmar Kamper; Martin Schulz; Zentrum Fur Kunst Und Medientechnologie Karlsruhe

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Jakob Broder: Das Grosse Triptychon Katharsis, Gezeitengesang, Kairos 1975-2001

Hans Belting; Morat-Institut fur Kunst und Kunstwissenschaft; Jakob Broder

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Ebenbilder: Kopien Von Korpern - Modelle Des Menschen

Hans Belting; Jan Gerchow; Ruhrlandmuseum Essen

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Hieronymus Bosch: Garden Of Earthly Delights

Hans Belting; Hieronymus Bosch

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The Invisible Masterpiece

Hans Belting; Helen Atkins

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Other editions: Hardcover - 2001

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Bild-Anthropologie: Entwurfe Fur Eine Bildwissenschaft

Hans Belting

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Andrea Pozzo Und Die Videokunst: Neue Uberlegungen Zum Barocken Illusionismus

Hans Belting; Felix Burda-Stengel; Andrea Pozzo

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Museum Photographs

Hans Belting

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Der Zweite Blick: Bildgeschichte Und Bildreflexion

Hans Belting; Dietmar Kamper; Freie Universitat Berlin; Humboldt-Universitat Zu Berlin

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Identitat Im Zweifel: Ansichten Der Deutschen Kunst

Hans Belting

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Das Erbe Der Bilder: Kunst Und Moderne Medien in Den Kulturen Der Welt

Hans Belting; Lydia Haustein

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Max Beckmann: Bildwelt Und Weltbild in Den Triptychen

Hans Belting; Reinhard Spieler

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Das Unsichtbare Meisterwerk: Die Modernen Mythen Der Kunst

Hans Belting

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The Germans and Their Art: A Troublesome Relationship

Hans Belting

This fascinating book investigates what is specifically German about German art, focusing on the attitudes Germans have had toward their art from the Romantic period to the present and discussing the ways they have tried to find their identity as a nation through this art. Hans Belting proposes that the history of German art criticism has been colored by division -- a split caused both by opposing ideologies and by the contradiction between what the Germans have wanted their art -- and their nation -- to be and the reality of what they were. Belting shows that German art has always been informed by the fear of being taken over by art from abroad and by the Germans' inherent self doubt, based on the outside world's view of them over the centuries as art barbarians. He discusses why the Germans appropriated the Gothic style during the Romantic period and again after World War I; how the division between German art and international modern art symbolized for many Germans the opposition between tradition and materialism; why German Expressionism (the one truly indigenous modern German style) was deemed degenerate by the Nazis, was rehabilitated after World War II, and has been ignored in recent German art history; how the vastly different art created in the two Germanies invalidates any discussion of the nature of German art; and how reunification has created new conflicts and has emphasized the unique nature of the Germans' double burden of inheritance.

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Likeness and Presence: A History of the Image Before the Era of Art

Hans Belting

Before the Renaissance and Reformation, holy images - the only independent images then in existence - were treated not as "art" but as objects of veneration. The faithful believed that these images, through their likeness to the person represented, became a tangible presence of the Holy and were able to work miracles, deliver oracles, and bring victory on the battlefield. In this magisterial book, one of the world's leading scholars of medieval art traces the long history of the image and its changing role in European culture. Belting's study of the iconic portrait opens in late antiquity, when Christianity reversed its original ban on images, adapted the cult images of the "pagans", and began developing an iconography of its own. The heart of the work focuses on the Middle Ages, both East and West, when images of God and the saints underwent many significant changes either as icons or as statues. The final section of Likeness and Presence surveys the Reformation and Renaissance periods, when new attitudes toward images inaugurated what Belting calls the "era of art" that continues to the present day - an era during which the aesthetic quality has become the dominant aspect of the image. Belting neither "explains" images nor pretends that images explain themselves. Rather, he works from the conviction that images reveal their meaning best by their use. Likeness and Presence deals with the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images. Recognizing the tensions between image and word inherent in religion, Belting includes in an appendix many important historical documents that relate to the history and use of images. Profuselyillustrated, Likeness and Presence presents a compelling interpretation of the place of the image in Western history.

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Other editions: Hardcover - 1994

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Sigmar Polke: The Three Lies of Painting

Hans Belting; Sigmar Polke; Rudi Fuchs; Charles W. Haxthausen; Martin Hentschel

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Gary Hill: Imagining the Brain Closer Than the Eyes

Hans Belting; Gary Hill; Gottfried Boehm; Cantz; Birgit Kempker; Karlheinz Ludeking; Friedmann Malsch

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Das Ende Der Kunstgeschichte: Eine Revision Nach Zehn Jahren

Hans Belting

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Gary Hill: Imagining the Brain Closer than the Eyes

Hans Belting; Gary Hill; Theodora Vischer; Museum fur Gegenwartskunst Basel

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Thomas Struth: Museum Photographs

Hans Belting; Thomas Struth; Hamburger Kunsthalle

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Die Deutschen Und Ihre Kunst: Ein Schwieriges Erbe

Hans Belting

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The Image and Its Public in the Middle Ages: Form and Function of Early Paintings of the Passion

Hans Belting; Raymond Meyer; Mark Bartusis

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Bild Und Kult: Eine Geschichte Des Bildes Vor Dem Zeitalter Der Kunst

Hans Belting

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