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The opulence of Byzantine art, with its extravagant use of gold and silver, is well known. Highly skilled artists created powerful representations reflecting and promoting this society and its values in icons, illuminated manuscripts, and mosaics and wallpaintings placed in domed churches and public buildings. This complete introduction to the whole period and range of Byzantine art combines immense breadth with interesting historical detail.
Robin Cormack overturns the myth that Byzantine art remained constant from the inauguration of Constantinople, its artistic centre, in the year 330 until the fall of the city to the Ottomans in 1453. He shows how the many political and religious upheavals of this period produced a wide range of styles and developments in art. This updated, colour edition includes new discoveries, a revised bibliography, and, in a new epilogue, a rethinking of Byzantine Art for the present day.
Preface
1: Rome with a Christian Face? : Early Byzantine Art 330-527
2: In the Shadow of St Sophia: Byzantine Art in the Sixth Century and its Aftermath 527-680
3: The Definition of an Orthodox Christian Empire: Byzantine Art 680-843
4: Developments and Diversions in the Consolidated Empire: Middle Byzantine Art 843-1071
5: The New Spirituality of the Eleventh Century and the World of the Twelfth Century
6: Art in the Service of a Failing Society: Late Byzantine Art 1204-1453
7: Rethinking Byzantine Art: An Epilogue for the new second edition
Notes
Timeline
Glossary
Further Reading
Museums and Websites
List of Illustrations
Index
Description
The opulence of Byzantine art, with its extravagant use of gold and silver, is well known. Highly skilled artists created powerful representations reflecting and promoting this society and its values in icons, illuminated manuscripts, and mosaics and wallpaintings placed in domed churches and public buildings. This complete introduction to the whole period and range of Byzantine art combines immense breadth with interesting historical detail.
Robin Cormack overturns the myth that Byzantine art remained constant from the inauguration of Constantinople, its artistic centre, in the year 330 until the fall of the city to the Ottomans in 1453. He shows how the many political and religious upheavals of this period produced a wide range of styles and developments in art. This updated, colour edition includes new discoveries, a revised bibliography, and, in a new epilogue, a rethinking of Byzantine Art for the present day.
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