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Art, Piety and Destruction in the Christian West, 1500–1700 book cover

1st Edition

Art, Piety and Destruction in the Christian West, 1500–1700

Edited By Virginia Chieffo Raguin Copyright 2010
238 Pages
by Routledge

238 Pages
by Routledge

Spanning two centuries and two continents, Art, Piety and Destruction in the Christian West, 1500-1700 addresses the impact of religious tensions on art, design, and architecture in the early modern world. Beyond famous works of art such as Kraft's Eucharistic Tabernacle, the volume examines less-studied objects, including church plate and vestments, stained glass, graffiti, and Mexican images of... Read more
Contents: Introduction: art and religion: then and now, Virginia Chieffo Raguin; Salvaging saints: the rescue and display of relics in Munich during the early Catholic-Reformation, Jeffrey Chipps Smith; Does religion matter? Adam Kraft's eucharistic tabernacle and Eobanus Hessus, Corine Schleif; You are what you wear (and use, and see): the form of the reform in England, Virginia Chieffo Raguin; Repackaging the past: the survival, preservation and reinterpretation of the windows in St Mary's, Fairford, Gloucestershire, Sarah Brown; Preserving antiquity in a Protestant city: the Maison Carrée in 16th-century Nîmes, David Karmon; Destruction or preservation?; the meaning of graffiti on paintings in religious sites, Véronique Plesch; Inquisitorial practices past and present: artistic censorship, the Virgin Mary, and St Anne, Charlene Villaseñor Black; Index.

Biography

Virginia Chieffo Raguin is professor of Art History at the College of the Holy Cross. Her exhibitions and publications include stained glass, architecture, and the social/religious context of art.

'... this book should be part of any reading list on objects in the early modern period.' Sixteenth Century Journal

'This bold and distinctive volume is a welcome departure from the traditional historiographical preoccupation with Reformation iconoclasm. It contributes to a recent wave of interest in the modification and re-contextualisation of visual art that occurred in response to the processes of reform and counterreform in the sixteenth and seventeenth centuries, but offers something new by shifting the focus to the reception of artefacts and buildings over time. In so doing it engages in ’a global conversation about the nature of art, religion and cultural property’ (p. 17), exploring the indissoluble connections between art, faith and ideology from the early modern period up to the present day.' English Historical Review

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