The Birth of Western Painting (Routledge Revivals) : A History of Colour, Form and Iconography

First published in 1930, this book deals with Byzantine art, not as an isolated province, but as one intimately connected with the subsequent history of European painting. After a summary of the whole question in its relation to modern art, the second chapter opens with a novel analysis of the iconoclast controversy, and shows how it was only by this movement that Hellenistic naturalism was finally vanquished and the seed of interpretational art planted in Europe in its stead. The third chapter reveals how this seed was nourished by the Constantinopolitan Renascence, and how that event, combined with the increasing humanisation of religious emotion, culminated, not only in Duccio and Giotto, but in the equally important work of their contemporaries at Mistra and Mount Athos. A detailed account of these works is given and in the last part of the book, the mystery of El Greco is finally resolved. The book is based, not only on extensive research but on personal observation of nearly all the works mentioned, in Constantinople, Greece, Crete, Italy, and Spain. It is an important and exciting addition to the history of European Art and establishes, scientifically, theories which only existed in conjecture before its publication. The book includes 94 black and white plates. Cover The Birth of Western Painting Title Page Copyright Page Table of Contents List of Illustrations 1. The Tradition of Interpretational Art 2. The Beginnings of Interpretation I. An Examination of the Existing Monuments to show the Change Produced in Byzantine Art by theIconoclast Controversy II. The Ignominy Implicit in Representational Art III. The Tradition of Idolatry and Defence of Religious Art IV. The Tradition of Iconoclasm and the Censure of Art V. The General Impulse to Religious Purism throughout the Near East and Its Effect in Constantinople. VI. The Eventual Reformation of Art3. The Development of Interpretation I. The Borrowing of Islamic Splendour and the Development of Colour II. The Rise of Liturgical Symbolism and Official Iconography III. The Popular Demand for ""Human Interest"" in Ceremony and in Art IV. The Humanist Renascence in the Capital: Platonic Fashions V. The Translation of the New Themes, Spirit, and Technique, to Italy, and the Emphasis on the Double Passion 4. The Monuments I. The Macedonian School on Mount Athos i. The Protaton ii. The Church of Chilandari iii. The Church of Vatopedi. Iv. The Chapel of the Prodrome at CaryesII. The Cycles of Mistra i. The Metropolitan Church of St. Demetrius ii. The Brontocheion iii. The Peribleptos iv. The Pantanassa III. The Cretan School on Mount Athos i. The Refectory of the Lavra ii. The Church of the Lavra iii. The Church of Xenophontos iv. The Church and Refectory of Dionysiou v. The Chapel of St. George at St. Paul's vi. The Chapel of St. Nicolas at the Lavra vii. The Church of Docheiariou viii. The Refectory of Docheiariou ix. The Refectory of Chilandari x. The Church of St. Nicolas at Mistra. 5. The Climax of InterpretationI. Greco's Character: Cretan Culture and Society after the Fall of Constantinople II. Greco's Character: Venice and Rome III. Greco's Character: The Environment of Toledo and Evidence of Spanish Contemporaries His Library IV. Greco's Derivation from Byzantine Art: Iconography and Landscape V. Greco's Derivation from Byzantine Art: Colour VI. Greco's Derivation from Byzantine Art: Form and Light VII. Greco's Hellenism Bibliography Index Plates 1-94. Cover; The Birth of Western Painting; Title Page; Copyright Page; Table of Contents; List of Illustrations; 1. The Tradition of Interpretational Art; 2. The Beginnings of Interpretation; I. An Examination of the Existing Monuments to show the Change Produced in Byzantine Art by theIconoclast Controversy; II. The Ignominy Implicit in Representational Art; III. The Tradition of Idolatry and Defence of Religious Art; IV. The Tradition of Iconoclasm and the Censure of Art; V. The General Impulse to Religious Purism throughout the Near East and Its Effect in Constantinople.;First published in 1930, this book deals with Byzantine art, not as an isolated province, but as one intimately connected with the subsequent history of European painting. After a summary of the whole question in its relation to modern art, the second chapter opens with a novel analysis of the iconoclast controversy, and shows how it was only by this movement that Hellenistic naturalism was finally vanquished and the seed of interpretational art planted in Europe in its stead. The third chapter reveals how this seed was nourished by the Constantinopolitan Renascence, and how that event, com.