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Extract
Except for scholarly works dealing with well-defined problems, writings on Byzantine art rarely fail to arouse in the reader some disquiet, some perplexity, regarding the aggregate of this art—its distinctive characteristics and essential values. The following remarks, confined to painting, are designed solely to clarify the foregoing statement, to indicate why it is justifiable, and to retrace, if possible, the genesis of such a state of affairs.
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- Copyright © 1958 Fédération Internationale des Sociétés de Philosophie / International Federation of Philosophical Societies (FISP)
References
Bibliographic Notes
V. N. Lazarev's work, Istoria vizantiiskoï jivopisi, Vol. I, text, and Vol. II, plates, was published in Moscow in 1947 and 1948 in the “State Editions,” but apparently it was not available for sale until 1950.Google Scholar
Otto Demus' two books to which we have alluded are Byzantine Mosaic Decorations (London: Paul, Trench, Trubner, 1948) and Die Mosaiken von S. Marco in Venedig (Baden near Vienna: Rohrer, 1935).Google Scholar
Waagen, G. F. speaks of the Greek manuscripts in the Bibliothèque Nationale in the third volume of his book, Kunstwerke und Künstler in England und Paris (Berlin: Nicolaischen, 1839).Google Scholar
Ph. Schweinfurth's book, Die byzantinische Form was published in Berlin by F. Kupferberg in 1943.Google Scholar
La Peinture byzantine by André Grabar, magnificently illustrated, was published at Geneva in 1953 by Skira as part of a series entitled “Les grands siècles de la peinture,” English ed., Byzantine Painting, translated by Stuart Gilbert.Google Scholar
G. de Francovich's book, Problemi della pittura e della scultura preromanica is part of a collection, “I Problemi dell'Europa post-carolinga,” published in 1955 at Spoleto by the Settimane di Studio del Centro Italiano di Studi sull'Alto Medioevo.Google Scholar
Les Icones du Mont Sinaï by G. and Sotirious, M. (Athens, 1956) represents Vol. C of the “Collection de l'Institut français d'Athènes.” The volume of this text has not yet been published.Google Scholar
Roberto Longhi's essay, “Giudizio sul Duecento,” written in 1939 and 1947, appeared in Proporzioni, Vol. II (Florence, 1948).Google Scholar
D. Talbot Rice's book, The Beginnings of Christian Art, was published in 1957 (London: Hodder & Stoughton).Google Scholar
Felicetti, W.- Liebenfels' Geschichte der byzantinischen Ikonenmalerei appeared in 1956 (Olten and Lausanne: Kurs-Graf Verlag).Google Scholar