Art and Eloquence in Byzantium by Henry Maguire

By Henry Maguire

During this interdisciplinary research, Henry Maguire examines the influence of a number of literary genres and rhetorical concepts at the visible arts of Byzantium. particularly, he exhibits that the literary elaborations of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, kind, and association in their paintings. utilizing provocative fabric formerly strange to paintings historians, he concentrates on spiritual paintings from a.d. 843 to 1453. during this interdisciplinary examine, Henry Maguire examines the impression of numerous literary genres and rhetorical suggestions at the visible arts of Byzantium. specifically, he indicates that the literary gildings of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, variety, and association in their paintings. utilizing provocative fabric formerly surprising to paintings historians, he concentrates on spiritual artwork from a.d. 843 to 1453.

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He was only interested in his experience of individual works of art. Museums, he held, displayed too many things and substituted superficiality—and worse, erudition—for the profound experience of the thing itself (which required thousands of hours of work, each the result of years of research, experience, concentration, and genius). Museums, he thought, turn works of art into dossiers of information and theories, none of which approaches the depth of meaning and power of affect of the works themselves.

Do you proceed in a scripted way through the museum, or even through one of its galleries? Do you even experience the museum in the same way twice? What about a museum like the Louvre, whose nationalist foundations I have already acknowledged. ” Ultimately, reinforced by ceiling decorations that situate French works of art among the world’s most famous, the museum visitor is said to come to see France as the culmination of artistic genius. We need to be clear: the Louvre is a French national museum.

Museums dis-arm us so as to make us remember ourselves in new ways. 28 They also gender the subject: The modern museum of art may also be understood as an instrument of compulsory heterosexuality, one of the chief productions of the institution, after all, is the engendered subject. The typologies of gender positions are among the museum’s effects: the position of the museum user (‘viewer’) is an unmarked analogue to that of the (unmarked) male heterosexual pose/position. So much has been clear; what may be less apparent is that all art is drag, and that hegemonic heterosexuality is itself a continual and repeated imitation and reiteration of its own idealization.

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