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Art --- Antiquity --- Art, Early Christian --- Art antique --- Art paléochrétien --- Symbolisme juif --- 7.033.1 --- -Art, Early Christian --- -Jewish art and symbolism --- -#BIBC:bibl.Reekmans --- Jewish symbolism and art --- Jewish art --- Jewish arts --- Early Christian art --- Vroegchristelijke kunst --- 7.033.1 Vroegchristelijke kunst --- Art paléochrétien --- Art, Ancient --- -Christian art and symbolism --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Exhibitions --- Christian art and symbolism --- Jewish art and symbolism --- #BIBC:bibl.Reekmans --- Art et symbolisme chrétiens --- Expositions --- Exhibitions. --- Art, Ancient - Exhibitions --- Art, Early Christian - Exhibitions --- Christian art and symbolism - Medieval, 500-1500 - Exhibitions --- Jewish art and symbolism - Exhibitions

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Graphic arts --- Iconography --- Christian art and symbolism --- Conduct of life --- Emblems --- Theological virtues --- Virtues in art --- Faith, hope and charity --- Virtues, Theological --- Virtues --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Church decoration and ornament --- Symbolism in art

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Art --- anno 1400-1499 --- anno 1300-1399 --- Prague --- Art, Gothic --- Art, Medieval --- Art gothique --- Art médiéval --- Exhibitions --- Expositions --- Charles --- Art patronage --- Art médiéval --- Medieval art --- Gothic art --- Christian art and symbolism --- Carlo, --- Carlo --- Karel --- Karl --- Karolus Quartus, --- Exhibitions.

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L'apparition de l'estampe constitue un phénomène majeur pour l'histoire et l'art en Occident. Au tout début du XVe siècle, artistes et graveurs expérimentèrent diverses techniques - principalement la xylographie, la gravure sur métal en relief et la gravure au burin - permettant, par l'impression d'une matrice gravée et encrée sur un support, de créer et de diffuser des images multipliables à l'identique. Si les estampes circulèrent très vite partout en Europe, les régions germaniques en furent le foyer originel, bien avant que cette invention ne fût transposée dans le domaine de l'impression des textes par Gutenberg dans les années 1450. En articulant deux fonds français d'une importance majeure - la collection de la Réserve du département des Estampes de la Bibliothèque nationale et la collection Rothschild du département des Arts Graphiques au musée du Louvre -, cet ouvrage présente les différentes étapes de l'évolution de l'estampe, ses acteurs, ses modalités de production, ses rapports avec les autres arts et ses usages, depuis les toutes premières gravures sur bois en Allemagne en 1400 jusqu'au début de la carrière de Martin Schongauer, graveur rhénan qui changea fondamentalement le statut de l'estampe au sein des arts. --Louvre éditions

Graphic arts --- anno 1400-1499 --- Europe: North --- Prints --- Art, Medieval --- Christian art and symbolism --- Exhibitions --- 76 <48> "14" --- 76 <064> --- 76 <064> Grafische kunsten. Grafiek. Prentkunst--Tentoonstellingscatalogi. Museumcatalogi --- Grafische kunsten. Grafiek. Prentkunst--Tentoonstellingscatalogi. Museumcatalogi --- 76 <48> "14" Grafische kunsten. Grafiek. Prentkunst--Skandinavië--15e eeuw. Periode 1400-1499 --- Grafische kunsten. Grafiek. Prentkunst--Skandinavië--15e eeuw. Periode 1400-1499 --- Prints - Europe, Northern - 15th century - Exhibitions --- Art, Medieval - Exhibitions --- Christian art and symbolism - Exhibitions

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After 1500, as Catholic Europe fragmented into warring sects, evidence of a pagan past came newly into view, and travelers to distant places encountered deeply unfamiliar visual cultures, it became ever more pressing to distinguish between the sacred image and its opposite, the 'idol'. Historians and philosophers have long attended to Reformation charges of idolatry – the premise for image-breaking – but only very recently have scholars begun to consider the ways that the idol occasioned the making no less than the destruction. The present book focuses on how idols and ideas about them matter for the history of early modern objects produced around the globe, especially those created in the context of an exchange or confrontation between an 'us' and a 'them'. Ranging widely within the early modern period, the volume contributes to the project of globalizing the study of European art, bringing the continent's commercial, colonial, antiquarian, and religious histories into dialogue. Its studies of crosses, statues on columns, wax ex-votos, ivories, prints, maps, manuscripts, fountains, banners, and New World gold all frame Western 'art' simultaneously as an idea and as a collection of real things, arguing that it was through the idol that object-makers and writers came to terms with what it was that art should be, and do.

Christianity and culture. --- Christian art and symbolism --- Image (Theology) --- Christianity and art. --- Art et symbolisme chrétiens --- Image (Théologie) --- Christianisme et art --- idolatrie --- Image (Theology). --- Christian religion --- Reformation --- Iconography --- iconoclasm --- anno 1500-1599 --- Christianity and art --- Christianity and culture --- Contextualization (Christian theology) --- Culture and Christianity --- Inculturation (Christian theology) --- Indigenization (Christian theology) --- Culture --- Communication --- Art and Christianity --- Art --- Religious aspects --- Christianity --- Christian art and symbolism - Modern period, 1500 --- -Christianity and art --- Symbolisme chrétien --- 16e-18e siècles --- Europe