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C'est au XIIIe siècle que saint François d'Assise et saint Dominique créent respectivement leur ordre, fondé sur la pauvreté et la simplicité. Mais rapidement le rayonnement des franciscains et dominicains devient tel que leurs couvents reçoivent d'importantes donations des princes et des riches bourgeois. L'enrichissement des Mendiants leur permet de devenir bientôt les commanditaires d'oeuvres d'art majeures, tant en peinture qu'en architecture : Giotto, Sassetta, Fra Angelico sont quelques-uns de ces artistes qui travaillèrent à la gloire de Dieu sous leurs directives, illustrant la vie de Jésus ou celle des saints, tandis que s'élevait la basilique d'Assise et l'église de Santa Croce à Florence. L'historien de l'art Louis Gillet (1876-1943) expose ainsi dans cet ouvrage l'influence déterminante qu'ont exercée les Mendiants dans l'iconographie religieuse depuis leur fondation, en Italie comme dans le reste de l'Europe : passions, douleurs, miséricorde, danses macabres, le vocabulaire s'enrichira au cours des siècles, pour finir en apothéose avec Rembrandt, Rubens ou Murillo. Précis et pédagogue, l'auteur s'exprime toutefois avec une rare empathie qui fait la singularité de cet ouvrage.

Christian art and symbolism --- Friars

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What happens when one of Germany's most important writers, himself a Muslim, immerses himself in the world of Christian art? In this book, Navid Kermani is awestruck by a religion full of sacrifice and lamentation, love and wonder, the irrational and unfathomable, the deeply human and the divine Christianity that today's Christians rarely speak of so earnestly, boldly and enthusiastically. With the open-minded curiosity of a non-believer, Navid Kermani engages with Christian art in its great richness and diversity. The result is an enchanting set of reflections which re-invest in Christianity both its spectacular beauty and its terror. Kermani struggles with the cross, falls in love at the sight of Mary, experiences the Orthodox Mass and appreciates the greatness of St Francis. He teaches us to see the questions of our present-day lives in the pictures of old masters such as Botticelli, Caravaggio and Rembrandt not with lectures on art history or theology, but with an intelligent eye for the essential details and the underlying relations to seemingly remote worlds, to literature and to mystical Islam. Kermani s poetic school of seeing draws us in as we are carried along by his unique perspective on Christianity, re-igniting our interest in great art at the same time. We are captivated by his unique and brilliant Islamic reading of the West.

Christianity --- Christian art and symbolism --- Miscellanea --- Miscellanea

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I saggi che compongono il libro – opera di storici dell’arte, filologi, glottologi – hanno indagato la produzione artistica e letteraria a Genova fra XIII e XV secolo, prendendo in esame, in particolare, l’interazione fra testi letterari e immagini. Campi d’indagine sono stati la poesia e la trattatistica, l’agiografia e l’omiletica; e le immagini dipinte, scolpite, miniate, intagliate – o quelle evocate dalla parola, in latino e in volgare. Temi portanti della vita cittadina, come le devozioni civiche (san Giovanni Battista, san Giorgio), la cultura profana dei poeti in lingua d’oc e quella ecclesiastica degli Ordini mendicanti, l’influenza delle «gentes» aristocratiche e le inquietudini religiose dei nuovi ceti urbani, sono stati analizzati attraverso le testimonianze di protagonisti come il trovatore Simone Doria, l’Anonimo Genovese, o l’arcivescovo Iacopo da Varazze; e il dialogo con le opere di artisti diversi per cultura e per provenienza: dai frescanti della chiesa inferiore di San Giovanni di Prè al maestro lignario tedesco del Crocifisso della Maddalena; dagli scultori pisani della Tomba del cardinale Luca Fieschi al pittore cimabuesco pistoiese Manfredino d’Alberto; dal modenese Barnaba degli Agocchiari al lombardo Giovanni Gagini, fino a un raffinato interprete dello «stile internazionale» come Nicolò da Voltri. “Cittàmondo” aperta ai più vari orizzonti, gran mercato e “piazza” privilegiata per nuove esperienze artistiche, cenacolo di letteratura cortese e originale laboratorio di lingua volgare, Genova tardomedievale si conferma centro pulsante di snodo fra Europa e Mediterraneo, che tanto riserva ancora da scoprire e da studiare.

Christian art and symbolism --- Art and literature --- Christian literature

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Christian art and symbolism --- Architecture, Early Christian --- Art, Early Christian

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A collection of baroque paintings made for religious spaces such as the Monastery of Saint Ines of Montepulciano. Among these, a colonial painting "Eterno lo que atormenta, momentáneo lo que deleita" (Eternal what torments, momentary what delights), used in the meditation about death in the novitiate of this same monastery. There are also unpublished works within the category of portraits of dead nuns like the painting La exhumación de sor María Gertrudis Teresa de Santa Ines and the inclusion of several works in the life of Santa Ines, among them, the overdoor (or "supraporte") 18th century series Visión del infierno. Works from the secular world include different Marian, saints and eschatological themes. The catalogue comprises all the works present in the exhibition, all exhibited for the first time to the public.

Painting, Baroque --- Painting, Colonial --- Christian art and symbolism --- History