Bøger af Hans Belting

A cultural history of the face in Western art, ranging from portraiture in painting and photography to film, theater, and mass mediaThis fascinating book presents the first cultural history and anthropology of the face across centuries, continents, and media. Ranging from funerary masks and masks in drama to the figural work of contemporary artists including Cindy Sherman and Nam June Paik, renowned art historian Hans Belting emphasizes that while the face plays a critical role in human communication, it defies attempts at visual representation.Belting divides his book into three parts: faces as masks of the self, portraiture as a constantly evolving mask in Western culture, and the fate of the face in the age of mass media. Referencing a vast array of sources, Belting's insights draw on art history, philosophy, theories of visual culture, and cognitive science. He demonstrates that Western efforts to portray the face have repeatedly failed, even with the developments of new media such as photography and film, which promise ever-greater degrees of verisimilitude. In spite of sitting at the heart of human expression, the face resists possession, and creative endeavors to capture it inevitably result in masks-hollow signifiers of the humanity they're meant to embody.From creations by Van Eyck and August Sander to works by Francis Bacon, Ingmar Bergman, and Chuck Close, Face and Mask takes a remarkable look at how, through the centuries, the physical visage has inspired and evaded artistic interpretation.

Proposes an anthropological theory for interpreting human picture making. Refusing to reduce images to their material embodiment yet acknowledging the importance of the historical media in which images are manifested, this book presents a challenging and provocative account of what pictures are and how they function.

The theory of perspective, which allowed Florentine artists to depict the world from a spectator's point of view, originated in Baghdad with an eleventh-century mathematician. Using the metaphor of the mutual gaze, Belting narrates the encounter between science and art, Arab Baghdad and Renaissance Florence, that revolutionized Western culture.

Perspektifin kullanimi, Ronesans resminde bir devrim yaratti ve sanatciya izleyicinin gorus acisini resmetme firsati verdi. Oysa perspektifin teorisi baska bir yerde, Bagdat'ta, matematikci Ibnu'l-Heysem tarafindan on birinci yuzyilda olusturulmustu. unlu tarihci ve sanat kuramcisi Hans Belting, Floransa ve Bagdat'ta bakis metaforunu kullanarak Arabistan Bagdat'i ile Ronesans Floransa'si arasindaki tarihi karsilasmayi anlatiyor. Perspektifin, geometrik soyutlamaya dayanan gorsel teori (Ortadogu) ve resim teorisi (Avrupa) olarak kullanildigi ikili tarihini inceliyor. Ortacagda Arap matematiginin perspektif teorisini dogurdugunu, daha sonra bu teorinin Bati'da sanata donusturuldugunu anlatan Belting, estetigin ve matematigin sinirlarini asan bir soru soruyor: Muslumanlar ile Hiristiyanlar birbirlerine baktiginda, kendi dunya goruslerinin donusturulmus bir versiyonunu gorurlerse ne olur?

Now available in a new edition, this book explores Hieronymus Bosch's masterpiece Garden of Earthly Delights.

Combines three monographic essays by one common problem, the need for perspective after the end of perspective in modern art. This title not only opens up different ways of looking at the works of Marcel Duchamp, Hiroshi Sugimoto and JeffWall, but also deals with the concept of perspective in their work.

Before the Renaissance and Reformation, holy images were treated not as "art" but as objects of veneration which possessed the tangible presence of the "Holy", Hans Belting traces in this volume the long history of the sacral image and its changing role in European culture.