Nathalie Carnes takes a fine selection of concrete examples from different times and cultures to show that material objects, icons, images, and art can be a natural extension of Christian worship. Through the incarnation and its continuation, they can carry a set of meanings that enhance and clarify the liturgy and make it a sensory reality in complementary ways.

This chapter considers Michael Field’s collection of ekphrastic poems, Sight and Song, in the context of fin-de-siècle art criticism. It explains ekphrasis as a genre and that genre’s relationship with art criticism, as well as Michael Field’s relationship with both. Sight and Song claims to set down on paper the ‘poetry’ that is ‘incarnate[d]’ within their paintings of study. Michael Field try to use the volume to assert their authority as both poets and art critics, instructing their readers about their paintings of study and about how one ought to appreciate all paintings. This chapter explores how successful this project was and how it was informed by Michael Field’s own personal experiences within the predominantly masculine aesthetic and art critical communities.

This chapter explores young children’s semiosis (meaning-making) and transformations when immersed with artworks that were made by professional artists. Paintings and sculptures (static, moving and sound-making) ‘resided’ (were installed) in their classroom for two school terms. The first part of the chapter provides a brief context for how artworks as mediating tools elicited children’s meaning-making through individual and social activity and describes how the children’s communication and representation of meaning was multimodal. The second part of the chapter delves into Illustration of Practice 7.1 based on recent research, where semiosis was studied through two key processes: (1) noticing, or becoming aware of signs within artworks, based on an individual’s perceptions, knowledge and emotions; and (2) immersion into the artworks. Immersion involved mediating signs through perezhivanie (a cognitive-embodied-emotive encounter that requires working-through) and transmediating (translating meaning from one mode of expression to another). Illustration of Practice 7.1 highlights how young children’s representation and communication of meaning are socially mediated, cognitive, affective and embodied.

This chapter will provide a foundation for the provision of quality visual arts educational experiences in early childhood and the primary years. Practical suggestions for planning a high-quality visual arts program are linked to recent theory in a way that helps you construct your own visual arts program. Visual arts concepts, language, elements and principles will be defined and explained, with examples of the progression in visual arts education from early childhood through the primary years. Practicalities such as classroom management, safety and materials are addressed and additional interactive material can be found through the icons.

The visual arts were of great importance for Pierre Boulez, whether through particular works of art or through encounters with the artists themselves. Indeed, his thinking and writing were nourished by painting and drawing (and to a lesser extent, sculpture, photography and film). It was through the attention he gave to the work of the painter, Paul Klee, that Boulez made explicitly clear the fundamental principle underpinning his approach: an object of reflection must be transcended and considered in terms of an entire network of relationships, such that a distance is always kept from the object under consideration. This comparative ‘ethic’, emblematic of Boulez’s thinking, found its most fertile ground in painting and an unequalled ambassador in Klee. The chapter explores Boulez’s engagement with the work of Klee as well as that of de Staël, Mondrian, Kandinsky, Miró, Vieira da Silva and other significant visual artists.

O’Casey found solace in the home of the founder and patron, as well as the most prolific and popular playwright, of the Abbey Theatre, Lady Augusta Gregory. It might not have been expected that, during the 1920s, the owner of the grand estate of Coole Park would befriend a manual labourer who worked on the Dublin railways. But in that decade Lady Gregory and O’Casey became close acquaintances, and she proved to be one of the figures who most encouraged and developed his playwriting. This chapter examines the mentoring and friendship that Gregory provided to O’Casey, and emphasises her wider influence upon him, which has tended to be underplayed in the years after her death.

The question concerning the adequacy of mimetic representation raised by the Holocaust, of how to best convey the vast suffering, the enormity of extermination, the tragedy of loss, has profoundly shaped the history of the visual arts since 1945. Focusing mainly on painting and sculpture, this chapter argues that Holocaust art largely rejected the turn to abstraction otherwise so characteristic of postwar modernism, in favor of an ongoing engagement with figurative representation. For many artists, this was a way to retain the human dimension of the Holocaust. The shared an underlying ethical and aesthetic commitment to the human figure with its myriad complexities and configurations. At the same time, they sought to avoid falling into the trap of kitsch and sentimentality. This created ineluctable aesthetic dilemmas – to combine beauty and terror – that led to a series of heterogeneous responses, not a “school of art,” but a struggle with aesthetics in the face of catastrophe.

An overview of the physical state of Rome in the year 900, followed by an introduction to each of the major categories of material culture to be discussed: architecture, painting, icons, sculpture, inscriptions, manuscripts, ceramics, and coins. A rationale is provided for the format of the book: not a diachronic chronological survey as such, but instead organized around four overarching themes.

Percy Shelley’s interest in the visual arts (painting and sculpture, but also monuments and landscapes) was much heightened by the years spent in Italy, where in letters and notebooks, he records a wide range of encounters and sharpened his powers of observation, perception, and description. This chapter presents several important contexts and instances, from accounts in his letters to Thomas Love Peacock of the paintings in Bologna that particularly moved him (such as Raphael’s St. Cecilia), to his ekphrastic verses on a painting of the head of Medusa, to his wide-ranging descriptive notes on sculptures in Rome and in the Uffizi Gallery in Florence. These are situated historically in terms of increased access to, and engagement with, the visual arts in the period, and as important sites for Shelley to work through the imaginative transmutation of the visual into the visionary in his own poetry and poetic theory.

On the standard “Wollheimian” reading of Collingwood’s aesthetics, Collingwood held that something is art in the true sense of the word when it involves an act of “expression” – understood in a particular way – on the part of the artist, and that artworks in all art-forms are “ideal” entities that, while externalizable, exist first and foremost in the mind of the expressive artist. I begin by providing a fuller account of the Wollheimian reading. I then survey challenges to and defenses of this reading, identifying residual difficulties confronting anyone who seeks to defend Collingwood. I attempt to resolve these difficulties by developing the idea that we take at face value Collingwood’s (overlooked) claim that the work of art is identical to the expressive activity of the artist rather than being identical to the expressive product of that activity, reading this claim in light of Collingwood’s talk about the painter as one who “paints imaginatively.”

Opening with Leon Battista Alberti’s celebrated definition of painting as a reflection on the surface of the water according to the ancient myth of Narcissus, the introduction elucidates the analysis of the inset-mirror motif in Renaissance painting as a form of mise-en-abyme that was central to the conceptualisation and reception of early modern art.

This chapter shows how epigrams contributed to the formation and dissemination of literary criticism and theories of style, while also expressing ideas about literary history and the development of a given literary genre or τέχνη. These epigrams, which allowed their author to express ideas on literary tradition and style, were often written as pseudo-epitaphs for poets of the past. The use of companion pieces could also allow epigrammatists, such as Posidippus of Pella, Asclepiades of Samos, Dioscorides of Nicopolis and Antipater of Sidon, to comment on pairs of artists or poets who represented different and often opposing aesthetics. Posidippus’ and Dioscorides’ epigrams are of peculiar interest, since they seem to allude to lost treatises that used recurring frameworks to write the history of a given τέχνη, for example one of the visual arts or a literary genre. The ideas initially expressed in these prose treatises appear to have been reworked, in a very creative manner, by epigrammatists who were eager to formulate their own ideas about poetry.

entities stand as crystallizations of a distinctly Aegean manner of animalian compositeness that is highly intuitive in its integration. These entities – the boar’s tusk helmet, ox-hide shield and ikrion (ship cabin) – embody this dynamic in an arrant fashion, since, while each is prominently animalian and bodily, they do not themselves take the shapes of animal physiques. Instead, they brought novel, conventional object-forms to animalian presences in the Aegean. By not standing as animals themselves, they starkly draw out the potent relational dynamics that could be realized between creatures, and between creatures and things. Discussion ultimately concerns the added complexity introduced to the statuses of these entities when rendered in movable representational media like glyptic and painted ceramics; particular attention comes to their frequent rendering in series. While seriation is often read as simplifying something’s status to the merely ornamental, I argue, instead, that articulation of shields, helmets and ikria in series imbued them with a peculiar, complex dynamism.

This chapter engages with the concept of environmental violence to explore how art has witnessed and responded to human-produced pollution and its associated violence on human health and well-being. In this application of the environmental violence framing, this chapter seeks to deepen our understanding of the role of art in drawing our attention to the direct and indirect risks associated with anthropogenic pollution, ecological impacts, and climate change.

This chapter argues that visual art played a generative role in the compositional processes of Vaughan Williams. His taste in painting was influenced by the art historians Bernard Berenson and Roger Fry, who lauded the formal simplicity of works by fifteenth-century Italian artists like Piero della Francesca, Fra Angelico, and Andrea Mantegna. The hymn tune ‘Mantegna’ was conceived as a ‘musical representation’ of that artist’s Agony in the Garden (c.1455–6, National Gallery, London). Reproductions of fifteenth-century paintings were displayed in the composer’s home, The White Gates, Dorking, from 1929.

English modernist painting developed rapidly after 1910. Among contemporary artists, Vaughan Williams particularly admired the work of the brothers Paul and John Nash. Their work has been described as ‘Neo-Romantic’, returning to the traditions of British landscape painting but with a modernist inflection. Vaughan Williams engaged directly with the visual legacies of the Romantic era in Job: A Masque for Dancing (1930), a musical response to William Blake’s Illustrations of the Book of Job (1826). Blake’s images were vividly translated into sets and costumes by wood engraver Gwendolen Raverat. The production represented a masterly fusion of visual and musical elements.

The decade (1899–1909) separating Verklärte Nacht from Schoenberg’s second major contribution to Night Music, the monodrama Erwartung, was typically turbulent and productive. Based mainly in Vienna, he established himself as a competent conductor, and also as the revered teacher of talented young composers such as Berg and Webern. The ambitious scale of Schoenberg’s major compositions from these years confirmed his determination to distance himself technically from admired contemporaries like Strauss, Busoni and Mahler. In pursuit of greater intensity and concentration, romanticism gave way to expressionism, as chordal dissonances were freed from their traditional need to resolve. And although critics were often hostile, Schoenberg retained the admiration and respect of performers as well as of friends such as Zemlinsky and Mahler. The affair between his wife Mathilde and the painter Richard Gerstl (ending in uneasy reconciliation after Gerstl’s suicide) fuelled the fierce musical outbursts of important compositions like the Second String Quartet, as well as of Erwartung.