Bible, Art, Gallery
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Over two years, assisted by funding from the British Academy, conferences were held at the Barber Institute of Fine Arts, University of Birmingham, and at the Manchester Art Gallery, highlighting some of the significant biblical paintings held in the collections of both galleries.
While Old Masters’ paintings of biblical scenes held by major galleries in many countries are visited and seen by thousands, gems of biblical art in smaller, provincial galleries seldom get the recognition and attention they deserve. Over two years, assisted by funding from the British Academy, conferences were held at the Barber Institute of Fine Arts, University of Birmingham, and at the Manchester Art Gallery, highlighting some of the significant biblical paintings held in the collections of both galleries. The papers presented at these conferences, drawn from the worlds of biblical studies, art history, philosophy, sociology and music, and collected in this volume, reflect the interdisciplinary goals of the project. These essays serve not only to showcase biblical paintings by lesser known artists but also to illustrate the wide range of perspectives and insights brought by the different academic disciplines.
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| Table of Contents | Martin O’Kane, Introduction 1 Nicholas Davey, The Bible and Visual Exegesis 2 John Harvey, Framing the Word: Commentary, Context, and Composition 3 David Jasper, The Desert in Biblical Art 4 J. Cheryl Exum, Notorious Biblical Women in Manchester: Spencer Stanhope's Eve and Frederick Pickersgill's Delilah 5 Siobhan Dowling-Long, Musical Instruments in Biblical Art: Evaristo Baschenis’s Still Life with Musical Instruments 6 John F. A. Sawyer, Van Dyck’s Ecce homo in the Barber Institute 7 Keith Tester, Poussin, a Poem and a Sacred Story 8 Martin O’Kane, Imaging the Bible Translator: Bellini’s Jerome in the Wilderness |
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Diane Apostolos-Cappadona, Journal of the Bible and its Reception –
Larger than the earlier readings of biblical art as simply illustration, Bible, Art, Gallery provides a venue for varied approaches to the visual reception of the Bible. While espousing a deference to Gadamer’s hermenutical aesthetics, the interpretative methodologies employed by the contributors to this collection coordinated with or expanded upon the earlier established modalities of Panofsky’s iconology, Mâle’s mutual illumination of the arts, Freedberg’s response theory, Kristeva’s feminism, and Berdini’s visual exegesis.
Bryan J. Cook, Review of Biblical Literature. –
Reading this work was an enriching and enjoyable experience. As one who has an interest in art, especially art of the American Southwest, but even more so in biblical literature, I found this study of biblical art from select galleries to be most delightful.
The goal of this work is to illustrate an interdisciplinary approach to biblical art that communicates or emphasizes different aspects of the biblical text (xix). This goal is achieved by explaining the philosophical approach and providing evidence. Bible, Art, Gallery is an valuable academic and practical tool, an instructive contribution for biblical scholarship, artistic study, and philosophical and theological studies as well.