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Using the metaphor of the mutual gaze, or exchanged glances, Hans Belting-preeminent historian and theorist of medieval, Renaissance, and contemporary art-narrates the historical encounter between science and art, between Arab Baghdad and Renaissance Florence, that has had a lasting effect on the culture of the West.\u003c\/p\u003e\u003cp\u003eIn this lavishly illustrated study, Belting deals with the double history of perspective, as a visual theory based on geometrical abstraction (in the Middle East) and as pictorial theory (in Europe). How could geometrical abstraction be reconceived as a theory for making pictures? During the Middle Ages, Arab mathematics, free from religious discourse, gave rise to a theory of perspective that, later in the West, was transformed into art when European painters adopted the human gaze as their focal point. In the Islamic world, where theology and the visual arts remained closely intertwined, the science of perspective did not become the cornerstone of Islamic art. \u003ci\u003eFlorence and Baghdad\u003c\/i\u003e addresses a provocative question that reaches beyond the realm of aesthetics and mathematics: What happens when Muslims and Christians look upon each other and find their way of viewing the world transformed as a result?\u003c\/p\u003e","brand":"WoB","offers":[{"title":"- \/ - \/ INTERNAL","offer_id":52762560037137,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":52762561282321,"sku":"NIN9786055250447","price":0.0,"currency_code":"GBP","in_stock":true}]},{"product_id":"invisible-masterpiece-book-hans-belting-9780226042657","title":"The Invisible Masterpiece","description":"The \"invisible masterpiece\" is an unattainable ideal, a work of art into which a dream of absolute art is incorporated but can never be realized. Using this metaphor borrowed from Balzac, Hans Belting explores the history of \"the masterpiece\" and how its status and meaning have been elevated and denigrated since the early 19th century. Before 1800, works of art were either imitative (portraits and landscapes) or narrative (history painting). But under the influence of Romantic modernity, the physical object - a painted canvas, for example, or a sculpture -came to be seen as visible testimony of the artist's attempt to achieve absolute or ultimate art; in short, the impossible. This revolution in interpretation coincided with the establishment of the first public art museums, in which classical and Renaissance works were presented as the \"real\" masterpieces, timeless art of such quality that no modern artist could possibly hope to achieve. The Mona Lisa and other celebrated paintings preoccupied artists who felt burdened by this cult of the masterpiece as it came to be insitutionalized. Belting explores and explains how 20th-century artists, following Duchamp, struggled with their personal dreams of absolute art. It was not until the 1960s that artists, such as Warhol, finally began to reject the idea of the individual, totemic work of art and its permanent exhibition, as well as the related concept of the \"masterpiece\" and the outmoded art market that fed off it.","brand":"WoB","offers":[{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":52851979485457,"sku":"CIN0226042650VG","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9780226042657.jpg?v=1764908579"}],"url":"https:\/\/www.worldofbooks.com\/collections\/author-books-by-hans-belting.oembed","provider":"World of Books ","version":"1.0","type":"link"}