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Our Distance from God By James D. Herbert

Our Distance from God

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Considers how specific works of art establish a relation between the divine and the earthbound audiences for whom the art was created.

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Our Distance from God Summary


Our Distance from God: Studies of the Divine and the Mundane in Western Art and Music by James D. Herbert

In this encounter between reflections on Christian theology and the history of art and music, James D. Herbert considers how specific works of art establish a relation between the divine and the earthbound audiences for whom the art was created. He looks at five case studies over four centuries: the architecture and artworks that glorified Louis XIV at Versailles, the interaction of libretto and music in Richard Wagner's Ring of the Nibelung, Claude Monet's enormous paintings of water lilies mounted at the Orangerie of Paris in 1927, the inaugural performance in 1962 of Benjamin Britten's War Requiem at the new Anglican cathedral in Coventry, and Robert Wilson's recent installation based on the Passion, 14 Stations.

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About James D. Herbert


James D. Herbert is Professor of Art History and Visual Studies at the University of California, Irvine. He is the author of Paris 1937: Worlds on Exhibition (1998) and Fauve Painting: The Making of Cultural Politics (1992).

Table of Contents


List of Illustrations Acknowledgments INTRODUCTION 1 LOUIS XIV'S VERSAILLES 2 WAGNER'S RING OF THE NIBELUNG 3 MONET'S ORANGERIE 4 SPENCE'S CATHEDRAL AND BRITTEN'S WAR REQUIEM 5 WILSON'S 14 STATIONS Notes Index

Additional information

GOR010681643
Our Distance from God: Studies of the Divine and the Mundane in Western Art and Music by James D. Herbert
James D. Herbert
Used - Like New
Hardback
University of California Press
2008-03-18
220
0520252136
9780520252134
N/A
Book picture is for illustrative purposes only, actual binding, cover or edition may vary.
The book has been read, but looks new. The book cover has no visible wear, and the dust jacket is included if applicable. No missing or damaged pages, no tears, possible very minimal creasing, no underlining or highlighting of text, and no writing in the margins.