In this provocative revisionist work, Evonne Levy brings fresh theoretical perspectives to the study of the "propagandistic" art and architecture of the Jesuit order as exemplified by its late Baroque Roman church interiors. The first extensive analysis of the aims, mechanisms, and effects of Jesuit art and architecture, this original and sophisticated study also evaluates how the term "propaganda" functions in art history, distinguishes it from rhetoric, and proposes a precise use of the term for the visual arts for the first time.
Levy begins by looking at Nazi architecture as... Read More
In this provocative revisionist work, Evonne Levy brings fresh theoretical perspectives to the study of the "propagandistic" art and architecture of the Jesuit order as exemplified by its late Baroque Roman church interiors. The first extensive analysis of the aims, mechanisms, and effects of Jesuit art and architecture, this original and sophisticated study also evaluates how the term "propaganda" functions in art history, distinguishes it from rhetoric, and proposes a precise use of the term for the visual arts for the first time.
Levy begins by looking at Nazi architecture as... Read More
In this provocative revisionist work, Evonne Levy brings fresh theoretical perspectives to the study of the "propagandistic" art and architecture of the Jesuit order as exemplified by its late Baroque Roman church interiors. The first extensive analysis of the aims, mechanisms, and effects of Jesuit art and architecture, this original and sophisticated study also evaluates how the term "propaganda" functions in art history, distinguishes it from rhetoric, and proposes a precise use of the term for the visual arts for the first time.
Levy begins by looking at Nazi architecture as a gateway to the emotional and ethical issues raised by the term "propaganda." Jesuit art once stirred similar passions, as she shows in a discussion of the controversial nineteenth-century rubric the "Jesuit Style." She then considers three central aspects of Jesuit art as essential components of propaganda: authorship, message, and diffusion. Levy tests her theoretical formulations against a broad range of documents and works of art, including the Chapel of St. Ignatius and other major works in Rome by Andrea Pozzo as well as chapels in Central Europe and Poland. Innovative in bringing a broad range of social and critical theory to bear on Baroque art and architecture in Europe and beyond, Levy’s work highlights the subject-forming capacity of early modern Catholic art and architecture while establishing "propaganda" as a productive term for art history.
Details
Price: $85.00
Pages: 368
Publisher: University of California Press
Imprint: University of California Press
Publication Date: 14th April 2004
ISBN: 9780520928633
Format: eBook
BISACs: RELIGION / Christianity / General ARCHITECTURE / History / General
Author Bio
Evonne Levy is Associate Professor of Art History at the University of Toronto.
Table of Contents
Introduction 1. The "Jesuit Style" 2. Rhetoric versus Propaganda 3. The Propagandist 4. Message 5. Diffusion Postscript from Berlin Acknowledgments Notes Bibliography List of Illustrations Index
In this provocative revisionist work, Evonne Levy brings fresh theoretical perspectives to the study of the "propagandistic" art and architecture of the Jesuit order as exemplified by its late Baroque Roman church interiors. The first extensive analysis of the aims, mechanisms, and effects of Jesuit art and architecture, this original and sophisticated study also evaluates how the term "propaganda" functions in art history, distinguishes it from rhetoric, and proposes a precise use of the term for the visual arts for the first time.
Levy begins by looking at Nazi architecture as a gateway to the emotional and ethical issues raised by the term "propaganda." Jesuit art once stirred similar passions, as she shows in a discussion of the controversial nineteenth-century rubric the "Jesuit Style." She then considers three central aspects of Jesuit art as essential components of propaganda: authorship, message, and diffusion. Levy tests her theoretical formulations against a broad range of documents and works of art, including the Chapel of St. Ignatius and other major works in Rome by Andrea Pozzo as well as chapels in Central Europe and Poland. Innovative in bringing a broad range of social and critical theory to bear on Baroque art and architecture in Europe and beyond, Levy’s work highlights the subject-forming capacity of early modern Catholic art and architecture while establishing "propaganda" as a productive term for art history.
Price: $85.00
Pages: 368
Publisher: University of California Press
Imprint: University of California Press
Publication Date: 14th April 2004
ISBN: 9780520928633
Format: eBook
BISACs: RELIGION / Christianity / General ARCHITECTURE / History / General
Evonne Levy is Associate Professor of Art History at the University of Toronto.
Introduction 1. The "Jesuit Style" 2. Rhetoric versus Propaganda 3. The Propagandist 4. Message 5. Diffusion Postscript from Berlin Acknowledgments Notes Bibliography List of Illustrations Index
Pretty Good House provides a framework and set of guidelines for building or renovating a high-performance home that focus on its inhabitants and the environment—but keeps in mind that few people have pockets deep enough to achieve a “perfect” solution. The essential idea is for homeowners to work within their financial and practical constraints both to meet their own needs and do as much for the planet as possible.
A Pretty Good Houseis:
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By the end of the twentieth century, US architecture and engineering firms held more capital than entire countries, employed more people than were housed in most cities, and rented offices in more nations than comprised the UN. Within them, architects were designing not single buildings but urban systems, including the multinational infrastructures, legal codes, and financial mechanisms on which those systems came to depend. However, despite the extraordinary power of these architects, their histories remain shrouded in myth and concealed—by design.
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Roger W. Moss. Photographs by Tom Crane
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A Barra Foundation Book
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50 years Learning from Las Vegas
From
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the urban landscape. Unconventional, eloquent, and with a profound
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thinkers on architecture and urbanism.
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With contributions by Mary
McLeod, Joan Ockman, Sylvia Lavin, Stanislaus von Moos, Jacques Herzog,
Robin Middleton, and Denise Scott Brown, among others
A comprehensive portrait of one of contemporary architecture’s most significant personalities