Results 61 to 70 of about 100 (82)
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9 The Madonna Painter. Pimen Maksimovich Sofronov and Marian Iconography (1898–1973)
2020exaly +2 more sources
Monks Making Magic: A Case Study of Marian Iconography in P. Heid. Inv. Kopt. 685
Cultural Encounters in Late Antiquity and the Middle Agesexaly +2 more sources
3. The (Ab)use of Orthodox Marian Iconography in the Holodomor Visual Culture in Pre-Maidan Ukraine
exaly +2 more sourcesDevotional Iconography in the N-Town Marian Plays
Comparative Drama, 1977The Middle English N-Town cycle evinces an extraordinary consciousness of the motifs and interpretations that characterized late medieval devotion to the Virgin. Of the four Middle English Corpus Christi plays, only the N-Town cycle includes a group of plays, extending from The Conception of Mary to The Trial of Joseph and Mary, specifically concerned ...
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Mediatrix of All Graces: The Shrine Madonna and the Marian Gaze
ReligionsThe Shrine Madonna is a unique form of cult statuary within the wider Madonna and Child tradition, linked to broader Marian iconography. Building on previous scholarship, this article focuses on the visual relationship between the Virgin and the ...
Katharine D. Scherff
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Nineteenth-Century French Studies, 2002
Although nineteenth-century France is well known to be an age of science, materialism and reason, the same period experienced a powerful Marian revival. This article demonstrates how the following nineteenth-century narratives develop the representations of woman as virgin or beast: Honoré de Balzac's Le Lys dans la vallée (1836), Edmond and Jules de ...
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Although nineteenth-century France is well known to be an age of science, materialism and reason, the same period experienced a powerful Marian revival. This article demonstrates how the following nineteenth-century narratives develop the representations of woman as virgin or beast: Honoré de Balzac's Le Lys dans la vallée (1836), Edmond and Jules de ...
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IKON, 2017
This paper considers the reaction of audiences to images of the Virgin Mary in contemporary art that deviate from historically sanctioned ideals of beauty.
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This paper considers the reaction of audiences to images of the Virgin Mary in contemporary art that deviate from historically sanctioned ideals of beauty.
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