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Abstract “Arabesques” (arabeschi) took shape as a term and concept in sixteenth-century Italy to describe motifs deriving from Islamic art. The formation of the concept reflects a complex interplay between art making and art theory, which played out differently across different media. In...
Abstract In the multivolume Bücher der Bibel (1908–12), Jewish artist Ephraim Mose Lilien imagined a glorious Jewish past that resonated with Zionist discourses of spiritual and artistic revival. He visualized this past in part through appropriating iconography from ancient Egypt and...
Abstract Jvari, the Church of the Holy Cross, overlooking the old capital of Georgia, Mtskheta, is a building that is literally and metaphorically on the edge. It is a liminal monument that crosses borders but also creates them. The church lies at the heart of Georgia’s Christian history, but in...
Abstract Standard art historical narratives portray early medieval and Byzantine botanical illustration as a stagnate tradition resulting from the uncritical copying of ancient models. The Morgan Dioscorides, however, testifies to robust critical practices in Byzantine botanical illustration as...
Abstract In the second half of the nineteenth century, the British Raj sponsored cattle competitions across India to educate peasants in responsible bovine husbandry practices to mitigate famine. Photographs of these competitions, which demonstrate the fraught convergence of economic liberalism...
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