Revisioning: Critical Methods of Seeing Christianity in the History of Art - Paperback

by James Romaine (Editor), Linda Stratford (Editor)

ReVisioning: Critical Methods of Seeing Christianity in the History of Art examines the application of art historical methods to the history of Christianity and art. As methods of art history have become more interdisciplinary, there has been a notable emergence of discussions of religion in art history as well as related fields such as visual culture and theology. This book represents the first critical examination of scholarly methodologies applied to the study of Christian subjects, themes, and contexts in art. ReVisioning contains original work from a range of scholars, each of whom has addressed the question, in regard to a well-known work of art or body of work, "How have particular methods of art history been applied, and with what effect?" The study moves from the third century to the present, providing extensive treatment and analysis of art historical methods applied to the history of Christianity and art.

Author Biography

James Romaine, Associate Professor of Art History and chair of the Department of Art History at Nyack College. He is the President of the Association of Scholars of Christianity in the History of Art (ASCHA). His recent scholarship includes Art as Spiritual Perception: A Festschrift for Dr. E. John Walford (2012), and contributing to the exhibition catalog Tim Rollins and K.O.S.: A History (2009).

Linda Stratford received her PhD from the State University of New York, Stony Brook with emphasis on Art and Society. She teaches at Asbury University. Stratford has written primarily on identity politics in late French modernism and is the director of Paris Semester, a semester of credit offered in Paris by Asbury University each fall (open to non-Asbury applicants). As a historian of art and society Stratford's interests include the means by which artistic initiatives come to be viewed as belonging, or not belonging within the framework of a community. The dynamics of inclusion and exclusion have led her to question the largely secular methodologies in art history and criticism today.