Martin Luther College

Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes...

The painted and relief-cut walls of ancient Egyptian tombs and temples record an amazing continuity of customs and beliefs over nearly 3,000 years. Even the artistic style of the scenes seems unchanging from century to century, but this appearance is deceptive. In this pioneering work, Gay Robins offers convincing evidence, based on a study of Egyptian usage of grid systems and proportions, that innovation and stylistic variation played a significant...

In his seminal and controversial work in defense of abstract art, renowned critic Clive Bell argues that “aesthetic emotion” is a response to the “significant form” of a work of art, the forms and relations of art itself; any other meaning or association the piece of art holds is irrelevant.

Paris in the 1860s and 1870s was supposedly a centre of modern life. This book argues that the art of Manet and his contemporaries was an attempt to give form to that modernity.