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Βυζαντινή τέχνη
Γραμμένο από μια αυθεντία σε θέματα Βυζαντινής τέχνης, το βιβλίο του Ντ. Τάλμποτ-Ράις παρουσιάζει συνοπτικά, με κριτικό πνεύμα, όλα εκείνα τα είδη της τέχνης (αρχιτεκτονική, νωπογραφίες, ψηφιδωτά, μικρογλυπτική, ιστορημένα χειρόγραφα, κ.ά.) που άνθησαν στον ευρύτερο Βυζαντινό Κόσμο, από την Αρμενία και τη Γεωργία ώς την Αίγυπτο και τη Σικελία, στους εννέα περίπου αιώνες που μεσολάβησαν από τα χρόνια του Ιουστινιανού ώς την πτώση της Κωνσταντινούπολης, το 1453.
252 pages, Paperback
First published January 1, 1935
2 people are currently reading
33 people want to read
About the author
David Talbot Rice
87 books5 followersDavid Talbot Rice CBE (11 July 1903 in Rugby – 12 March 1972 in Cheltenham) was an English art historian. His father was "Talbot-Rice" and both he and his wife published using "Talbot Rice" as a surname, but are also sometimes found under "Rice" alone, or "Talbot-Rice".
Born in Rugby and brought up in Gloucestershire (England), he was educated at Eton prior to reading archaeology and anthropology at Christ Church, Oxford.[1] At Oxford his circle of friends included Evelyn Waugh and Harold Acton as well as his future wife (Elena) Tamara Abelson (1904–1993) whom he was to marry in 1927. She was a Russian émigrée, who was also an art historian, writing on Byzantine and Central Eastern art and other subjects as Tamara Talbot Rice.
Following his graduation, Talbot Rice undertook a number of archaeological digs overseas and developed a passion for all things Byzantine. His expertise in the area of Islamic art was recognised when, in 1932, Samuel Courtauld endowed the Courtauld Institute at the University of London and Talbot Rice was among the first appointments, taking up a position as lecturer.
Talbot Rice was subsequently appointed to the Watson Gordon Chair of Fine Art at the University of Edinburgh in 1934, a post he held until his death in 1972. In 1937 he gave the Ilchester Lecture, later published as The Beginnings of Russian Icon Painting.
During the Second World War Talbot Rice served with modest distinction as Head of the Near East Section of Military Intelligence (MI3b), which was responsible for Eastern Europe including Yugoslavia but excluding Russia and Scandinavia. Originally commissioned onto the Special List in 1939, he transferred to the Intelligence Corps in 1943. He ended the war with the rank of Major.
When peacetime returned he came back to Scotland and established an Honours degree at the University which combined art history and studio art and is still offered today. His ambition to establish an arts centre in the University was realised posthumously when the Talbot Rice Gallery was founded and named after him.
From 1952 to 1954, he led the excavations of the Great Palace of Constantinople in Istanbul, Turkey.
Born in Rugby and brought up in Gloucestershire (England), he was educated at Eton prior to reading archaeology and anthropology at Christ Church, Oxford.[1] At Oxford his circle of friends included Evelyn Waugh and Harold Acton as well as his future wife (Elena) Tamara Abelson (1904–1993) whom he was to marry in 1927. She was a Russian émigrée, who was also an art historian, writing on Byzantine and Central Eastern art and other subjects as Tamara Talbot Rice.
Following his graduation, Talbot Rice undertook a number of archaeological digs overseas and developed a passion for all things Byzantine. His expertise in the area of Islamic art was recognised when, in 1932, Samuel Courtauld endowed the Courtauld Institute at the University of London and Talbot Rice was among the first appointments, taking up a position as lecturer.
Talbot Rice was subsequently appointed to the Watson Gordon Chair of Fine Art at the University of Edinburgh in 1934, a post he held until his death in 1972. In 1937 he gave the Ilchester Lecture, later published as The Beginnings of Russian Icon Painting.
During the Second World War Talbot Rice served with modest distinction as Head of the Near East Section of Military Intelligence (MI3b), which was responsible for Eastern Europe including Yugoslavia but excluding Russia and Scandinavia. Originally commissioned onto the Special List in 1939, he transferred to the Intelligence Corps in 1943. He ended the war with the rank of Major.
When peacetime returned he came back to Scotland and established an Honours degree at the University which combined art history and studio art and is still offered today. His ambition to establish an arts centre in the University was realised posthumously when the Talbot Rice Gallery was founded and named after him.
From 1952 to 1954, he led the excavations of the Great Palace of Constantinople in Istanbul, Turkey.
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Displaying 1 - 3 of 3 reviews
May 22, 2021
Πολύ ωραίο και εμπεριστατωμένο σύγγραμμα. Με συνόδευσε καθόλη τη διάρκεια ενός εξαμήνου Βυζαντινής Τέχνης σε πρόγραμμα του ΑΠΚΥ. Ενώ σίγουρα είναι απλό και κατανοητό από τον καθένα, για χρήση μελέτης οφείλω να παραδεχθώ πως με δυσκόλεψε. Θα ήταν πιο χρηστικό αν είχε περισσότερες υποενότητες/ πλαγιότιτλους κτλ
January 9, 2018
What a relief to read this after "The Jungle" by Upton Sinclair: reading material doesn't come much more polar opposite than this. David Talbot Rice guides us through the subject with elegance and urbanity. I had not fully appreciated the Persian influences in Byzantine art (how strange to think that the eastwards orientation of most Christian churches - including the medieval English parish church a short distance from where I am writing this - should ultimately derive from ancient Persian Zoroastrianism). Architecture, mosaics, and icons all get their due, but there are also good chapters on enamels, textiles, etc.
I did raise an eyebrow when he speaks of the "listlessness" of the Arab race, complaining of their "inability to repair or keep in order any structure whatever"; and it is a pity that all of the illustrations (which mesh nicely with the text and are abundant and well chosen) should be in black and white. Nevertheless, despite being published in 1930, this remains a useful and digestible work which shines light on the many ways in which Byzantine art and ideas continue to nourish and connect us.
I did raise an eyebrow when he speaks of the "listlessness" of the Arab race, complaining of their "inability to repair or keep in order any structure whatever"; and it is a pity that all of the illustrations (which mesh nicely with the text and are abundant and well chosen) should be in black and white. Nevertheless, despite being published in 1930, this remains a useful and digestible work which shines light on the many ways in which Byzantine art and ideas continue to nourish and connect us.
May 3, 2018
Κλασικό με υπέροχη γλώσσα.
Displaying 1 - 3 of 3 reviews