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By Henry Maguire

During this interdisciplinary research, Henry Maguire examines the impression of numerous literary genres and rhetorical concepts at the visible arts of Byzantium. specifically, he indicates that the literary gildings of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, sort, and association in their paintings. utilizing provocative fabric formerly strange to paintings historians, he concentrates on non secular artwork from a.d. 843 to 1453. during this interdisciplinary examine, Henry Maguire examines the effect of a number of literary genres and rhetorical strategies at the visible arts of Byzantium. particularly, he exhibits that the literary elaborations of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, type, and association in their paintings. utilizing provocative fabric formerly strange to artwork historians, he concentrates on spiritual artwork from a.d. 843 to 1453.

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Icons did not seek to pictorially extend the viewer’s space, to create the illusion of a stage, as did Western i n t r u s i v e , i n t r a n s i g e n t , i n v i s i b l e 17 Figure 9. Viktor Koretsky, Save Us! ), 1942, original maquette. [Ne boltai! Collection] 18 v i s i o n a n d c o m m u n i s m ­ erspective, which sought to p evoke an everyday experience simulated through a window. Rather, icons—like the early posters and, differently, Koretsky’s maquettes—sought to block off the expected worldview and instead to project the unfamiliar into it, to impinge upon the quotidian by representing an arena of dazzling otherness.

Alter Icons: The Russian Icon and Modernity (New Haven and London: Yale University Press, 2010). Premodern imaginings of suffering are discussed in Mitchell B. Merback, The Thief, the Cross, and the Wheel: Pain and the Spectacle of Punishment in Medieval and Early Modern Europe (Chicago and London: University of Chicago Press, 1998). On Soviet word and image relations: Yury Lotman, “Paint­ int r usi ve, int ra nsig e nt, inv isib l e 37 ing and the Language of Theatre: Notes on the Problem of Iconic Rhetoric,” in Tekstura, trans.

In tandem with innovations in photographic technology, i n t r u s i v e , i n t r a n s i g e n t , i n v i s i b l e 13 Figure 5. Manifestation Above the City of Cartagena, 28 December 1743, 1744, colored engraving. [Pushkin Museum, Moscow] these allowed unprecedented print runs, at the same time that railroads permitted posters to girdle entire continents. Bolshevism, drenched in metaphors of technology, speed, and transformation, embraced the poster’s power and mercantilist means. It wielded the poster both as a vehicle for and as a symbol of proletarian dynamism.

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