High Gothic: Christian Art & Iconography of the 13th–14th Century showcases classic examples of statuary, stained glass, diptychs, textiles and caskets that were used in the expression of Christian devotion in Western Europe.‘Gothic’ was originally a derogatory term coined by scholars during the Renaissance to describe the ‘barbaric’ medieval architecture that arose with the decline of the classical forms of the Roman Empire. The word is now understood to describe a style of buildings and objects created between the twelfth and fifteenth centuries which incorporate elements such as novel advances in masonry work and the characteristic ogival arch.The Gothic period saw an increased emphasis on the power of images, where vision became an active force for activating emotion and inspiring contemplation. The great cathedrals constructed in this period―with their thin walls and high vaults filled with statuary and stained-glass windows―were designed to evoke awe among visitors. The exqui
Reverse paintings on glass occupy a special place in Chinese art, spanning the genres of glass working, export art, folk art, erotica, and meiren hua (paintings of beauties). Their unique appearance is the result of a challenging production process in which artists layer pigments in the reverse order of the normal painting procedure–highlights first, then mid-layers, and finally base colours. The final product is viewed in reverse from the opposite side of the glass, which must also be considered when creating the paintings. A product of the encounter between East and West, the manufacture of glass paintings in China was stimulated by European glass paintings brought to the imperial court by traders and diplomats in the seventeenth century. Initially made in Canton for Western consumers, by the eighteenth century their production had spread throughout China, with subjects and styles adapted to suit local tastes. The glass paintings in the Mei Lin Collection represent this later floweri
What was fresh, modern and ground-breaking in the decades between 1890 and 1910? Art nouveau architecture is a diverse subject, with a plethora of different names from across the globe. But no matter what it is called, it always strives to be different. Defining a movement that consciously opposes tradition is difficult; art nouveau rejects categorisation with its relentless modernity. A conscious defiance of classicism, this movement was informed by niche interpretations of medieval imagery, such as Wagner's operas and Nietzsche's review of paganism, as well as influences beyond the scope of Western canon such as Japanese art and orientalism. The buildings themselves are models of collaborative research. Artistic innovation collided with invention, as architects embraced new construction techniques, designing with iron, glass, pottery, and concrete. This over-sized book is the result of five years in-depth research. It contains a selection of key buildings from around the world, caref
