European Art History

Western civilization has given us modern science, the wealth of free-market economics, the security of law, a sense of human rights and freedom, charity as a virtue, splendid art and music, philosophy grounded in reason, and innumerable other gifts we take for granted.

It is often claimed that the French invented cinema. Dominating the production and distribution of cinema until WWI, when they were supplanted by Hollywood, the French cinema industry encompassed all genres, from popular entertainment to avant-garde practice. This Very Short Introduction opens up French cinema through focusing on some of its most notable works, using the lens of the New Wave decade (1958-1968) that changed cinema worldwide.

The story of Eastern Europe is one of successes and failures, competing interests, and the rise and fall of states and empires. The ancient Greek and Roman empires knew the importance of Eastern Europe for trade and settlement. The medieval period would see some of the greatest empires of European history, like Kievan Rus, the Bulgarian Empire, Serbia, and the German Crusader states. By the early modern period, these great states would be replaced by Russia, the Polish-Lithuanian Commonwealth, and the Ottoman Empire.

How is it that the small continent of Europe, with its rich multiplicity of cultures and traditions, has managed to exert so profound an influence on the rest of the world? Roberts's sweeping and entertaining history notes the paradoxical effect, for good and ill, on everything touched by those Western values that originated in Europe.

However, a historical transformation of similar magnitude also took place in northern Europe at the same time. This "Other Renaissance" was initially centered on the city of Bruges in Flanders (modern Belgium), but its influence was soon being felt in France, the German states, London, and even in Italy itself.

In literary legend, Faustus is the quintessential occult personality of early modern Europe. The historical Faustus, however, was something quite different: a magus—a learned magician fully embedded in the scholarly currents and public life of the Renaissance. And he was hardly the only one. Anthony Grafton argues that the magus in sixteenth-century Europe was a distinctive intellectual type, both different from and indebted to medieval counterparts as well as contemporaries like the engineer, the artist, the Christian humanist, and the religious reformer.

"In this fascinating, witty, and provocative book, Delbourgo's collectors range from emperors to scientists, from shopaholics to taxonomists, from bibliomaniacs to serial killers. Give it to the collector in your life, and watch the sparks fly!"―Cathy Gere, author of The Tomb of Agamemnon A...

A bold, expansive argument for a new way to understand immoral art in our time of cultural and political upheaval In this unconventional journey through the history of art, philosopher and artist Daisy Dixon explores works of art that society has condemned as depraved, obscene, or dangerous...

In this examination of Solzhenitsyn and his work, Lee Congdon explores the consequences of the atheistic socialism that drove the Russian revolutionary movement.

Beethoven imbibed Enlightenment and revolutionary ideas in his hometown of Bonn, where they were fervently discussed in cafes and at the university. Moving to Vienna at the age of 21 to study with Haydn, he gained renown as a brilliant pianist and innovative composer. In that conservative city, capital of the Hapsburg empire, authorities were ever watchful to curtail and punish overt displays of radical political views. Nevertheless, Beethoven avidly followed the meteoric rise of Napoleon.

If ever a catharsis in Western European Civilization occurred, it had to have been the period we refer to as the Renaissance. After a thousand years of theocracy, manorialism, feudalism and narrow economic development, Europe was ripe for change. She got it with a vengeance.

At the end of 1941, it seemed to many people, especially in Germany, that the war was virtually over. Some began to consider what a postwar Europe would look like after a Nazi victory. With nothing to stop them, the Nazis became the most rapacious looters of art the world had ever seen, to the extent that it has been estimated that the Nazis may have acquired up to 20 percent of all art in Western Europe. Some works were returned after the war, many disappeared, and still others have become the subject of intense speculation.

Orthodoxy, first published 1908, is Chesterton's spiritual autobiography. Subtitled, 'The romance of faith', Chesterton declares that people need a life of 'practical romance; the combination of something that is strange with something that is secure.'