Hans Belting
Biographic Data
| ID | 98740 |
|---|---|
| NAME | Hans Belting |
| GIVEN NAMES | Hans |
| FAMILY NAME | Belting |
| SIGNATURE | BELTING H |
| AFFILIATIONS | Staatliche Hochschule für Gestaltung Karlsruhe |
| VERIFIED | No |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 87 |
| AUTHOR COUNT | 18 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1988 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 3 |
Face and Mask: A Double History
The Museum of Modern Art and the History of Modernism
Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum …
The Movement and the Experience of "Iconic Presence". An Introduction
This introduction to the special issue "La vrai image. Croire aux images?" in the journal Convivium explores the concept of "iconic presence" and its relationship to movement and experience. The authors argue that the experience of presence is not solely inherent in the image itself, but is generated through a dynamic interplay between the image, the viewer, and the context. They introduce the various contributions to the issue, which examine thi…
Face and mask: A Double History
This fascinating book presents the first cultural history and anthropology of the face across centuries, continents, and media. Ranging from funerary masks and masks in drama to the figural work of contemporary artists including Cindy Sherman and Nam June Paik, renowned art historian Hans Belting emphasizes that while the face plays a critical role in human communication, it defies attempts at visual representation. Belting divides his book into …
Iconic Presence. Images in Religious Traditions
Iconic presence is presence in and as a picture.1 The physical presence of a picture in our world refers to the symbolic presence which it depicts. Similar to body and voice - and different from wr
St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life
An Author Meets Her Critics
In the fall of 2011, I was appointed to the Chair of Religious Studies in the Department of Religious Studies and Theology in the Faculty of Humanities. As I soon realized, my appointment occurred amid major transitions regarding the institutionalization of the study of religion at Utrecht University. This is part of a broader trend of renegotiating the space between 'theology' and 'religious studies'. This trend echoes a wider process of 'unchur…
An Anthropology of Images: Picture, Medium, Body
A compelling theory that places the origin of human picture making in the body In this groundbreaking book, renowned art historian Hans Belting proposes a new anthropological theory for interpreting human picture making. Rather than focus exclusively on pictures as they are embodied in various media such as painting, sculpture, or photography, he links pictures to our mental images and therefore our bodies. The body is understood as a "living med…
The Double Perspective: Arab Mathematics and Renaissance Art
This article deals with the transfer of Arab visual theory to the West. It is little known that visual theory in the West was based on The Book of Optics by Ibn al Haithan, also known as Alhazen, and was translated into Latin as Perspectiva. The article therefore speaks of a double perspective, one of visual theory (Arab optics), and the other of pictorial theory (Renaissance perspective in art). The main argument identifies the importance of Ara…
Herrscherkult und Heilserwartung
Könige und Herrscher galten über die Zeiten hinweg als schlichtweg außergewöhnliche Menschen. Neben angeborenen Fähigkeiten bei der Staats- und Heeresführung wurden ihnen Heil- und Wunderkraft, übermenschliches Charisma, besondere Gottesnähe, ja eigene Göttlichkeit zugeschrieben. Das Buch zeigt, wie sich dieses sakrale Königtum gegen alle Alleinvertretungsansprüche der monotheistischen Religionen dauerhaft behaupten konnte. Dabei wird deutlich, d…
Perspective: Arab Mathematics and Renaissance Western Art
This paper deals with the transfer of Arab visual theory in the Middle Ages, as it is believed that the cultural significance of this transfer needs a new emphasis. Mathematical perspective was invented in Florentine Renaissance Art. However, except in the history of science, it is a little known fact that this visual theory was based on the Book of Optics , written by Ibn al Haithan, also known as Alhazen, and was translated, probably in Spain, …
"Peter Weibel, les "Télé-actions
Peter Weibel a produit, entre 1969 et la fin des années 70, une série de performances et d'installations vidéo qui cherchaient à redonner vie aux images de télévision. Il s'agissait, suivant les cas, de perturber les émissions existantes, d'inventer de nouveaux dispositifs de projection, de transformer les relations acteurs / spectateurs ou de produire de la pensée à partir de ces images
Image, Medium, Body: A New Approach to Iconology
The Germans and Their Art: A Troublesome Relationship
This fascinating book investigates what is specifically German about German art, focusing on the attitudes Germans have had toward their art from the Romantic period to the present and discussing the ways in which they have tried to find their identity as a nation through this art. Hans Belting proposes that the history of German art criticism has been coloured by division, a split caused both by opposing ideologies and by the contradiction betwe…
The Fetish of Art in the Twentieth Century: The Case of the Mona Lisa
The old idea of the masterpiece, the bane of artists throughout the century that is now drawing to a close, is barely recognizable any more. For the general public, this idea remains a facile cliché that is always ready when needed to put an end to a serious discourse on art. Only the label, not the idea itself, was left when artists came to the point of holding masterpieces responsible for the tenacious survival of outdated artistic ideals. The …
Likeness and Presence: A History of the Image before the Era of Art
The End of the History of Art
The End of the History of Art
Image, Medium, Body: A New Approach to Iconology
Iconic Presence. Images in Religious Traditions
Iconic presence is presence in and as a picture.1 The physical presence of a picture in our world refers to the symbolic presence which it depicts. Similar to body and voice - and different from wr
An Author Meets Her Critics
In the fall of 2011, I was appointed to the Chair of Religious Studies in the Department of Religious Studies and Theology in the Faculty of Humanities. As I soon realized, my appointment occurred amid major transitions regarding the institutionalization of the study of religion at Utrecht University. This is part of a broader trend of renegotiating the space between 'theology' and 'religious studies'. This trend echoes a wider process of 'unchur…
Perspective: Arab Mathematics and Renaissance Western Art
This paper deals with the transfer of Arab visual theory in the Middle Ages, as it is believed that the cultural significance of this transfer needs a new emphasis. Mathematical perspective was invented in Florentine Renaissance Art. However, except in the history of science, it is a little known fact that this visual theory was based on the Book of Optics , written by Ibn al Haithan, also known as Alhazen, and was translated, probably in Spain, …
The Movement and the Experience of "Iconic Presence". An Introduction
This introduction to the special issue "La vrai image. Croire aux images?" in the journal Convivium explores the concept of "iconic presence" and its relationship to movement and experience. The authors argue that the experience of presence is not solely inherent in the image itself, but is generated through a dynamic interplay between the image, the viewer, and the context. They introduce the various contributions to the issue, which examine thi…
The Fetish of Art in the Twentieth Century: The Case of the Mona Lisa
The old idea of the masterpiece, the bane of artists throughout the century that is now drawing to a close, is barely recognizable any more. For the general public, this idea remains a facile cliché that is always ready when needed to put an end to a serious discourse on art. Only the label, not the idea itself, was left when artists came to the point of holding masterpieces responsible for the tenacious survival of outdated artistic ideals. The …
The End of the History of Art
The End of the History of Art
Likeness and Presence: A History of the Image before the Era of Art
The Fetish of Art in the Twentieth Century: The Case of the Mona Lisa
The old idea of the masterpiece, the bane of artists throughout the century that is now drawing to a close, is barely recognizable any more. For the general public, this idea remains a facile cliché that is always ready when needed to put an end to a serious discourse on art. Only the label, not the idea itself, was left when artists came to the point of holding masterpieces responsible for the tenacious survival of outdated artistic ideals. The …
The Germans and Their Art: A Troublesome Relationship
This fascinating book investigates what is specifically German about German art, focusing on the attitudes Germans have had toward their art from the Romantic period to the present and discussing the ways in which they have tried to find their identity as a nation through this art. Hans Belting proposes that the history of German art criticism has been coloured by division, a split caused both by opposing ideologies and by the contradiction betwe…
"Peter Weibel, les "Télé-actions
Peter Weibel a produit, entre 1969 et la fin des années 70, une série de performances et d'installations vidéo qui cherchaient à redonner vie aux images de télévision. Il s'agissait, suivant les cas, de perturber les émissions existantes, d'inventer de nouveaux dispositifs de projection, de transformer les relations acteurs / spectateurs ou de produire de la pensée à partir de ces images
Image, Medium, Body: A New Approach to Iconology
Perspective: Arab Mathematics and Renaissance Western Art
This paper deals with the transfer of Arab visual theory in the Middle Ages, as it is believed that the cultural significance of this transfer needs a new emphasis. Mathematical perspective was invented in Florentine Renaissance Art. However, except in the history of science, it is a little known fact that this visual theory was based on the Book of Optics , written by Ibn al Haithan, also known as Alhazen, and was translated, probably in Spain, …
The Double Perspective: Arab Mathematics and Renaissance Art
This article deals with the transfer of Arab visual theory to the West. It is little known that visual theory in the West was based on The Book of Optics by Ibn al Haithan, also known as Alhazen, and was translated into Latin as Perspectiva. The article therefore speaks of a double perspective, one of visual theory (Arab optics), and the other of pictorial theory (Renaissance perspective in art). The main argument identifies the importance of Ara…
Herrscherkult und Heilserwartung
Könige und Herrscher galten über die Zeiten hinweg als schlichtweg außergewöhnliche Menschen. Neben angeborenen Fähigkeiten bei der Staats- und Heeresführung wurden ihnen Heil- und Wunderkraft, übermenschliches Charisma, besondere Gottesnähe, ja eigene Göttlichkeit zugeschrieben. Das Buch zeigt, wie sich dieses sakrale Königtum gegen alle Alleinvertretungsansprüche der monotheistischen Religionen dauerhaft behaupten konnte. Dabei wird deutlich, d…
An Anthropology of Images: Picture, Medium, Body
A compelling theory that places the origin of human picture making in the body In this groundbreaking book, renowned art historian Hans Belting proposes a new anthropological theory for interpreting human picture making. Rather than focus exclusively on pictures as they are embodied in various media such as painting, sculpture, or photography, he links pictures to our mental images and therefore our bodies. The body is understood as a "living med…
St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life
An Author Meets Her Critics
In the fall of 2011, I was appointed to the Chair of Religious Studies in the Department of Religious Studies and Theology in the Faculty of Humanities. As I soon realized, my appointment occurred amid major transitions regarding the institutionalization of the study of religion at Utrecht University. This is part of a broader trend of renegotiating the space between 'theology' and 'religious studies'. This trend echoes a wider process of 'unchur…
Iconic Presence. Images in Religious Traditions
Iconic presence is presence in and as a picture.1 The physical presence of a picture in our world refers to the symbolic presence which it depicts. Similar to body and voice - and different from wr
Face and mask: A Double History
This fascinating book presents the first cultural history and anthropology of the face across centuries, continents, and media. Ranging from funerary masks and masks in drama to the figural work of contemporary artists including Cindy Sherman and Nam June Paik, renowned art historian Hans Belting emphasizes that while the face plays a critical role in human communication, it defies attempts at visual representation. Belting divides his book into …
The Movement and the Experience of "Iconic Presence". An Introduction
This introduction to the special issue "La vrai image. Croire aux images?" in the journal Convivium explores the concept of "iconic presence" and its relationship to movement and experience. The authors argue that the experience of presence is not solely inherent in the image itself, but is generated through a dynamic interplay between the image, the viewer, and the context. They introduce the various contributions to the issue, which examine thi…
The Museum of Modern Art and the History of Modernism
Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum …
Face and Mask: A Double History
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