Half a millennium later, you would think the Italian Renaissance could hold no more secrets from us, no “codes” to decipher. And, yet, secrets hiding in plain sight continue to startle modern audiences with the depth and breadth of that amazing era. One of the well-kept secrets, at least until now, was the work of Piero di Cosimo, subject of his first major retrospective, Piero di Cosimo: The Poetry of Painting in Renaissance Florence at the National Gallery of Art, Washington, DC.  Called “a madman” for his personal and artistic quirks by Renaissance chronicler Giorgio Vasari, Piero’s ability to paint in multiple genres all with a dizzying amount of detail may have seemed madness to contemporaries, but appeals to modern audiences conditioned for such visual assaults. There may have been a method to Piero di Cosimo’s madness after all. Please come over to Picture This at Big Think to read more of "Piero di Cosimo: Renaissance “Madman” for the Modern Age."

Fans of Dan Brown (and Tom Hanks) hoped to get an education in the Italian Renaissance along with their beach reading (and movie-going) of The Da Vinci Code. But they and those who think that Leonardo, Michelangelo, Raphael, and Donatello are just Teenage Mutant Ninja Turtles are missing out on a Renaissance master of art and mathematics just as captivating and mysterious as Da Vinci—Piero della Francesca. In Piero della Francesca: Artist and Man, James R. Banker relies on newly discovered documents and years of study of the Renaissance to crack the “Piero Code.” You won’t run across the Knights Templar or unearth the Holy Grail in Banker’s biographical study, but you will come away with a real-life detective tale compellingly told and a greater understanding and appreciation of an artist whose art may look otherworldly but, as Banker suggests, grew directly from Piero’s hometown roots. Please come over to Picture This at Big Think to read more of "Forget Da Vinci, Try Solving the Piero della Francesca Code."

Making the “Divine” Bach Human Again

“This is what I have to say about Bach’s life’s work,” Albert Einstein once remarked. “Listen, play, love, revere—and keep your trap shut.” But how can anyone listen to the “divine” music of Johann Sebastian Bach and not wonder about a man now synonymous with classical music and, in many ways, high-brow culture itself? In Bach: Music in the Castle of Heaven, Sir John Eliot Gardiner, not only one of the world’s leading conductors, but also a preeminent interpreter of Bach’s music, takes us inside the music—listening, playing, loving, and revering, as Einstein asks—to take us inside the man. Opposing the traditional view of Bach as almost God-like in his musical perfection, Gardiner unearths the imperfections of a very flawed artist who struggled with spiritual faith as well as secular authority. For anyone who’s ever felt intimidated by “BACH,” Bach: Music in the Castle of Heaven will guide you into the world of Bach and allow you to experience the compelling humanity (foremost Bach’s own) embedded in every note. Please come over to Picture This at Big Think to read more of "Making the 'Divine' Bach Human Again."

As Penn Jillette said right here on BigThink.com, “Reading the Bible (or the Koran, or the Torah) will make you an atheist.” Of course, just reading the Bible itself—all 66 canonical books (more in some versions)—is something few even attempt. Growing up Catholic, I went with the flow and took it mainly on faith, accepting the portions of revelation portioned out at mass or in school. For those who do take on the challenge of reading the Bible straight through, however, the result can be confusingly mystifying or, as Jillette argues, troublingly demystifying. Written by Mark Russell with illustrated by New Yorker cartoonist Shannon Wheeler, God Is Disappointed in You cuts to the heart of the matter, and sometimes down to the funny bone, to translate the Bible into terms that allow a modern reader to understand the wild, weird, and wonderful “essence” of the Good Book. “It is not my intention to mock the Bible with this book,” Russell writes in his introduction, “nor to endorse it, but merely to present it on its own terms in a way that is accessible and which relays the same sense of fascination I had when I truly discovered the Bible.” Russell and Wheeler create—you decide. In a world full of religious dialogue, is it possible that two comics have finally come up with the first “honest” Bible? Please come over to Picture This at Big Think to read more of "Is This the First “Honest” Bible?"

When the Vatican recently cleared both Pope John XXIII and Pope John Paul II for sainthood—a hyper-holy two-fer—critics all along the political spectrum grumbled over the honoring of one man or the other. Like the chipped and worn statues of Christian antiquity, the image of sainthood’s taken a beating over the centuries. Just as modern medicine’s makes the required miracles harder to come by, modern cynicism sees more flaws than faith. Michael Landy: Saints Alive, which runs through November 24, 2013 at the National Gallery, London, puts a modern spin on the sainthood system through a series of kinetic sculptures designed not to move you towards piety but to move you to a new perspective on what it means to elevate a person to spiritual superstardom. By seeing the funny side of sainthood, Landy pokes fun at the past while also warning us about the idolatry of the present. Please come over to Picture This at Big Think to read more of "Seeing the Funny Side of Sainthood."




 

“[T]he Gothic era,” Bruno Kleinwrites in the introduction to Gothic: Visual Art of the Middle Ages, 1140-1500, “was a time of seeing, in which much was discussed in words, but even more conveyed with the help of images.” In this massive new study of the period published by h.f. Ullmannas part of the Collection of Art Epochs, we reunite with a generation powerfully like our own—a group of visual learnersmore comfortable with meaning filtered through images than through words. What separates this new book from previous encyclopedic surveys of the Gothic past is the photographic processes of the present. By zooming in and digitally manipulating images for maximum clarity and detail, Gothic: Visual Art of the Middle Ages, 1140-1500 pulls the distant past into our immediate future. Thrust literally face to face with this strangely different yet strangely similar time, we can ask, “Are we living in a second Gothic age?” Please come over to Picture This at Big Think to read more of "Are We Living in a Second Gothic Age?"


[Many thanks to h.f. Ullmannfor providing me with the image above from and a review copy of Gothic: Visual Art of the Middle Ages, 1140-1500, edited by Rolf Toman, text by Bruno Klein, photographs by Achim Bednorz, and produced by Thomas Paffen.]