In the enchanted world of Braj, the primary pilgrimage center in north India for worshippers of Krishna, each stone, river, and tree is considered sacred. In Climate Change and the Art of Devotion, Sugata Ray shows how this place-centered theology emerged in the wake of the Little Ice Age (ca. 1550–1850), an epoch marked by climatic catastrophes across the globe. Using the frame of geoaesthetics, he compares early modern conceptions of the environment and current assumptions about nature and culture. A groundbreaking contribution to the emerging field of eco–art history, the book examines architecture, paintings, photography, and prints created in Braj alongside theological treatises and devotional poetry to foreground seepages between the natural ecosystem and cultural production. The paintings of deified rivers, temples that emulate fragrant groves, and talismanic bleeding rocks that Ray discusses will captivate readers interested in environmental humanities and South Asian art history. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/climate-change-and-the-art-of-devotion

The first volume to explore the vast assortment of church decorations and memorials produced by the Tiffany Studios.

In the tradition of bestselling authors Ian McEwan and Anne Enright, Samantha Bruce-Benjamin’s brilliant and timeless debut unveils the dark side of human nature as four women share the poignant tale of love, obsession, and ultimate betrayal that binds them forever. Have we all not wished to keep forever the one person we love the most? The secluded beaches of a sun-drenched Mediterranean island are the perfect playground for young Sebastian and Adora. Emotionally adrift from their mother, Adora shelters her sensitive older brother from the cruelties of the world. Sophie does not question her children’s intense need for one another until it’s too late. Her beloved son’s affections belong to Adora, and when he drowns in the sea, she has no one else to blame. Still heartbroken years later, Adora fills her emptiness with Genevieve, the precocious young daughter of her husband’s business associate and his jealous wife, Miranda. Thrilled to be invited into the beautiful and enigmatic Adora’s world, the child idolizes her during their summers together. Yet, as the years progress, Genevieve begins to suspect their charmed existence is nothing more than a carefully crafted illusion. Soon, she too is ensnared in a web of lies. Stunningly told in the tragic voices of four women whose lives are fatefully entangled, The Art of Devotion is evocative and haunting, a story of deceit, jealousy, and the heartbreaking reality of love’s true power.

Generously illustrated exhibition catalogue explores the demand for and production of devotional works in early fifteenth-century Italy

Giovanni Bellini was the leading artist of the early Renaissance in Venice and the master of what was probably the largest workshop of any painter in Italy. Many of the works that are today associated with Bellini are half-length images of the Virgin and Child, a type of painting that became the mainstay of his workshop's production, where they were created and replicated in great numbers to meet the needs of private devotion. The local market was large and its demands were varied in terms of both style and quality, and the Bellini workshop accommodated these demands through standardized methods of production. The essays included in this book examine the practice of workshop replication both to understand the specific working methods of Bellini's shop and to situate artistic practice within the broader context of the demand for particular kinds of images. Ronda Kasl is curator of painting and sculpture before 1800 at the Indianapolis Museum of Art. Other contributors include Keith Christiansen, Antonietta Gallone, Andrea Golden, Cinzia Maria Mancuso, and David Miller.

The vibrant tradition of Temple decoration in India.

Both lauded and criticized for his pictorial eclecticism, the Florentine artist Jacopo Carrucci, known as Pontormo, created some of the most visually striking religious images of the Renaissance. These paintings, which challenged prevailing illusionistic conventions, mark a unique contribution into the complex relationship between artistic innovation and Christian traditions in the first half of the sixteenth century. Pontormo's sacred works are generally interpreted as objects that reflect either pure aesthetic experimentation, or personal and cultural anxiety. Jessica Maratsos, however, argues that Pontormo employed stylistic change deliberately for novel devotional purposes. As a painter, he was interested in the various modes of expression and communication - direct address, tactile evocation, affective incitement - as deployed in a wide spectrum of devotional culture, from sacri monti, to Michelangelo's marble sculptures, to evangelical lectures delivered at the Accademia Fiorentina. Maratsos shows how Pontormo translated these modes in ways that prompt a critical rethinking of Renaissance devotional art.