Page 7 - Uros Todorovic Byzantine Painting Contemporary Eyes
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Contents Author’s Remarks and Acknowledgements ..........
Foreword ..................... .......... Introduction ................... ..........
PART I
Chapter 1:
From El Greco to His Byzantine Predecessors
Introduction to Byzantine influences in El Greco’s later work El Greco’s Forerunners of the 11th, 12th and 13th Century . . . . The ‘Renaissance’ of Palaiologan Painting . . . . . . . . . . . Theophanes the Greek . . . . . . . . . . . . . . . . . . . . . . Post Byzantine Painting and Theophanes the Cretan . . . . .
Chapter 2:
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The Relationship between Hesychasm and the Aesthetics of Late Byzantine Painting
Part I: Introduction to the Relationship between Hesychasm and the Aesthetics of Late Byzantine Painting . . . . . . . . . Part II: A Concise Historical Overview of the Hesychast Debate Part III: Perivleptos and Kalenić: Sisters in Hesychasm . . . . . .
Chapter 3:
Modernism of the Frescoes of Mistra
Introduction to the Modernism of the Frescoes of Mistra . . . .
The Byzantine reality of seeing versus the notion of seeing reality . . . . . From the Byzantine frescoes of Mistra to the 20th century abstract painting
PART II
Chapter 4:
Byzantine Influences in the Abstract Painting of Vasily Kandinsky
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Introduction to the Byzantine Influences in the Abstract Painting of Vasily Kandinsky
The Musicalisation of Compositions as a Byzantine Parallel .
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Introduction to Case-Studies . . . . . . . . . . . . . . The Blue Rider and the Musicalisation of Painting . . Twilight and Tempered Elan through Byzantine eyes Division-Unity – A Historical and Artistic Reading .
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