Embodying the Sacred: A 4-Part Lenten Series on Religious Art
Part 3: Embodied God, Embodied Viewers: Christian Theologies and Visual Strategies in the Northern Renaissance Art
Sunday, March 4 at 9:00 am in the Bloom Room
The Gospels relate special moments when God becomes physically present to the world and experiences that world through God's own physical embodiment: the annunciation, the nativity, the last supper, and the crucifixion. Not surprisingly, these moments of embodied revelation and experience were often depicted in works of art. Drawing on her 28 years of teaching Renaissance art at the University of Arizona, GSP member Pia Cuneo (Professor, History of Art) will discuss Renaissance paintings and sculptures that seek to draw the viewer into God's presence and experience by appealing through visual strategies of engagement to the viewer's own embodied response. The works she will share with you are: Robert Campin, The Merode Triptych (ca. 1425), Hugo van der Goes, The Portinari Altarpiece (ca. 1474), Tilman Riemenschneider, Altarpiece of the Holy Blood, (ca. 1500), and Mathias Gruenewald, The Isenheim Altarpiece (ca. 1515).
Pia Cuneo got her MA and PhD in Art History from Northwestern University. She has taught at the University of Arizona since 1990 and has published a number of books and articles on various aspects of early modern (1500-1800) German art; her current research focuses on the culture of the horse at that time. Pia is grateful for the wonderful community of GSP, and for her 3 cats and 2 horses, all of whom immeasurably enrich her life.