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Rating: 
Summary: A solid introduction to Byzantine art.
Review: Mathews's book is quite solid, providing concise, to-the-point information on the art of the Byzantine Empire. Rather than organize his text chronologically, Mathews chooses to focus each chapter on a specific theme, such as icons, churches, and secular art. In this way, he tries to unify the various branches of Byzantine art. It should be noted that the book is an introduction to the subject, and may not provide the depth of information necessary for more advanced study. This is not to say that what Mathews has provided is simplistic, or less than scholarly. On the contrary, his text is most distinguished for its artful way of connecting the art of Byzantium to both its classical roots and its Renaissance successors. Mathews takes upon himself the role of advocate, reminding readers that the Byzantine Empire kept western culture alive after the fall of Rome, and asserting the vital influence that Byzantine art had on the Renaissance. At times, his prose grows quite lofty as he reflects on the continuous tradition of western art. This thematic discussion complements his detailed descriptions of specific works or art. Overall, this is an accessible and useful text.
Rating:
Summary: A solid introduction to Byzantine art.
Review: Mathews's book is quite solid, providing concise, to-the-point information on the art of the Byzantine Empire. Rather than organize his text chronologically, Mathews chooses to focus each chapter on a specific theme, such as icons, churches, and secular art. In this way, he tries to unify the various branches of Byzantine art. It should be noted that the book is an introduction to the subject, and may not provide the depth of information necessary for more advanced study. This is not to say that what Mathews has provided is simplistic, or less than scholarly. On the contrary, his text is most distinguished for its artful way of connecting the art of Byzantium to both its classical roots and its Renaissance successors. Mathews takes upon himself the role of advocate, reminding readers that the Byzantine Empire kept western culture alive after the fall of Rome, and asserting the vital influence that Byzantine art had on the Renaissance. At times, his prose grows quite lofty as he reflects on the continuous tradition of western art. This thematic discussion complements his detailed descriptions of specific works or art. Overall, this is an accessible and useful text.
Rating: 
Summary: A lovely introduction to Byzantine Art
Review: This inexpensive yet lavishly illustrated volume is an ideal introduction to the history of Byzantine art. As the previous reviewer has noted, it is arranged thematically. However, the themes themselves are those that arise more or less chronologically, so one does get a sense of moving from the period of the Late Roman Empire to the fall of Constantinople to the Ottomans in 1453. The volume as a whole is everything one could hope for in an introductory text; it is concise, extremely accessible, covers all the major issues and ideas of the periods being considered, provides all the essential background, and explains the ongoing significance and influence of the period as a whole. As Mathews explains early in the book, Byzantine Art is the backbone of Medieval Art, and he does a marvelous job of explaining and detailing that claim.One sense that any reader will come away with from reading this book is associating a specific color with Byzantine Art: gold. In photograph after photograph, one will be struck at the amount of gold used in jewelry, sculpture, architecture, iconography, and painting. One will also gain a solid overview of Byzantine Art, and will definitely have an interest in further study kindled.
Rating:
Summary: A lovely introduction to Byzantine Art
Review: This inexpensive yet lavishly illustrated volume is an ideal introduction to the history of Byzantine art. As the previous reviewer has noted, it is arranged thematically. However, the themes themselves are those that arise more or less chronologically, so one does get a sense of moving from the period of the Late Roman Empire to the fall of Constantinople to the Ottomans in 1453. The volume as a whole is everything one could hope for in an introductory text; it is concise, extremely accessible, covers all the major issues and ideas of the periods being considered, provides all the essential background, and explains the ongoing significance and influence of the period as a whole. As Mathews explains early in the book, Byzantine Art is the backbone of Medieval Art, and he does a marvelous job of explaining and detailing that claim. One sense that any reader will come away with from reading this book is associating a specific color with Byzantine Art: gold. In photograph after photograph, one will be struck at the amount of gold used in jewelry, sculpture, architecture, iconography, and painting. One will also gain a solid overview of Byzantine Art, and will definitely have an interest in further study kindled.
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