Analysis of information sources in references of the Wikipedia article "André Grabar" in English language version.
There is another reason that Byzantine aesthetics seem so changeless over the centuries. From the time of Justinian (and even more so after controversies of the eighth and ninth centuries), Byzantine art was intimately tied to the theology and liturgical practices of the Orthodox Church...Because of the innate conservatism of the theological tradition, innovation either in theology or in art was discouraged.
André Grabar tint école à Paris, où il forma de nombreux historiens de l'art français, yougoslaves, bulgares, grecs, et où il initia à l'étude des documents figurés tous les archéologues ou historiens de Byzance de ma génération.
The Johns Hopkins medievalist Henry Maguire (b. 1943) characterized Grabar's methodology as synthetic, weaving theology, liturgy and political ideology into his studies of Byzantine art in contrast to the formalistic research of earlier historians. The renewed interest (and accessibility) in the art and monuments of eastern Europe after World War II helped Grabar's work reach a vast scholarly audience, particularly in the United States which was undergoing a methodological shift. The role of the cult in the formation of Christian art; the interrelationship with the Islamic world with the west and general relations between East and West were the hallmarks of his scholarship.
He wrote more than thirty books on the early and medieval art of Crete, Italy, France, Bulgaria, and Turkey. He gave the A. W. Mellon lectures in Fine Arts at the National Gallery of Art in Washington in 1961. They were later turned into a book, Christian Iconography: A Study of Its Origins.
André Grabar tint école à Paris, où il forma de nombreux historiens de l'art français, yougoslaves, bulgares, grecs, et où il initia à l'étude des documents figurés tous les archéologues ou historiens de Byzance de ma génération.
The Johns Hopkins medievalist Henry Maguire (b. 1943) characterized Grabar's methodology as synthetic, weaving theology, liturgy and political ideology into his studies of Byzantine art in contrast to the formalistic research of earlier historians. The renewed interest (and accessibility) in the art and monuments of eastern Europe after World War II helped Grabar's work reach a vast scholarly audience, particularly in the United States which was undergoing a methodological shift. The role of the cult in the formation of Christian art; the interrelationship with the Islamic world with the west and general relations between East and West were the hallmarks of his scholarship.
