One of the world s most respected writers on art investigates the very different ways painting has given form to the afterlife.
The idea of Heaven on Earth haunts the human imagination.
The story ends withPicasso s Fall of Icarus, made for UNESCO in 1958, which already seems to signal perhaps to prescribe an age when all futures are dead..
Was it to painting s advantage, is Clark s question, that in an age ofenforced orthodoxy (threats of hellfire, burnings at the stake) artists could reflect onthe powers and limitations of religion without putting their thoughts into words?At the heart of the book stands Bruegel s ironic but tender picture of The Landof Cockaigne, and also Veronese s inscrutable Allegory of Love.
Hegoes back to the late Middle Ages and Renaissance to Giotto in Padua, Bruegel facingthe horrors of religious war, Poussin painting the Sacraments, Veronese unfolding thehuman comedy.
Clark sets out to investigate thevery different ways painting has given form to the dream of God s kingdom come.
In Heaven on Earth, T.
J.
Even politics, some reckon, hasnot escaped from the realm of the sacred: its dreams of the future still borrow theirimagery from the prophets.
Such a vision of the world seems indelible.
The day will come, saybelievers, when the pain and confusion of mortal life will give way to a transfiguredcommunity.
One of the world s most respected writers on art investigates the very different ways painting has given form to the afterlife.
The idea of Heaven on Earth haunts the human imagination
