Books by Madeleine Emerald Thiele
Transforming Christian Thought in the Visual Arts: Theology, Aesthetics, and Practice, ed. Sheona Beaumont and Madeleine Emeral (London: Routledge, 2021)d Thiele, 2021
This volume explores how the visual arts are presenting and responding to Christian theology and ... more This volume explores how the visual arts are presenting and responding to Christian theology and demonstrates how modern and contemporary artists and artworks have actively engaged in conversation with Christianity. Modern intellectual enquiry has often been reluctant to engage theology as an enriching or useful form of visual analysis, but critics are increasingly revisiting religious narratives and Christian thought in pursuit of understanding our present-day visual culture.
In this book an international group of contributors demonstrate how theology is often implicit within artworks and how, regardless of a viewer’s personal faith, it can become implicit in a viewer’s visual encounter. Their observations include deliberate juxtaposition of Christian symbols, imaginative play with theologies, the validation of non-confessional or secular public engagement, and inversions of biblical interpretation. Case studies such as an interactive Easter, glow-sticks as sacrament, and visualisation of the Bible’s polyphonic voices enrich this discussion. Together, they call for a greater interpretative generosity and more nuance around theology’s cultural contexts in the modern era.
By engaging with theology, culture, and the visual art, this collection offers a fresh lens through which to see the interaction of religion and art. As such, it will be of great use to those working in Religion and the Arts, Visual Art, Material Religion, Theology, Aesthetics, and Cultural Studies.
Thomas Carlyle and the Idea of Influence, 2018
Talks by Madeleine Emerald Thiele
Rediscovering Carlyle conference programme from Keble Oxford 060716 - 08072016
An investigation into the Victorian interest in The Book of Revelation as found in Victorian (Pre... more An investigation into the Victorian interest in The Book of Revelation as found in Victorian (Pre-Raphaelite) and Edwardian angelic paintings.
A discussion of Burne-Jones' use of the angelic sphere, via considerations of the Orpheus piano.
The main points of the talk will be centred upon an examination of angelic guardianship as I disc... more The main points of the talk will be centred upon an examination of angelic guardianship as I discuss the importance of angels within Pre-Raphaelite art, and Anglican theology. Through examination of several works by Dante Gabriel Rossetti, I will demonstrate the Victorian fascination with the angelic body and their engagement with early Florentine art.
I will also be examining John Roddam Spencer Stanhope’s contribution to the construction of a ‘Pre-Raphaelite Angel’ via an in-depth look at three of Marlborough’s own exquisite angelic images.
Exhibition Reviews by Madeleine Emerald Thiele
In the five decades of her career Stillman is thought to have produced approximately one hundred ... more In the five decades of her career Stillman is thought to have produced approximately one hundred and fifty paintings, but sadly most of these remain in private collections. The Bancroft Collection of Pre-Raphaelite Art in Delaware is the largest of its kind outside Britain and they own eight Stillman works – the most in any public collection. Despite the industrialist Samuel Bancroft's holdings forming the basis of the Pre-Raphaelite collection and his being a patron of Stillman, American audiences seem less aware of Stilllman's contributions to Pre-Raphaelitism than British audiences. The Delaware exhibition showcased approximately fifty works by the artist which have been loaned from public and private collections in the States, Britain and Canada, as already mentioned there are fewer on
Both Britain and Russia have rich literary traditions, and this collaborative project ensures mea... more Both Britain and Russia have rich literary traditions, and this collaborative project ensures meaningful dialogues and greater access to works in the cultural sphere of each country. As the project coincides with the 400th anniversary of Shakespeare's death many events in Russia will celebrate the playwright's influence on global and Russian culture.
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Books by Madeleine Emerald Thiele
In this book an international group of contributors demonstrate how theology is often implicit within artworks and how, regardless of a viewer’s personal faith, it can become implicit in a viewer’s visual encounter. Their observations include deliberate juxtaposition of Christian symbols, imaginative play with theologies, the validation of non-confessional or secular public engagement, and inversions of biblical interpretation. Case studies such as an interactive Easter, glow-sticks as sacrament, and visualisation of the Bible’s polyphonic voices enrich this discussion. Together, they call for a greater interpretative generosity and more nuance around theology’s cultural contexts in the modern era.
By engaging with theology, culture, and the visual art, this collection offers a fresh lens through which to see the interaction of religion and art. As such, it will be of great use to those working in Religion and the Arts, Visual Art, Material Religion, Theology, Aesthetics, and Cultural Studies.
Talks by Madeleine Emerald Thiele
I will also be examining John Roddam Spencer Stanhope’s contribution to the construction of a ‘Pre-Raphaelite Angel’ via an in-depth look at three of Marlborough’s own exquisite angelic images.
Exhibition Reviews by Madeleine Emerald Thiele
In this book an international group of contributors demonstrate how theology is often implicit within artworks and how, regardless of a viewer’s personal faith, it can become implicit in a viewer’s visual encounter. Their observations include deliberate juxtaposition of Christian symbols, imaginative play with theologies, the validation of non-confessional or secular public engagement, and inversions of biblical interpretation. Case studies such as an interactive Easter, glow-sticks as sacrament, and visualisation of the Bible’s polyphonic voices enrich this discussion. Together, they call for a greater interpretative generosity and more nuance around theology’s cultural contexts in the modern era.
By engaging with theology, culture, and the visual art, this collection offers a fresh lens through which to see the interaction of religion and art. As such, it will be of great use to those working in Religion and the Arts, Visual Art, Material Religion, Theology, Aesthetics, and Cultural Studies.
I will also be examining John Roddam Spencer Stanhope’s contribution to the construction of a ‘Pre-Raphaelite Angel’ via an in-depth look at three of Marlborough’s own exquisite angelic images.
The curator Christopher Newall made it plain: “We are saying that Liverpool was a hugely significant place for the Pre-Raphaelites. There was a tradition of art collecting that led to great things … but more than that there was a freedom of spirit, an intellectualism, a non-conformism and self-confidence that allowed this style of art to prosper.”
Newall’s exhibition argued Liverpool’s art scene rivalled London’s, and he did so by placing well selected quotes, information and portraits about patrons, and opening a somewhat forgotten, or perhaps low lying significance, of men like George Rae who had the largest Rossetti collection in the world, and Frederick Leyland, a generous and extremely patient man.
Even the title of this exhibition is interesting because, after all, there seems very little agreement on a definition of angels. For Christians, they remain part of the celestial choir of God’s Kingdom (although even within the three Abrahamic religions there are many varying angels and many roles) whereas for those less concerned with religion, angels may perhaps represent Cupid and Love’s Arrow. This is one of the key points of the exhibition that angels belong as much to Christians as they do to the secular community. Regardless of faith or religion, angels remain a feature in people’s thinking: for some people angels heal, for some they protect, for others they guide, but they exist in many guises, shapes and forms to many people.
The exhibition aims seem in keeping with many these days: fewer words to read, quicker and larger footfall. The booklet that comes with the exhibition provides detail of not only the paintings you stand before, but ones which may help elucidate your knowledge or reference point when walking through. However, I really dislike this view. It is all rather pretentious. I want to learn, and not just by looking. How many of us, without years of attendance at the Courtauld or elsewhere, will know which figures are which? How many of us will easily navigate through the stories, or grasp the context of production? How many of us will remember the paintings viewed six months down the line? How many read the booklet whilst walking around?
As a framing device for art experience art writing is never neutral, never a mere vehicle for communication. At times it is rhetorical, performative and speculative, at others, recreative, wayward, and imaginative. By studying responses to art we are called on to navigate between linguistic, visual and other sensory idioms. The study of the dialogue between art and writing draws out an understanding of where and how people search for meaning and value in art and writing. The process draws on intellect and emotion alike. The various modes by which we explore art and writing become inseparable, mutually challenging and transgressive. We think feelingly. We write visually. We sense verbally. Our discussion brings into focus the means by which experience and response develop, are communicated and transformed through the written word and artwork.
The interdisciplinarity of the group is crucial, as is our historically and geographically unconfined interest in art and writing. You can find out more about us on our research interests page. We very much welcome comments, suggested reading, interesting conferences and exhibitions you think we should be talking about and would love to hear from more researchers working in the field of art and writing.