羅爾夫·托曼（Rolf Toman），研修德語文學和哲學，德國知名獨立齣版人和國際知名藝術史研究專傢。他曾在一傢大型國際齣版公司任編輯數年，1992年起成為獨立齣版人，長期從事文化及藝術史學相關的研究與圖書齣版工作，並與各國較有影響力的一些大型齣版公司有多次深入的閤作。與藝術史相關的藝術圖書是他的工作重點，多年來組織各地相關專傢編著齣版過多部與藝術史相關的齣版物，並有多部作品被引進中國齣版。

阿希姆·貝德諾茲（Achim Bednorz），來自科隆，緻力於為建築與藝術史的齣版物拍攝作品圖像長達二十多年之久。他將自己定義為“神聖處所的守望者”。

布魯諾·剋萊恩（Bruno Klein），德纍斯頓人，曾在柏林、巴黎、科隆及伯恩研修藝術史並在幾所歐洲大學及拉丁美洲地區從事研究並執教。自2000年起，布魯諾·剋萊恩成為德纍斯頓工業大學哲學學院的教授，講授中世紀的基督教藝術及古典主義時代晚期藝術。在2006年到2009年間，他在德纍斯頓工業大學的人文學院擔任教務主任，並於2009年升任為院長。布魯諾·剋萊恩是薩剋森科學院和人文學院的成員，藝術史學會委員會的負責人，同時他也是梅澤堡歐洲中心羅馬式藝術科學委員會、巴黎法德藝術史論壇以及羅馬赫爾茨安南圖書館的成員。

"After the global hit Ars Sacra, Rolf Toman and his team embark on a journey once more. The famous French cathedrals of Chartres, Reims and Laon are not the only highlights of this volume. Outstanding treasures of medieval imagery such as religious panel paintings, Madonna statues, illumination and goldsmith art; courtly culture also gets attention.

With his passion and meticulousness, photographer Achim Bednorz succeeded to get details in front of his camera that cannot even be perceived on the original locally. The photographs that are exclusive for this volume are particularly well-presented in their large format.

The author Bruno Klein wrote his take on Gothic history to fit, and swiftly takes the reader into a past medieval world almost forgotten. "

【Review]

"These are the kinds of books that are themselves works of art."

Gothic: Visual Art of the Middle Ages, 1140-1500 by Bruno Klein, Photos by Achim Bednorz

Joining the stunning volume, Baroque: Theatrum Mundi, The World as Work of Art in H. F. Ulmann's new series of art books, The Collection of Art Epochs, is the equally elegant Gothic: Visual Art of the Middle Ages, 1140-1500. Like Baroque, Gothic adopts what the collection's editor Rolf Toman calls "a new modern approach." Earlier books devoted to specific periods of art history approached their subjects academically and encyclopedically "subdividing concentrated specialized knowledge into 'bite-sized portions.'" The new series aims at something broader. It will look at the period internationally. It will look at the wide variety of genres, and it will focus on the interactions between genres. It is an aim that has been achieved with admirable results.

Gothic gives readers a comprehensive description of the art of the Middle Ages by focusing attention on a selection of representative works in all genres from all over Europe. Of course it spends more time discussing architecture than it does decorative art, more time discussing sacred art, than secular: these after all are the hallmarks of the period, and the things that need to be understood to understand the period. As the introduction points out, visual images were important because they were an effective way of communicating "specific ideas and aspirations in durable form." A castle fortress on a hill communicated one thing, a monumental cathedral in the midst of a bustling city something else. This was not l'art pour l'art. Gothic art served a purpose--religious, social, political, perhaps all three.

Based on some excellent photos by Achim Bednorz, the text, by Bruno Klein, tends to focus on a specific work of art as illustrative of this thesis. There will be a photo of the whole work accompanied by sometimes as many as three or four details. When Klein talks about illuminated hunting books, he is less concerned with its aesthetic qualities than with what it is intended to communicate about the value of hunting as a noble pursuit. The allegorical frescoes depicting good and bad government in Siena's Palazzo Pubblico are pointed to for their didactic lesson. While traditional discussions of Gothic architecture will often dwell on structural issues like vaulted ceilings and flying buttresses, Klein is more interested in the effects of the vaulted ceilings on the viewer. Gothic art then is art with a message.

Take for example the discussion of the splendid tomb of England's Edward II. As a monarch Edward was a considerable failure. His reign was one disaster after another. Why then was he accorded such a magnificent tomb in Gloucester Cathedral? The splendid tomb, the text argues, is meant to demonstrate the idea that the idea of king is more important than any individual king, certainly an interesting thesis.

Once again, as I have already pointed out in my review of Baroque, the real glory of Gothic is in the photography. Not only are there full page details of significant works, there are two-page details and even two four-page fold outs. Moreover, digital photo technology has given the photographer new tools to capture the image. Some of the process is described by Bednorz in the brochure that accompanies the book. He takes shots in different lighting and then combines them to produce an accurate visual. In the past for example, as he explains, photos of stained glass windows were able to capture the colors but not the tracery. The new technology allows him to get both. The illustrations of the windows from Notre Dame de la belle verrière and the Passion Window from the Cathedral of Saint-Étiene provided excellent evidence of the effectiveness of the process.

Each volume in the collection runs 568 pages in a 15 x 11 inch format and is bound by hand. They must weigh in over 15 pounds. These are the kinds of books that are themselves works of art.

Review By Jack Goodstein, BLOGCRITICS.ORG

"This visual feast for the soul will appeal to art historians, theologians, armchair travelers or anyone who appreciates art. It sets the bar by which other art publications will be measured and is more then well worth the price."

Book Review: Gothic: Visual Art of the Middle Ages 1150-1500

This stunning volume is every bit as opulent as the Gothic period artwork it depicts and the perfect companion to the equally magnificent Baroque. Both hand bound books weigh in at over sixteen pounds and feature the jaw-droppingly beautiful photography of Achim Bednorz and the concise, knowledgeable text of Bruno Klein. Focusing on the middle ages from 1140 to 1500, the largely illiterate population relied more upon visual representations of important religious events then the printed word and this need drove the Gothic art movement.

As with Ars Sacra, it is the photography that elevates this book into a class of its own. The images of the 1278 brick Albi, Cathedral of Sainte-Cecile with the detailed view of the south portal canopy and the rose window in the Cathedral of St-Nazaire are just a couple examples of Bednorz's art. However, Gothic art is not limited to glorious cathedrals and stained glass windows; there are also exquisitely worked tapestries like The Lady with the Unicorn. This visual feast for the soul will appeal to art historians, theologians, armchair travelers or anyone who appreciates art. It sets the bar by which other art publications will be measured and is more then well worth the price.

Book review by Sandy Amazeen, Nov 20, 2012, Monsters and Critics, www.monstersandcritics.com

"Rolf Toman is the editor of both volumes, and succeeds with his team in presenting not only some superlative works of art, but in presenting the vision -- an emphatically Christian vision -- that animated works of such surpassing ambition that they would be impossible to conceive of today, in a world of technological genius but narrow horizons... The history of art can be spiritual reading, and Ullmann's bold project achieves something of that.

Gothic

ISBN-10: 3848000407

Baroque

ISBN-10: 3848000393

Art and the beauty of faith

One of my favourite insights from Joseph Ratzinger's long life in theology is that the Church does not convincingly propose the faith by the work of theology alone. Before his election as Pope he wrote that in the end the Church only has two compelling "arguments" for her faith being true. The first is the saints who have lived the Gospel fully and who the Church proposes as models of Christian witness. The second is the art that she has nurtured in her midst, her faith expressed in beauty, whether in painting, sculpture, architecture or music. Theology is necessary, but it is holiness and beauty that persuades.

The Church's faith provides to the world this gift, the gift of beauty. We do not live in a very beautiful world. To our world the Church continues to offer from her patrimony the service of beauty. The Church offers to our common life that which is beautiful. Not just art, but beautiful lives, lives of saintly people from every time and place. The role of faith in our common life is to give our contemporaries reasons to look up, to raise the eyes of a disenchanted culture above the daily grime to that which is beautiful. That is the role of the Christian in ugly time, to make present that which is beautiful. Like the biblical steward we bring out our treasures old and new, beauty from our history and from our current circumstance.

I discovered recently a marvelous publishing project which does precisely that, brings out the treasures of art from Christian history. A few years back the German publisher, h.f. Ullmann, which specializes in high-end art books, the lavishly illustrated tomes about cars, homes, couture, geography, architecture and the like that you might find on the coffee tables of great mansions, decided on a bold experiment. They would produce a mammoth book -- 800 pages, 1,100 photographs, 11 kilograms -- on the entire history of Christian art. Entitled Ars Sacra, it was not a coffee-table book, but a kitchen table book.

It was a most pleasant publishing surprise, that it the age of the Internet a book heavier than a set of twins could sell, and sell well. So last fall, h.f. Ullmann launched an even more ambitious project, a series on the different epochs of art. The first two volumes deal with major periods in Christian art history: Gothic: Visual Art of the Middle Ages 1150-1500 and Baroque: Theatrum Mundi. The World as a Work of Art.

Compared to Ars Sacra, and only relative to that behemoth, are these volumes smaller: 600 illustrations on 600 pages, seven kilograms. These two are to be read at the desk. The publisher sells them for $150, but they can also be ordered online at two-thirds of that price. And, remarkably, both in terms of cost and heft, they are more than good value.

Rolf Toman is the editor of both volumes, and succeeds with his team in presenting not only some superlative works of art, but in presenting the vision -- an emphatically Christian vision -- that animated works of such surpassing ambition that they would be impossible to conceive of today, in a world of technological genius but narrow horizons.

The Gothic volume highlights the magnificent French cathedrals -- Chartres taking pride of place -- whose influence is seen in so many places in Canada. The Baroque volume offers one sacred exemplar -- St. Peter's Basilica -- and one profane -- the Palace of Versailles. In all cases, we see the marvels of what human ingenuity can achieve when it is unconstrained. And the great works of the gothic and the baroque -- even the secular ones -- required a spirit sustained by the transcendent. Otherwise, why build a cathedral or palace that you would never live to see finished, or why decorate exquisitely an obscure part of a ceiling that no one, save for God, would ever see?

We read the lives of the saints so that their holiness might attract us. The Ullmann books are analogous to that, works that move us by presenting the beauty that is born from the faith. Spiritual reading for Lent usually emphasizes the ascetical life. A lavish art book may therefore seem incongruous in Lent, but many of the pages in these books are worthy of meditation on the love of God that can make this sinful world beautiful. The history of art can be spiritual reading, and Ullmann's bold project achieves something of that.

The Catholic Register coverageWednesday, 06 February 2013 16:20 Written by Fr. Raymond J. de Souza