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Articles 1 - 13 of 13
Full-Text Articles in History
Perspectives On Changing Cultural Spaces In 19th Century Europe, Christophe Charle
Perspectives On Changing Cultural Spaces In 19th Century Europe, Christophe Charle
Artl@s Bulletin
To define the limits of European cultural spaces requires a pragmatic and empirical approach, founded on a comparative overview of the circulations of symbolic goods, of the agents involved in the processes of diffusion and mediatization of these goods, and of their modes of transmission or valorization. In this essay, I illustrate the effects of changing conditions on the specific field of 19th-century opera, one of the first international forms of cultural practice in Europe. I then consider the origins and causes of unequal cultural circulations in other fields, notably the presence or absence of mediators in these processes of …
Georg Brandes And Fin De Siècle Scandinavia As A Cultural Semiperiphery, Stefan Nygård
Georg Brandes And Fin De Siècle Scandinavia As A Cultural Semiperiphery, Stefan Nygård
Artl@s Bulletin
The article centres on the practice of cultural mediation and core-periphery dynamics in Scandinavian cultural life at the turn of the twentieth century. In this period, Copenhagen functioned as a gateway in the circulation of ideas and cultural goods to and from the region, as did individual actors and cultural institutions in Denmark. Similarly, Scandinavia as a whole occupied a transitional position in global intellectual space. With extensive intellectual networks and a strategic role in the literary traffic to and from Scandinavia, the critic and intellectual Georg Brandes provides a starting point for exploring core- periphery relations.
Provincializing New York: In And Out Of The Geopolitics Of Art After 1945, Béatrice Joyeux-Prunel
Provincializing New York: In And Out Of The Geopolitics Of Art After 1945, Béatrice Joyeux-Prunel
Artl@s Bulletin
In this article, I argue that the putative global centrality of New York in art after 1945 is a construct, as it is for Paris prior to 1945. Monographs and national approaches are unsuccessful in challenging such powerful myths as these. A global, transnational and comparative approach demonstrates that the struggle for centrality was a global phenomenon after 1945, a battle that New York does not win (depending on one’s point of view) until after 1964. Rather than considering centres and peripheries as a fixed category, I propose to consider them as a strategic notion which artists and their promoters …
How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali
How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali
Artl@s Bulletin
What role did UNESCO play in the art world of the post-war era? This article makes use of published and archival sources in order to clarify the utopia of a “World Art” that shaped UNESCO and led to the “Archives of Colour Reproductions of Works of Art”, a project of worldwide collect and diffusion of images of “masterworks” inspired by Malraux’s “Museum without walls”. This case study focuses on one particular aspect of the project, the “UNESCO Prize”, conceived by the Brazilian art critic and Marxist intellectual Mario Pedrosa for the 1953 São Paulo Biennial.
Circulation And Resemanticization: An Aporetic Palimpsest, Béatrice Joyeux-Prunel
Circulation And Resemanticization: An Aporetic Palimpsest, Béatrice Joyeux-Prunel
Artl@s Bulletin
Studies of the processes of resemanticization at work in artistic circulation are few and far between; attempts at articulating a theoretical understanding of such processes are rarer still. This paper will investigate the questions raised by a circulatory approach to the history of art, and review the methods and sources which can allow us to answer them. How is the meaning of a work of art conveyed? How is this meaning constituted, and how does it evolve across different places and moments? What are the factors that contribute to such changes? What are the possible consequences of artistic resemanticization? Are …
Artistic Emigration From Portugal To Paris In The First Half Of The 1960s: Six Portuguese Painters From Paris Revisited, Joana Baião
Artl@s Bulletin
This paper proposes to revisit some issues related to the impact of emigration on the paths followed by a group of six Portuguese painters who settled in Paris between 1958 and 1961. To do that, it will analyze and contextualize the evolution of their work in the first half of the 1960’s, and it will recall the small exhibition Seis Pintores Portugueses de Paris that opened in 1966 in Lisbon with the purpose of highlight the particularities of the artistic research that was being developed by those artists in Paris, integrating them into the international artistic movements of the period.
Les Rues Des Tableaux: The Geography Of The Parisian Art Market 1815-1955, Léa Saint-Raymond, Félicie De Maupeou, Julien Cavero
Les Rues Des Tableaux: The Geography Of The Parisian Art Market 1815-1955, Léa Saint-Raymond, Félicie De Maupeou, Julien Cavero
Artl@s Bulletin
Building upon a preliminary socioeconomic analysis of the art dealers in Paris between 1815 and 1955 (ARTL@S Bulletin 2, n°2), this paper presents the findings of a spatial study of the Parisian art market in this period. Using serial geographical data drawn from a single, consistent source – the Bottin du commerce – we mapped the spatial evolution of art dealers over 140 years, using a geocoding system with composite locators. The article explores the different spatial dynamics of this market, and seeks to shed light on the links between the evolution of the Parisian economy as a whole and …
Past Disquiet: From Research To Exhibition, Kristine Khouri, Rasha Salti
Past Disquiet: From Research To Exhibition, Kristine Khouri, Rasha Salti
Artl@s Bulletin
An exhibition of an exceptional scale and scope took place in Beirut in the middle of the civil war and today, its archival and documentary traces have been almost entirely lost. The International Art Exhibition for Palestine opened in the Spring of 1978, comprising some 200 works donated by artists hailing from nearly 30 countries, to be a seed collection for a museum in exile. This is a transcript of a presentation of the transformation of research into an exhibition format and a virtual walkthrough of the show Past Disquiet: Narratives and Ghosts from the International Art Exhibition for Palestine, …
Exhibition Catalogues In The Globalization Of Art. A Source For Social And Spatial Art History, Béatrice Joyeux-Prunel, Olivier Marcel
Exhibition Catalogues In The Globalization Of Art. A Source For Social And Spatial Art History, Béatrice Joyeux-Prunel, Olivier Marcel
Artl@s Bulletin
With the rise of global art studies, there has been a quest to find a common ground to compare different contexts, events or individual trajectories. The expansion of exhibition catalogues and the artistic, social, and geographical information they contain make them an exceptional source to establish and articulate patterns of artistic mobility. Stemming from antipodal and diachronic research fields, from the internationalization of modern art (1850-1970) to that of contemporary African art, we contend that exhibition catalogues give commensurable sources to trace the globalization of art on the long term, from its spatial, social, and economic dimension to the circulation …
Tracing Paintings In Napoleonic Italy: Archival Records And The Spatial And Contextual Displacement Of Artworks, Nora Gietz
Artl@s Bulletin
Using a Venetian case study from the Napoleonic Kingdom of Italy, this article demonstrates how archival research enables us to trace the spatial life of artworks. The Revolutionary and Napoleonic policy of the suppression of religious corporations, followed by the appropriation of their patrimony, as well as the widespread looting of artworks, led to the centralisation of patrimony in newly established museums in the capitals of the Empire and its satellite kingdoms. This made the geographical and contextual displacement, transnationalisation, and change in the value of artworks inevitable.
Le Concert Et La Tournée. Perspectives Sur La Direction De Concerts Albert Gutmann, Laetitia Corbière
Le Concert Et La Tournée. Perspectives Sur La Direction De Concerts Albert Gutmann, Laetitia Corbière
Artl@s Bulletin
In the nineteenth-century, transformations in the musical economy led to the development of international tours, and the appearance of the first managers for artists. By analyzing the business strategies of Albert Gutmann in Vienna, Munich and Paris, this paper will show that such impresarios, in order to move from their local institutions to the international arena, had to adapt to the tastes and habits of each audience. Professional middlemen had a decisive influence on these aesthetic choices and, in the context of European tours, they contributed to the reassertion and strengthening of national identities on the musical stage.
Provincializing Paris. The Center-Periphery Narrative Of Modern Art In Light Of Quantitative And Transnational Approaches, Béatrice Joyeux-Prunel
Provincializing Paris. The Center-Periphery Narrative Of Modern Art In Light Of Quantitative And Transnational Approaches, Béatrice Joyeux-Prunel
Artl@s Bulletin
The alternative “centre‐periphery” is essential to the myth of modern art and its historiography. Even though Postcolonial studies have denounced the implications of such geopolitical hierarchies, as long as our objects remain centred on one capital city and within national boundaries, it will be difficult to escape the hierarchical paradigm that makes Paris and New York the successive capital cities of Modernism. This paper highlights how approaches focusing on different scales of analysis—from the quantitative and geographic to the monographic—challenge the supposed centrality of Paris through 1945.
Réseaux Culturels, Réseaux Politiques. Les Archives Du Film En Amérique Latine, Des Années 1950 Aux Années 1970., German Silveira
Réseaux Culturels, Réseaux Politiques. Les Archives Du Film En Amérique Latine, Des Années 1950 Aux Années 1970., German Silveira
Artl@s Bulletin
La prise de conscience de l’importance de préserver le patrimoine cinématographique et de développer une culture cinématographique nationale dans certains pays d’Amérique Latine doit être comprise simultanément au besoin d’appartenir à un réseau d’échange bien plus large que celui dessiné par les frontières nationales. Cet article se propose d’analyser les projets d’intégration des archives du film les plus importants dans la région dans une perspective historique : la création de la Section latino-américaine de la FIAF (1955) et la mise en place, à partir de 1965, de l’Union de Cinémathèques d’Amérique Latine (UCAL).