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Articles 1 - 3 of 3
Full-Text Articles in History
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.
« Dégénérés » En France. Tentatives De Définition D'Une Identité Collective Par Les Artistes Germaniques Exilés En France À La Fin Des Années 1930, Hélène Duret
Artl@s Bulletin
Cet article examine les stratégies d'identification mises en œuvre par les artistes allemands et autrichiens exilés en France au moment où les expositions d'art « dégénéré » circulent dans l'Allemagne hitlérienne. Dans un contexte de tensions internationales et d'accueil méfiant des réfugiés allemands en France, certains collectifs d'artistes se définissent tour à tour comme fers de lance de l'« autre Allemagne », d'un héritage français de liberté artistique ou d'une « Internationale » artistique. En revanche, ces artistes ne franchissent pas le pas d'un « retournement du stigmate » (Goffman) vis-à-vis du qualificatif nazi « dégénéré ».