Open Access. Powered by Scholars. Published by Universities.®
History of Art, Architecture, and Archaeology Commons™
Open Access. Powered by Scholars. Published by Universities.®
- Discipline
-
- Contemporary Art (40)
- Modern Art and Architecture (35)
- Other History of Art, Architecture, and Archaeology (33)
- Theory and Criticism (29)
- History (27)
-
- Digital Humanities (25)
- Fine Arts (15)
- Social and Behavioral Sciences (15)
- Feminist, Gender, and Sexuality Studies (14)
- European History (10)
- Latin American Languages and Societies (10)
- Architecture (9)
- Cultural History (9)
- Women's Studies (9)
- Art and Design (8)
- Race, Ethnicity and Post-Colonial Studies (8)
- Art Practice (7)
- Film and Media Studies (7)
- Other Arts and Humanities (7)
- American Art and Architecture (6)
- Ancient, Medieval, Renaissance and Baroque Art and Architecture (6)
- Asian Art and Architecture (6)
- Visual Studies (6)
- Architectural History and Criticism (5)
- Museum Studies (5)
- Photography (5)
- Geography (4)
- Interdisciplinary Arts and Media (4)
- Keyword
-
- Art (11)
- Global art history; Global turn;globalization; internationalization; circulations; internet; cultural transfers (7)
- Art History (6)
- Cold War (6)
- Modernism (6)
-
- Paris (6)
- Contemporary art (5)
- Digital art history (5)
- Europe (5)
- Nationalism (5)
- Architecture (4)
- Art history (4)
- Avant-garde (4)
- Circulations (4)
- Exhibitions (4)
- France (4)
- Globalization (4)
- Maps (4)
- Style (4)
- Women artists (4)
- Antifascism (3)
- Art exhibitions (3)
- Artists (3)
- Artl@s (3)
- Cartography (3)
- Colonialism (3)
- Cubism (3)
- Cultural diplomacy (3)
- Digital Humanities (3)
- Digital humanities (3)
- Publication Year
- Publication
- Publication Type
Articles 151 - 180 of 199
Full-Text Articles in History of Art, Architecture, and Archaeology
The Reception Of Modern European Art In Calcutta: A Complex Negotiation (1910s-1940s), Julia Madeleine Trouilloud
The Reception Of Modern European Art In Calcutta: A Complex Negotiation (1910s-1940s), Julia Madeleine Trouilloud
Artl@s Bulletin
This article analyzes the reception of Modern European Art in Calcutta in the early decades of the twentieth century. In the initial years, the knowledge of the European avant-gardes was limited. It then got rejected as a legitimate source of influence by the Bengal School ideologues close to the nationalist movement. In the early 1930s, the painter Jamini Roy paved the way for a new aesthetics which rejected the Bengal School ideological project and turned to folk arts as models. The style he pioneered naturally appealed to the global modern sensibility. The 1940s are marked by a phase of enthusiasm …
« 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 ».
Nothing To Do With Politics, Only Art? On Wassily Kandinsky's Work In Paris, From 1934 Until The Outbreak Of The War, Kate C. Kangaslahti
Nothing To Do With Politics, Only Art? On Wassily Kandinsky's Work In Paris, From 1934 Until The Outbreak Of The War, Kate C. Kangaslahti
Artl@s Bulletin
Following his move to Paris at the end of 1933, Wassily Kandinsky clung to his conviction that art must remain free of politics. The purpose of this essay is to consider both the limitations and advantages of this position in the polarized political climate of the French capital and to chart the aesthetic path he embarked on after his arrival, with particular reference to the personal ties and artistic alliances that he forged (or not) in this complex cultural terrain. Far from having nothing to do with politics, the transformation his painting underwent in Paris, the period he dubbed “synthetic,” …
Unwanted By Both The Political Left And Right: Interwar Europe’S Hungarian Migrating Artists, Eva Forgacs
Unwanted By Both The Political Left And Right: Interwar Europe’S Hungarian Migrating Artists, Eva Forgacs
Artl@s Bulletin
A little known group of Hungarian artists who were students at the Hungarian Academy of Fine Arts, Budapest in 1927-1930, joined by a few artists from outside the Academy, were modernists, explored the Soviet Russian avant-garde and abstraction, and therefore were rejected by the mainstream, official art in Hungary. However, the strictly principled left-wing Munka (Work) Circle of Lajos Kassák was not hospitable to therm, either. Members of “The Progressives” group left Hungary in 1930. The increasingly classicist Hungarian avant-garde did not tolerate bias; thus the idiosyncratic poet and artist Tamkó-Sirató had to leave Hungary, too and develop his Dimensionism …
From Foix To Dalí: Versions Of Catalan Surrealism Between Barcelona And Paris, Enric Bou
From Foix To Dalí: Versions Of Catalan Surrealism Between Barcelona And Paris, Enric Bou
Artl@s Bulletin
The purpose of this article is to illustrate a little known episode of Salvador Dalí’s initial intervention in the surrealist movement: his relationship with Catalan writer Josep Vicenç Foix. To what extent writers such as Foix adapted Surrealism in his own writing and what kind of exchanges he had with Paris? Was Foix a predecessor of Dalí’s surrealist writing? As early as 1918, J.V. Foix made an impact in Catalan literary circles and one of the first imitators of Apollinaire (and maybe Breton). After 1926 Foix he developed a close relationship with Dalí and helped him with the publication of …
Distance And Distortion: Amadeo Souza Cardoso's And Joan Miró'S War-Years Painting And The Words That Fail Them, Joana Cunha Leal
Distance And Distortion: Amadeo Souza Cardoso's And Joan Miró'S War-Years Painting And The Words That Fail Them, Joana Cunha Leal
Artl@s Bulletin
This essay considers art historical discourses on the work produced during the First World War by two painters born and living in the Iberian Peninsula: the Portuguese Amadeo de Souza Cardoso (1887–1918) and the Catalan Joan Miró (1893–1983). It considers the dialogues and relations maintained by these painters in their war-affected national artistic milieus and with the equally disrupted, international avant-garde circles, while discussing historiographical biased assumptions about production-places and their meanings, namely how localness was read as expressing isolation, distance, and lack of aesthetic significance.
Art History And The Global Challenge: A Critical Perspective, Paula Barreiro López
Art History And The Global Challenge: A Critical Perspective, Paula Barreiro López
Artl@s Bulletin
The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to share with …
L'Histoire De L'Art Au Défi De La Mondialisation: Une Position Critique, Paula Barreiro López
L'Histoire De L'Art Au Défi De La Mondialisation: Une Position Critique, Paula Barreiro López
Artl@s Bulletin
Le défi de la mondialisation et de la “décolonisation” de nos pensées est désormais une préoccupation quotidienne pour la majorité des chercheurs en histoire de l’art. Il est trop tôt pour faire le bilan du fameux « Global turn », tournant d’autant plus timide qu’il se concrétise plus lentement dans les collections publiques et dans l’opinion que dans les livres. Mais nous avons voulu interroger, un peu partout dans le monde, des acteurs à l’écoute des nouvelles pratiques mondiales en histoire de l’art. Issus de milieux culturels et de traditions universitaires variées, de générations diverses, ils ont accepté de répondre …
Art History And The Global Challenge: A Critical Perspective, Patrick D. Flores
Art History And The Global Challenge: A Critical Perspective, Patrick D. Flores
Artl@s Bulletin
The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to share with …
Art History And The Global Challenge: A Critical Perspective, Jonathan Harris
Art History And The Global Challenge: A Critical Perspective, Jonathan Harris
Artl@s Bulletin
The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to share with …
Art History And The Global Challenge: A Critical Perspective, Atreyee Gupta
Art History And The Global Challenge: A Critical Perspective, Atreyee Gupta
Artl@s Bulletin
The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to share with …
Art History And The Global Challenge: A Critical Perspective, Nuria Rodríguez Ortega
Art History And The Global Challenge: A Critical Perspective, Nuria Rodríguez Ortega
Artl@s Bulletin
The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to share with …
Art History And The Global Challenge: A Critical Perspective, Sven Spieker
Art History And The Global Challenge: A Critical Perspective, Sven Spieker
Artl@s Bulletin
The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to share with …
L’Histoire Mondiale De L’Art, Au Défi D’Un Grand Récit, Béatrice Joyeux-Prunel
L’Histoire Mondiale De L’Art, Au Défi D’Un Grand Récit, Béatrice Joyeux-Prunel
Artl@s Bulletin
Pour proposer une « histoire mondiale », et pour faire honneur à toutes les productions issues de tous les continents, en particulier ceux qu’on avait méprisés, l’idéal serait d’articuler un récit lui-même mondial. Il nous faut un récit émancipé non seulement des hiérarchies propres au canon (ancien/moderne, beaux-arts/décoration, kitsch / classique), mais aussi un récit qui aille plus loin que la production de hiérarchies dont même le récit postcolonial a du mal à sortir (dominants/dominés). Comment produire un récit qui, en outre, connecte des collections « locales » et des collections « internationales » en gardant du lien entre les …
The Gentleman, The Craftsman And The Activist: Three Figures Of The Sino-Indian Artistic Exchange In Colonial Bengal, Nicolas Nercam
The Gentleman, The Craftsman And The Activist: Three Figures Of The Sino-Indian Artistic Exchange In Colonial Bengal, Nicolas Nercam
Artl@s Bulletin
This article analyses some aspects of the Chinese-Indian exchanges, which took place in the first half of the 20th century, in the artistic circle of Calcutta and Shantiniketan, in Bengal. From the beginning of the last century, the Bengali elite was under the influence of Okakura Kakuzo’s Pan-Asian theories, in its approach to Chinese art. From the 20’s, under the auspices of Rabindranath Tagore the first direct contact between Chinese and Indian artistes took place and lasted until the 40’s. From the 30’s, the Bengali avant-garde, in its search of a new aesthetic in relation with social and political …
Śāntiniketan And Modern Southeast Asian Art: From Rabindranath Tagore To Bagyi Aung Soe And Beyond, Yin Ker
Śāntiniketan And Modern Southeast Asian Art: From Rabindranath Tagore To Bagyi Aung Soe And Beyond, Yin Ker
Artl@s Bulletin
Through the example of Bagyi Aung Soe, Myanmar’s leader of modern art in the twentieth century, this essay examines the potential of Śāntiniketan’s pentatonic pedagogical program embodying Rabindranath Tagore’s universalist and humanist vision of an autonomous modernity in revitalizing the prevailing unilateral and nation-centric narrative of modern Southeast Asian art. It brings into focus the program’s keystones on the modern, art and the artist, which have been pivotal in discoursing on the Burmese alumnus of the ashram-turned-university, and explores how the same might be applicable to fellow artists in Myanmar and the region.
The Transatlantic Triangle Of Artistic Circulation, Béatrice Joyeux-Prunel, Catherine Dossin
The Transatlantic Triangle Of Artistic Circulation, Béatrice Joyeux-Prunel, Catherine Dossin
Artl@s Bulletin
The international circulation of art has today become a rapidly expanding field of study, yet transcontinental circulations have thus far received less attention. In much the same way, a great deal of research has been conducted into bilateral artistic and cultural exchanges, yet scholarship around triangular systems is still somewhat lacking. This latter term refers to instances in which artistic circulation – whether in the form of artworks, artists, aesthetics or styles – involves at least three cultural reference points, and wherein effects of transformation, adaptation and readaptation are all the more complex. Despite the focus on bilateral exchanges, even …
Sondage Autour De L’Exposition Internationale Pour La Palestine De 1978, Nasser Soumi
Sondage Autour De L’Exposition Internationale Pour La Palestine De 1978, Nasser Soumi
Artl@s Bulletin
En 1978, une Exposition Internationale pour la Palestine se tint à Beyrouth dans le but d’exposer les œuvres d’artistes internationaux solidaires du peuple palestinien, dans un quartier contrôlé par les Palestiniens et fréquenté par des militants libanais et arabes pro-Palestiniens. Lors de l’exposition, Nasser Soumi réalisa un sondage auprès du public palestino-libanais. A cette époque, son travail artistique ne correspondait pas à l’art révolutionnaire pratiqué par la majorité des artistes palestiniens. Sa préoccupation était la problématique existentielle de l’être humain—y compris celle des Palestiniens. Au-delà du public, il s’agissait donc à travers ce sondage de mieux se comprendre lui-même.
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, …
Between Paris And London: Contacts And Exchanges Of South American Artists In Europe (1950-1970), Maria De Fatima Morethy Couto Dr
Between Paris And London: Contacts And Exchanges Of South American Artists In Europe (1950-1970), Maria De Fatima Morethy Couto Dr
Artl@s Bulletin
This paper calls attention to a network of artists, dealers, and critics from Europe and South America thanks to whom, from the 1950s to the early 1970s, Paris and London welcomed and fostered a certain form of South American avant-garde art. Accordingly, it discusses the European reception given to five South American artists active in Paris and London —Lygia Clark, Hélio Oiticica, Sérgio Camargo, Jesús Rafael Soto and Julio Le Parc—whose artistic practices were sometimes related to kineticism. It highlights the impact they had on the European art scene, as well as the role of several cultural agents who were …
Art Collectors In Network And Identity Narratives: Contributions To A Cartography Of The Genre Of Types And Costumes In South America, Josefina De La Maza, Juan Ricardo Rey Márquez, Catalina Valdés, Carolina Vanegas Carrasco
Art Collectors In Network And Identity Narratives: Contributions To A Cartography Of The Genre Of Types And Costumes In South America, Josefina De La Maza, Juan Ricardo Rey Márquez, Catalina Valdés, Carolina Vanegas Carrasco
Artl@s Bulletin
One of the best-known visual manifestations of nineteenth-century Latin America is costumbrismo, a genre that describes social types and popular subjects. Scholarship has usually understood this genre as an illustration of early Republican times produced by the gaze of European artists, proposing a hierarchical structure in relation to the production and consumption patterns of these images. Following the path opened in the last decade by new studies, this paper contributes to the ongoing debates on costumbrismo, by examining the role played by a South American network of historians and collectors modeling identity narratives throughout the twentieth-century.
Les Transferts De « L’Art Total » De La Suisse Au Brésil : Une Modernisation Très Particulière, Ana Paula Cavalcanti Simioni
Les Transferts De « L’Art Total » De La Suisse Au Brésil : Une Modernisation Très Particulière, Ana Paula Cavalcanti Simioni
Artl@s Bulletin
Cet article considère les projets d’art décoratif réalisés par John et Regina Graz, un couple pionnier dans l’introduction de l’idée d’ « art total » au Brésil (1920-30). On s’intéresse à la façon dont ils transposèrent dans un contexte très différent des modèles et des hiérarchies appris durant leur formation à Genève, selon un processus de réception sélective qui correspondait aux projets d'identité et de distinction de l'élite locale brésilienne. Plus largement, cette étude de la réception des arts décoratifs au Brésil permet de découvrir d'autres modèles artistiques modernistes que ceux venus de Paris, auxquels on résume encore l’histoire de …
L’Art Espagnol De L’Europe À L’Argentine : Mobilités Nord-Sud, Transferts Et Réceptions (1890-1920), Laura Karp Lugo
L’Art Espagnol De L’Europe À L’Argentine : Mobilités Nord-Sud, Transferts Et Réceptions (1890-1920), Laura Karp Lugo
Artl@s Bulletin
Au tournant du XXe siècle, Buenos Aires était une vitrine privilégiée pour la diffusion des artistes espagnols qui, pour promouvoir leur œuvre, ne bénéficiaient dans leur pays que d’une faible structure. Réfléchissant sur les imbrications entre la situation du marché de l’art espagnol et la réception des artistes espagnols en Argentine de 1890 à 1920 environ, cette étude contribue à éclairer les raisons de cette immigration massive et la manière dont ces circulations artistiques se sont opérées. Cet article analyse des questions d’identité et d’histoire du goût, dans une approche intercontinentale qui relève de la méthode des transferts culturels.
Les Peintures De Paysages De Johann Moritz Rugendas : Un Exemple De Transferts Artistiques Entre Europe Et Amérique Latine Au Xixe Siècle, Lucile Magnin
Artl@s Bulletin
Cet article examine deux séries de peintures de paysages réalisées par le peintre voyageur Johann Moritz Rugendas dans les années 1830 : un corpus d’esquisses à l’huile peintes lors de son voyage au Mexique, et un autre ensemble de peintures effectuées lors de sa traversée des Andes entre Santiago du Chili et Mendoza. Il pose la question du transfert et de l’adaptation de techniques apprises et de courants de pensées intégrés en Europe, à des paysages de type nouveau vierges de toute représentation artistique. Il traite également de l’impact qu’eurent les œuvres de cet artiste dans les pays latino-américains où …
L’Architecture Des Premières Maisons Européennes D’Alger, 1830-1865, Asma Hadjilah
L’Architecture Des Premières Maisons Européennes D’Alger, 1830-1865, Asma Hadjilah
Artl@s Bulletin
Dès 1830, la présence française à Alger apporta un changement notable dans paysage architectural de la ville. La construction de maisons européennes en constitue le trait le plus manifeste. Leurs premiers modèles sont élevés au sein même de la ville ottomane, principalement dans sa partie basse. Nous tentons dans cet article d’éclairer certains aspects de ce type d’habitat. Pour ce faire, nous nous appuierons sur les trois outils de travail nécessaires à l’étude de l’architecture mineure, à savoir le parcellaire, le gabarit et l’ordonnancement. Par ailleurs, on interrogera le débat sur la circulation internationale des modèles et leur relation au …
Le Triangle Des Circulations Artistiques Transnationales, Béatrice Joyeux-Prunel, Catherine Dossin
Le Triangle Des Circulations Artistiques Transnationales, Béatrice Joyeux-Prunel, Catherine Dossin
Artl@s Bulletin
L'étude des circulations artistiques à l’échelle mondiale est désormais un champ en pleine expansion ; mais celle des circulations transcontinentales reste un domaine plus réduit. De même, alors que les études de transferts artistiques et culturels bilatéraux sont désormais chose courante, il est plus difficile de trouver des études dans lesquelles un système triangulaire est mis en évidence – où la circulation artistique, qu’il s’agisse d’œuvres, d’artistes, d’esthétiques ou de styles, fait intervenir un nombre au moins ternaire de référentiels culturels, et où les effets de transformation, d’adaptation et de réadaptation sont donc particulièrement complexes. Or, avec un peu d’observation, …
De Paris À L'Europe : Sur Les Traces Des « Américains À Paris », Entre Mobilités Récréatives Et Quêtes Artistiques En Europe (De L'Après-Seconde Guerre Mondiale Aux Années 1960), Elisa Capdevila
Artl@s Bulletin
Travels of American artists across Europe in the 1950s and 1960s have only left traces in the archives. These trips represent however an important part of their education and life as artists. It is difficult to estimate precisely how many Americans were present in Europe at the time as the sources available are only fragmentary. The archives show how these artists approached this foreign space and and how valuable these trips were to them. They also reveal the importance of the Mediterranean countries in their experience of Europe and the new meaning these places took with the arrival of a …
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.
Bas Les Masques ! Pour Une Relecture Socio-Économique Du Montparnasse Des Années 1920, Léa Saint-Raymond
Bas Les Masques ! Pour Une Relecture Socio-Économique Du Montparnasse Des Années 1920, Léa Saint-Raymond
Artl@s Bulletin
This paper attempts to reconstruct the Parisian art world of the 1920s through the prism of the social sciences. Geography, sociology and network analysis shed new light on a caricature drawn by Sem, entitled Les Montparnos, which was published in 1929 in L’Illustration. The reconstruction of the artistic field strips away the masks, and leads us to conclude that Sem, the star of the Parisian Belle Epoque, was trying to reverse the stigma of his increasingly marginalized position by mocking a new generation of rising stars—such as Foujita, Man Ray, and Kiki de Montparnasse—who were starting to dominate …
Logique Circulatoire De La Photographie Imprimée. Le Cas Des Revues D’Avant-Garde Tchèques., Fedora Parkmann
Logique Circulatoire De La Photographie Imprimée. Le Cas Des Revues D’Avant-Garde Tchèques., Fedora Parkmann
Artl@s Bulletin
The members of the Czech avant-garde group Devětsil accorded great importance to photographic illustrations in the magazines they published throughout the 1920’s. Securing photographs from foreign contributors played a key role in the group’s strategy to develop and maintain an international network. This paper examines these photographic reproductions as traces of a transfer of formal and iconographic innovations in photography from abroad to Czechoslovakia.