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Articles 181 - 199 of 199

Full-Text Articles in History of Art, Architecture, and Archaeology

Sur Les Traces De La Fabrique Artistique : Quelques Réflexions Sur La Dimension Spatiale Et Matérielle De L’Histoire De L’Art, Vincent Veschambre Jan 2016

Sur Les Traces De La Fabrique Artistique : Quelques Réflexions Sur La Dimension Spatiale Et Matérielle De L’Histoire De L’Art, Vincent Veschambre

Artl@s Bulletin

This text gives a reading of the notion of trace in the perspective of a geographer’s scientific trajectory, committed to grasping individual and social relations to space. Applying this notion to art history probes into the identification of who inscribes art in space, and for what purpose. Such an approach bears similarities with archeology, which cares for the lesser known or recognized traces, and is able to recast the wealth of social actors that have been concealed by history.

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The Geographical Information Of Art History: How To Trace The Making Of Knowledge And Facts, Olivier Marcel Jan 2016

The Geographical Information Of Art History: How To Trace The Making Of Knowledge And Facts, Olivier Marcel

Artl@s Bulletin

The objective of this trans-disciplinary, trans-regional and trans-periodical issue of Artl@s Bulletin is to confront a wide range of sources (catalogues, institutional archives, photographs, interviews, etc.), methods (qualitative, quantitative, comparative, multi-situated, cartographic, etc.) and areas of investigation (careers, movements, markets, etc.) in order to highlight the pivotal and problematic role of traceability in the spatial study of art.

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Les Rues Des Tableaux. Géographie Du Marché De L'Art Parisien (1815-1955), Léa Saint-Raymond, Félicie De Maupeou, Julien Cavero Jun 2015

Les Rues Des Tableaux. Géographie Du Marché De L'Art Parisien (1815-1955), Léa Saint-Raymond, Félicie De Maupeou, Julien Cavero

Artl@s Bulletin

Continuation of a first socioeconomic analysis of the "art dealers" in Paris between 1815 and 1955 (Artl@s Bulletin 2, no. 2), this paper presents the results of a spatial study of the Parisian art market at that time. Departing from serial geographical data given by a homogeneous source, the Bottin du commerce, we mapped a 140 years spatial evolution of the "art dealers", using a geocoding system with composite locators. The article exposes the spatial dynamics of this market and studies them in a multi-scalar way, making the connection between the global evolution of the Parisian economy and …

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A Research-Based Model For Digital Mapping And Art History: Notes From The Field, Paul B. Jaskot, Anne Kelly Knowles, Andrew Wasserman, Stephen Whiteman, Benjamin Zweig Jun 2015

A Research-Based Model For Digital Mapping And Art History: Notes From The Field, Paul B. Jaskot, Anne Kelly Knowles, Andrew Wasserman, Stephen Whiteman, Benjamin Zweig

Artl@s Bulletin

Most digital mapping in art history today divides the research process from the visualization aspects of the project. This problem became the focus of a summer institute that Paul Jaskot and Anne Kelly Knowles ran at Middlebury College with the support of the Samuel H. Kress Foundation. Our article both reports on the institute and suggests how research questions can complement digital mapping methods. We conclude with three case studies of spatial questions in art history and discuss the Fellows’ use of GIS to explore examples from Qing Dynasty China, medieval Gotland, and contemporary New York City.

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Provincializing Paris. The Center-Periphery Narrative Of Modern Art In Light Of Quantitative And Transnational Approaches, Béatrice Joyeux-Prunel Jun 2015

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.

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Change Over Time: Neatline And The Study Of Architectural History, Lisa A. Reilly Jun 2015

Change Over Time: Neatline And The Study Of Architectural History, Lisa A. Reilly

Artl@s Bulletin

This article discusses how the usual study of architecture from the perspective of a single moment in time, usually the moment of its creation is limiting. New methodologies make it possible to add to the current rich variety of approaches available to the architectural historian in order to consider the dynamic history of the forms we study. This problem can be resolved in part through the use of digital tools, in particular Neatline, (www.neatline.org) which allows the viewer to see and understand how a building changes over time.

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Towards A Spatial (Digital) Art History, Catherine Dossin Jun 2015

Towards A Spatial (Digital) Art History, Catherine Dossin

Artl@s Bulletin

Among the numerous possibilities offered by the Digital Humanities, digital mapping is certainly among the most promising for art history. It is a rather simple yet efficient way to explore the large amount of data and databases which are available to the discipline but that are often underutilized. New mapping technologies allow us to work with art history’s big data serially and spatially, and to diffuse the result of our research through attractive and compelling visualizations.

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Introduction: Highways Of The South, Daniel R. Quiles Feb 2015

Introduction: Highways Of The South, Daniel R. Quiles

Artl@s Bulletin

This introduction serves as a brief overview of this guest-edited issue of Artl@s Bulletin, which is dedicated to international networks in modern and contemporary Latin American art. Following a brief synopsis of the history of the field’s methodologies related to circulation, the articles that appear in this issue are summarized and compared. The author argues that a network- or circulation-based focus invariably incorporates heterogenous, even oppositional criteria.

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All Creative Being: Interview With Anna Bella Geiger, Sarah Poppel Feb 2015

All Creative Being: Interview With Anna Bella Geiger, Sarah Poppel

Artl@s Bulletin

In the following interview with Anna Bella Geiger, the Brazilian artist talks about her trajectory and various influences, which have always been deeply marked by the lived situation in Brazil, especially during the dictatorship (1964-1985). Starting with the beginnings of her artistic practice in the early 1950s, she details her affiliation with abstract art, her view of the Brazilian art scene during the 1950s and 1960s and reveals the roots of her topographic works and the importance of her pedagogical experiences.

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Vectors Or Constellations? Curatorial Narratives Of Latin American Art, Camila Maroja, Abigail Winograd Feb 2015

Vectors Or Constellations? Curatorial Narratives Of Latin American Art, Camila Maroja, Abigail Winograd

Artl@s Bulletin

This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frederico Morais, and Inverted Utopias (2004), co-curated by Mari Carmen Ramírez and Héctor Olea. Both strove to shift the association of Latin American art with the fantastic that had dominated the region’s historiography. The structural metaphors used to frame these shows demonstrated differing aims: Morais’s desire to create an autochthonous historiography versus Ramírez and Olea’s wish to revise constructions of global modernism. Nonetheless, both exhibitions showcased similar works and helped to consolidate a revised vision of Latin American art.

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Contrabienal: Latin American Art, Politics And Identity In New York, 1969-1971, Aimé Iglesias Lukin Feb 2015

Contrabienal: Latin American Art, Politics And Identity In New York, 1969-1971, Aimé Iglesias Lukin

Artl@s Bulletin

This article focuses on a community of Latin American artists living in New York and the influence of regionalism and politics in their identification as a group, taking up the case of the Contrabienal, an art book published in 1971 as a call to boycott the XI São Paulo Biennial in protest of censorship and torture in dictatorial Brazil. The book was aesthetically eclectic and included artists from different generations. Still, its organizers were all part of the strong shift towards Conceptualism then taking place. In light of the current revision of the Latin American Conceptualism canon, this article …

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Vida Americana, 1919-1921. Redes Conceptuales En Torno A Un Proyecto Trans-Continental De Vanguardia, Natalia De La Rosa Feb 2015

Vida Americana, 1919-1921. Redes Conceptuales En Torno A Un Proyecto Trans-Continental De Vanguardia, Natalia De La Rosa

Artl@s Bulletin

Este artículo analiza los orígenes cosmopolitas de la revista Vida-Americana, organizada en 1921 por el pintor mexicano David Alfaro Siqueiros. Se reflexiona sobre el concepto de universalismo y clasicismo artístico señalando las conexiones que Siqueiros tuvo en Barcelona con Joan Salvat-Papasseit, Joaquín Torres-García, Rafael Barradas, Diego Rivera, Marius de Zayas y Élie Faure. El estudio explica la alternativa que Siqueiros señaló para el desarrollo de nuevos centros de producción artística en América. El estudio presenta la unificación continental que el artista ideó desde la reflexión del impacto tecnológico en la modernidad, tomando como base la realización del dibujo Retrato …

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Crossing The Atlantic: Emilio Pettoruti's Italian Immersion, Lauren A. Kaplan Feb 2015

Crossing The Atlantic: Emilio Pettoruti's Italian Immersion, Lauren A. Kaplan

Artl@s Bulletin

The painter Emilio Pettoruti (1892-1971) was born to Italian parents in the Argentine province of La Plata. In 1913, he sailed to Florence for artistic training and remained in Europe for eleven years. This article focuses on this formative stint, during which Pettoruti studied Quattrocento masters, conferred with Italian Futurists, and met French Cubists. Ultimately, the painter became a paragon of civiltá italiana, a cosmopolitan culture born in Italy but meant for global dissemination. Upon returning to Buenos Aires in 1924, he exposing the Argentine public to this culture, strengthening the already robust bond between the two countries.

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To Drip Or To Pop? The European Triumph Of American Art, Catherine Dossin Jun 2014

To Drip Or To Pop? The European Triumph Of American Art, Catherine Dossin

Artl@s Bulletin

This paper considers the so-called triumph of American art from the perspective of what Western Europeans could actually see and know of American art at the time. Relying on a database of exhibitions, purchases, and publications of American art in Western Europe from 1945 to 1970 created in the framework of Artl@s, it reconstructs the precise chain of events and circulations that marked the dissemination and reception of American art in Europe. It consequently draws a more refined and complex understanding of postwar artistic exchanges out of the entangled historical perspectives of the European peripheries, which challenges the retrospectively dominating …

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Italian Art In Yugoslavia From 1961 To 1967: An Overlooked Chronicle, Giovanni Rubino Jun 2014

Italian Art In Yugoslavia From 1961 To 1967: An Overlooked Chronicle, Giovanni Rubino

Artl@s Bulletin

In the 1950s and 1960s, the relationship between Italy and the Socialist Federal Republic of Yugoslavia improved despite the Cold War. For the Italian artists involved in the New Tendencies, this new situation provided opportunities for recognition as an alternative to Art Informel, the dominant style in the international art market. Getulio Alviani, Enzo Mari and Eugenio Carmi, are three of the key Italian artists in this period who exhibited in Yugoslavian museums and galleries. Using new archival material, this paper sheds light on a unique postwar revival of Constructivism within a peripheral artist network far from New York and …

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To Each His Own Reality: How The Analysis Of Artistic Exchanges In Cold War Europe Challenges Categories, Mathilde Arnoux Jun 2014

To Each His Own Reality: How The Analysis Of Artistic Exchanges In Cold War Europe Challenges Categories, Mathilde Arnoux

Artl@s Bulletin

How to reconstruct artistic relationships among four European countries, situated on both sides of the Iron Curtain, during the period that commenced post-Stalin and lasted until the fall of the Berlin Wall? This is one of the questions that faces the research program To Each His Own Reality: The notion of the real in the art of France, West Germany, East Germany and Poland between 1960 and 1989, which was initiated in January 2011. The paper discusses syntheses of the questions that the research team is facing, descriptions of its methodology, an analysis of preliminary results and what they allow …

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Modernism, Seen From Prague, March 1937, Derek Sayer Jun 2014

Modernism, Seen From Prague, March 1937, Derek Sayer

Artl@s Bulletin

Focusing on the period 1890-1939, this paper explores exchanges between three generations of Prague artists and international—especially Parisian—avant-gardes. Documenting the extraordinary receptiveness of Prague to modernism, particularly in the applied arts, it argues for a thorough rethink of the conceptual geographies of art history.

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The Uses And Abuses Of Peripheries In Art History, Béatrice Joyeux-Prunel Jun 2014

The Uses And Abuses Of Peripheries In Art History, Béatrice Joyeux-Prunel

Artl@s Bulletin

Introduction to the Artl@s Bulletin's issue on "Peripheries" (vol. 3, issue 1).

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Corrections And Updates To "Identifying Biblical Persons In Northwest Semitic Inscriptions Of 1200-539 B.C.E.", Lawrence J. Mykytiuk Jan 2009

Corrections And Updates To "Identifying Biblical Persons In Northwest Semitic Inscriptions Of 1200-539 B.C.E.", Lawrence J. Mykytiuk

Libraries Research Publications

This article does two things. First, it corrects things in the book, Identifying Biblical Persons in Northwest Semitic Inscriptions of 1200-539 B.C.E. (2004), abbreviated IBP below:
• Regarding potential forgeries, the article applies the principles for treatment of unprovenanced inscriptions set forth in Christopher A. Rollston, “Non-Provenanced Epigraphs II: The Status of Non-Provenanced Epigraphs within the Broader Corpus of Northwest Semitic,” Maarav 11 (2004): 71–76.
• It disqualifies proposed IDs in eight (8) inscriptions that are forgeries or probable forgeries, notably including the two bullae frequently attributed to the biblical Baruch.
Second, it evaluates 32 proposed identifications (IDs) of biblical …

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