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Articles 151 - 180 of 191
Full-Text Articles in History of Art, Architecture, and Archaeology
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.
Sur Les Traces De La Fabrique Artistique : Quelques Réflexions Sur La Dimension Spatiale Et Matérielle De L’Histoire De L’Art, Vincent Veschambre
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.
The Geographical Information Of Art History: How To Trace The Making Of Knowledge And Facts, Olivier Marcel
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.
Les Rues Des Tableaux. Géographie Du Marché De L'Art Parisien (1815-1955), Léa Saint-Raymond, Félicie De Maupeou, Julien Cavero
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 …
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
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.
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.
Change Over Time: Neatline And The Study Of Architectural History, Lisa A. Reilly
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.
Towards A Spatial (Digital) Art History, Catherine Dossin
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.