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Estambul Y Sus Revoluciones: Camino Hacia La Modernidad
Estambul y sus revoluciones: camino hacia la modernidad Frédéric Hitzel* i hoy me toca a mí, mañana te tocará a ti”. Esta advertencia, que es “Sfrecuente encontrar grabada en los epitafios de las estelas funerarias otomanas, recuerda al buen musulmán que todos los hombres están desti nados a morir, en un tiempo límite fijado por Dios. Este término predes tinado no puede adelantarse ni atrasarse, tal como lo dice otra fórmula funeraria común en los cementerios de Estambul: “Puesto que le llegó su fin, no podría haber piedad para él”. Este precepto se aplica a todo ser humano, incluso a los sultanes otomanos que, desde su capital de Estambul, gobier nan el más vasto imperio musulmán, que se extiende desde las riberas del Adriático hasta los confines de África del Norte (excepto Marruecos), pa sando por la península arábiga. Sin embargo, es obvio: el soberano otomán no era el primer fiel que llegaba. Era la sombra de Dios en la Tierra, lo que hacía de él una pieza esencial del sistema institucional. Su muerte plantea ba la delicada cuestión de su sucesión. Si bien la mayoría de los sultanes murieron en el trono, algunos fueron depuestos, y otros asesinados. Esto es lo que ocurrió al sultán Selim III, quien tuvo que ceder el trono a su primo Mustafá IV en 1807, antes de ser salvajemente ejecutado el año siguiente. El trágico final de su reinado, sobre el que volveremos más adelante, marcó fuertemente la historiografía turca. En efecto, más que cualquier otro sul tán antes que él, Selim III fue testimonio de una voluntad de renovación del Estado otomano, que hizo de él el verdadero precursor de los sultanes y * Traducción del francés de Arturo Vázquez Barrón. -
Eighteenth-Century Ottoman Princesses As Collectors Chinese and European Porcelains in the Topkapı Palace Museum
AO39_r1 10.06.10 imAges are fOr pOsitiOn only; pAge numbers nOt firm tülay artan eighteenth-century ottoman princesses as collectors Chinese and European Porcelains in the Topkapı Palace Museum Abstract Ceramic collecting by women has been interpreted as a form of social competition and conspicuous consumption. But collecting differs from conspicuous consump- tion, which involves purchasing goods or services not because they are needed, but because there is status and prestige in being seen to have them, and even in wasting them. Collecting, in contrast, implies conservation and augmentation, the preser- vation of history, aesthetic or scholarly interest, love of beauty, a form of play, differ- ent varieties of fetishism, the excitement of the hunt, investment, and even support of a particular industry or artist. None of these motives, however, readily explains the activities of Ottoman collector-princesses in the eighteenth century—which are all the more mysterious because these women remain relatively anonymous as individuals. It is not easy for us to elucidate the reasons (other than conspicuous consumption) for their amass- ing of porcelain, and of European porcelain in particular. Could the collection and display of ceramics have been a way of actively creating meanings for themselves and others? Do the collecting habits of these princesses shed some light on their personalities and aspirations? By focusing on two among them I will argue that collecting European rather than Chinese porcelain did signify a notable change of attitude -
Download Our Exhibition Catalogue
CONTENTS Published to accompany the exhibition at Foreword 04 Two Temple Place, London Dodo, by Gillian Clarke 06 31st january – 27th april 2014 Exhibition curated by Nicholas Thomas Discoveries: Art, Science & Exploration, by Nicholas Thomas 08 and Martin Caiger-Smith, with Lydia Hamlett Published in 2014 by Two Temple Place Kettle’s Yard: 2 Temple Place, Art and Life 18 London wc2r 3bd Museum of Archaeology and Anthropology: Copyright © Two Temple Place Encountering Objects, Encountering People 24 A catalogue record for this publication Museum of Classical Archaeology: is available from the British Library Physical Copies, Metaphysical Discoveries 30 isbn 978-0-9570628-3-2 Museum of Zoology: Designed and produced by NA Creative Discovering Diversity 36 www.na-creative.co.uk The Sedgwick Museum of Earth Sciences: Cover Image: Detail of System According to the Holy Scriptures, Muggletonian print, Discovering the Earth 52 plate 7. Drawn by Isaac Frost. Printed in oil colours by George Baxter Engraved by Clubb & Son. Whipple Museum of the History of Science, The Fitzwilliam Museum: University of Cambridge. A Remarkable Repository 58 Inside Front/Back Cover: Detail of Kitagawa Utamaro (1753-1806), Komei bijin mitate The Polar Museum: Choshingura junimai tsuzuki (The Choshingura drama Exploration into Science 64 parodied by famous beauties: A set of twelve prints). The Fitzwilliam Museum, University of Cambridge. Whipple Museum of the History of Science: Thinking about Discoveries 70 Object List 78 Two Temple Place 84 Acknowledgements 86 Cambridge Museums Map 87 FOREWORD Over eight centuries, the University of Cambridge has been a which were vital to the formation of modern understandings powerhouse of learning, invention, exploration and discovery of nature and natural history. -
Art and Life
Resource Notes – for teachers and group leaders Art and Life is an exhibition of paintings and pottery produced between 1920 and 1931 by artists Ben Nicholson, Winifred Nicholson, Christopher Wood, Alfred Wallis and William Staite Murray. All the artists knew each other personally, exhibited or worked together and shared similar values in terms of making art. Jim Ede, creator of Kettle's Yard, was a friend and a supporter of these artists, who played a central role in shaping his taste and approach to life. Their artwork makes up a key part of the Kettle’s Yard permanent collection. Art and Life shows British painting during a period of change, when representational painting was replaced by a more gestural, ‘felt’ abstraction. Painting was no longer about producing a technically accomplished representation of the real world, but about expressing 'lived' experience, through colour, form and movement. The process of making art came to be about the spiritual as well as the visual; about vitality, Winifred Nicholson, Autumn Flowers on a experience and intuition and re-connecting the Mantlepiece,1932. Oil on wood panel, 76 x person with life through art. 60cm. Private Collection © Trustees of Winifred Nicholson The Artists Winifred and Ben Nicholson grew up in an environment that gave them access to artists, artworks and intellectual society. Although working closely together, Winifred and Ben's paintings were quite different. Winifred's emphasis was strongly on colour and light whereas Ben focused more on line, muted colours and abstract, simple forms. Christopher Wood met the Nicholsons in 1926 and became a close friend, living with them for periods of time in Cumbria and St Ives, Cornwall. -
Welcome to the Laing Art Gallery and Articulation
WELCOME TO THE LAING ART GALLERY AND ARTICULATION The Laing Art Gallery sits in the heart of Newcastle City Centre and opened its doors in 1904 thanks to the local merchant Alexander Laing who gifted the gallery to the people of Newcastle. Unusually, when the Laing Art Gallery first opened, it didn’t have a collection! Laing was confident that local people would support the Gallery and donate art. In the early days the Gallery benefitted from a number of important gifts and bequests from prominent industrialists, public figures, art collectors, and artists. National galleries and museums continued to lend works, and, three years after opening its doors, the Laing began to acquire art. In 1907, the Gallery’s first give paintings were purchased. Over the last 100 years, the Laing’s curators have continued to build the collection, and it is now a Designated Collection, recognised as nationally important by Arts Council England. The Laing Art Gallery’s exceptional collection focuses on but is not limited to British oil paintings, watercolours, ceramics, and silver and glassware, as well as modern and contemporary pieces of art. We also run temporary exhibition programmes which change every three months. WELCOME TO THE LAING ART GALLERY! Here is your chosen artwork: 1933 (design) by Ben Nicholson Key Information: By Ben Nicholson Produced in 1933 Medium: Oil and pencil on panel Dimensions: (unknown) Location: Laing Art Gallery Currently on display in Gallery D PAINTING SUMMARY 1933 (design) is part of a series of works produced by Nicholson in the year of its title. The principle motif of these paintings is the female profile. -
Three Centuries of British Art
Three Centuries of British Art Three Centuries of British Art Friday 30th September – Saturday 22nd October 2011 Shepherd & Derom Galleries in association with Nicholas Bagshawe Fine Art, London Campbell Wilson, Aberdeenshire, Scotland Moore-Gwyn Fine Art, London EIGHTEENTH CENTURY cat. 1 Francis Wheatley, ra (1747–1801) Going Milking Oil on Canvas; 14 × 12 inches Francis Wheatley was born in Covent Garden in London in 1747. His artistic training took place first at Shipley’s drawing classes and then at the newly formed Royal Academy Schools. He was a gifted draughtsman and won a number of prizes as a young man from the Society of Artists. His early work consists mainly of portraits and conversation pieces. These recall the work of Johann Zoffany (1733–1810) and Benjamin Wilson (1721–1788), under whom he is thought to have studied. John Hamilton Mortimer (1740–1779), his friend and occasional collaborator, was also a considerable influence on him in his early years. Despite some success at the outset, Wheatley’s fortunes began to suffer due to an excessively extravagant life-style and in 1779 he travelled to Ireland, mainly to escape his creditors. There he survived by painting portraits and local scenes for patrons and by 1784 was back in England. On his return his painting changed direction and he began to produce a type of painting best described as sentimental genre, whose guiding influence was the work of the French artist Jean-Baptiste Greuze (1725–1805). Wheatley’s new work in this style began to attract considerable notice and in the 1790’s he embarked upon his famous series of The Cries of London – scenes of street vendors selling their wares in the capital. -
Visual Sources for Urban History of the Ottoman Empire
Osmanl› Kad›n› Hakk›nda Hukuk Kaynaklar›na Dayal› Çal›flmalar 457 Türkiye Araflt›rmalar› Literatür Dergisi, v. 3, n. 6, 2005, 457-486 Visual Sources for Urban History of the Ottoman Empire Kathryn A. EBEL* I. Introduction URBAN HISTORY IS an inherently visual undertaking. Indeed, the first “visual source” for the study of urban history is the city itself. What is a city? A defen- sible (or convenient, or beautiful) site; a confluence of economic forces; an in- tersection of diverse lifeways; a material byproduct of social and cultural pro- cesses; a cultivated landscape; a radically altered, and perhaps devastated, en- vironment; a practiced space. And not least, a visual artifact. The visual experience of urban environments and the impulse to represent that experience reach back to the very dawn of urban history. Some of the ear- liest evidence for this impulse has been found in the very same part of the world that will concern me in this essay – I speak of the famous mural of Çatal Höyük, a city view crafted by Neolithic Anatolians in the Konya plain, who we- re among the very first city dwellers on Earth. From the point of view of the to- pic at hand – Ottoman cities and city views – this is merely a poetic coinciden- ce. The mural at Çatal Höyük has nothing whatsoever to do with the Ottoman cities that rose in this landscape many thousands of years later, and the repre- sentational impulse it attests to is certainly not unique to Anatolia. Yet the mu- ral at Çatal Höyük teaches us something important. -
Paper Barassi
UNIVERSITY MUSEUMS IN SCOTLAND CONFERENCE 2004 The collection as a work of art: Jim Ede and Kettle's Yard Sebastiano Barassi Curator of Collections Kettle’s Yard, University of Cambridge [email protected] The significance of a collection depends upon a wide range of value judgements. And indeed ‘significance’ itself is a multifaceted term, which can refer to the mere quality of having a meaning as well as imply a hierarchical determination. In this paper I would like to propose a definition of the significance of a collection based upon ideas developed for art criticism and exemplified by the history of the creation of Kettle’s Yard. *** In his 1914 book Art , Bloomsbury writer and critic Clive Bell thus outlined the notion of ‘significant form’: “What quality is shared by all objects that provoke our aesthetic emotions? In each, lines and colours combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.” Bell’s definition became the founding principle of Formalism, a doctrine that has since grown out of fashion among art historians and museum professionals. However, I would like to suggest that the notion of ‘significance’ as the ability to stir emotions, can usefully be applied to collections (not only art collections) to help define their role in today’s society. I hope that the story of the creation of Kettle’s Yard will provide a helpful example. Kettle’s Yard was created in 1956 by Harold Stanley Ede, who was known to his friends as Jim. -
Bibliographie (103K)
Frédéric Hitzel, Bibliographie 1) Livres parus entre 1995 et 2004 Enfants de langue et Drogmans (Dil Oglanlarıve Tercümanlar), Istanbul, Yapı Kredi Yayınları, 1995, 136 p. Catalogue d'exposition pour célébrer le bicentenaire de la création de l'École des langues orientales. Istanbul et les langues orientales, Paris, L'Harmattan, 1997 (Collection Varia Turcica XXXI), 538 p. Actes du colloque d'Istanbul (palais de Yıldız, 29-31 mai 1995) dans le cadre du bicentenaire de la création de l'École des langues orientales. [Compte-rendu de Nathalie Clayer, Turcica]. Livres et lecture dans le monde ottoman, thème sous la responsabilité de Frédéric Hitzel, Revue des mondes musulmans et de la Méditerranée, n° 87-88, 1999, 350 p. [Compte-rendu de Hélène Desmet-Grégoire, Turcica, XXXII, 2000, pp. 467-472]. Jacques Perrot, Frédéric Hitzel et Robert Anhegger, Hatice Sultan ile Melling Kalfa Mektuplar, Istanbul, Tarih Vakfı Yurt Yayınları, 2001, 83 p. L’Empire ottoman, XVe-XVIIIe siècles, Paris, Les Belles Lettres, Guide Belles Lettres des Civilisations, 2001, 319 p. [Compte-rendu dans la revue de la Société internationale des Historiens de la Méditerranée, 2002 Couleurs de la Corne d’Or. Peintres voyageurs à la Sublime Porte, Paris-Courbevoie, ACR édition, 2002, 336 p. 2) Travaux de traduction parus entre 1998 et 2004 Osmân Agha de Temechvar. Prisonnier des infidèles, un soldat ottoman dans l'Empire des Habsbourg, récit traduit de l'ottoman, présenté et annoté par F. Hitzel, Arles, Sindbad-Actes Sud, collection "Bibliothèque turque", 1998, 230 p. Catalogue d'exposition Topkapi à Versailles. Trésors de la Cour ottomane, Musée national des châteaux de Versailles et de Trianon, 4 mai-15 août 1999, Paris, Réunion des musées nationaux, 1999, 340 p. -
BEN NICHOLSON / GERARDO RUEDA: Confluencias BEN NICHOLSON / GERARDO RUEDA: CONFLUENCIAS
BEN NICHOLSON / GERARDO RUEDA: CONFLUENCIAS BEN NICHOLSON / GERARDO RUEDA: CONFLUENCIAS 2 BEN NICHOLSON / GERARDO RUEDA: CONFLUENCIAS Del 19 de noviembre de 2013 al 10 de enero de 2014 GALERIA LEANDRO NAVARRO C/ AMOR DE DIOS, Nº1 28014 MADRID Horario: de Lunes a Viernes de 10 a 14h. y de 17 a 20h. Sábado previa cita. Tel.: 91 429 89 55 Fax: 91 429 91 55 e-mail: [email protected] www.leandro-navarro.com NICHOLSON Y RUEDA. FRENTE AL MAR. confluencia en un asunto capital, lo que Herbert Read citaba como “pureza de 6 7 Dos artistas jóvenes se hallan frente al mar, es el mismo agua de Normandía: Nicholson está en estilo” , la búsqueda de eso que Nicholson llamaba la “clear light” . Así, ambos Dieppe1 y Rueda en Deauville. Ambos miran, cuando es calmo el océano, los barcos de vela cruzar el hori- artistas partirán no tanto del cubismo que, como no podía ser menos en uno zonte y analizan las curiosas formas, triángulos y verticales, líneas y planos que estos componen sobre la de los momentos cruciales del arte del siglo veinte, es ciertamente revisitado planicie del agua, en el azul del cielo de verano. El artista inglés mira ese mar y que se aprecia ocasionalmente en sus pinturas, pero sus miradas no esqui- en los años treinta2, nuestro Rueda mediados los cincuenta3. Aquél, poético van la admiración por la tradición clásica, sin complejo, y ambos citarán a los pintores primitivos para desde ahí viajar después defensor de las emociones, en tanto este, también proustiano, escribe: “Una Gerardo Rueda. -
Contemporary Art Society Report 1934-1935
CONTEMPORARY ART SOCIETY REPORT 1934-1935 THE CONTEMPORARY ART SOCIETY For the Acquisition of Works of Modern Art for Loan or Gift to Public Galleries President: LORD HOWARD DE WALDEN Treasttrer and Chairman: SIR C. KENDALL-BUTLER, K.B.E. Bourton House, Shrivenham Honorary Secretary : LORD IVOR SPENCER-CHURCHILL 4 John Street, Mayfair, W. 1 Committee : SIR C. KENDALL-BUTLER, K.B.E. (Chairman) Lord Balniel, M.P. Edward Marsh, C.B., C.M.G., Muirhead Bone C.V.O. Samuel Courtauld Ernest Marsh Sir A. M. Daniel, K.B.E. The Hon. Jasper Ridley Campbell Dodgson, C.B.E. Sir Michael Sadler, K.C.S.I., C.B. A. M. Hind, O.B.E. Earl of Sandwich St. John Hutchinson, K.C. Montague Shearman J. Maynard Keynes, C.B. Lord Ivor Spencer-Churchill J. B. Manson C. L. Stocks, C.B. Assiffant Secretary: Mr. H. S. EDE I THF. BLUE BARGE, WEYMOUTH Richard Eurich REPORT THIS Report of the activities of the Society during the past two years is circulated in the hope that it may encourage members to talk about the Society, and make it widely known amongst their friends. In these days of economy, when people hesitate to spend much on pictures, it should at least be possible for them, if they are interested in art and artists, to spend a guinea on becoming a member of the Society. By so doing, they would be helping to acquire works of art to be given eventually to the Nation's public galleries, and at the same time they would be assisting artists. -
If Kara Kitap Is Pamuk's Attempt at Writing a Ulysses Set in Istanbul
A Melancholy of my Own: Melancholy in Orhan Pamuk’s Istanbul: Memories and the City Esra Almas, Dogus University, Istanbul It is a melancholy of mine own, compounded of many simples, extracted from many objects.1 Abstract: Turkish novelist and 2006 Nobel laureate Orhan Pamuk’s memoir Istanbul: Şehir ve Hatıralar (Istanbul: Memories and the City) (2003) is a recent addition to the literature on melancholy. In the memoir, Pamuk identifies with the city, and diagnoses its predominant mood as the melancholy of a city in a state of decrepitude. Istanbul in his account is a humanized city suffering from chronic, even pathological, sadness, which transmits its mood to its inhabitants. Pamuk uses a Turkish word, hüzün, denoting a medley of melancholy, sadness and tristesse, to unite the city, its past and its present within a timeless as well as transnational feeling. This article addresses a key question in the context of Pamuk’s personalised understanding: how does melancholy make sense when relating to Istanbul, and, reciprocally, what makes the city’s melancholy, as it arises from Pamuk’s work, stand out from the large body of literature on the term? I respond by tracing the imagery of melancholy in Pamuk's work, in relation to the complex meanings and imagery of the term, to show how they find expression in the memoir. ‘The Tower of Babel never yielded such confusion of tongues as this chaos of melancholy doth variety of symptoms,’ laments Robert Burton in his colossal Anatomy of Melancholy (1621).2 Burton’s complaint, dating from four centuries ago, highlights the difficulty in defining the term.