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Ikonotheka 2019/29 IKONOTHEKA IKONO THEKA 29 29 2019 www.wuw.pl Ikonotheka 29 grzb 15.indd 3 01/09/20 14:06 IKONO THEKA 29 The Journal Founded by Jan białosTocki (1921–1988) EDITED BY Zuzanna Sarnecka ediTor-in-chieF Wojciech Szymański EDITORIAL BOARD Deborah Howard (University of Cambridge), Grażyna Jurkowlaniec (University of Warsaw), Sergiusz Michalski (Universität Tübingen), Andrzej Pieńkos (University of Warsaw), Antoni Ziemba (University of Warsaw) commissioning ediTor Dorota Dziedzic ediTing Michał Zagrodzki Institute of Art History of University of Warsaw 00-927 Warszawa, Krakowskie Przedmieście 26/28 phone: +48 (22) 552 04 06, fax: +48 (22) 552 04 07 e-mail: [email protected] www.ikonotheka.ihs.uw.edu.pl It is the authors’ responsibility to obtain appropriate permission for the reproduction of any copyrighted material, including images © Copyright by Wydawnictwa Uniwersytetu Warszawskiego, Warszawa 2019 Wydawnictwa Uniwersytetu Warszawskiego 00-497 Warszawa, ul. Nowy Świat 4 http://www.wuw.pl; e-mail: [email protected] Dział Handlowy WUW: phone: +48 22 55 31 333 e-mail: dz. [email protected] http://www.wuw.pl/ksiegarnia ISSN 0860-5769 e-ISSN 2657-6015 LAYOUT: Beata Stelęgowska PRINTED BY: Totem.com.pl IKONOTHEKA 29, 2019 Table of Contents Introduction / 5 sTaTemenTs marieTTa cambareri Multi-Sensory Approaches to Art in Museum Settings: A Curator’s View /9 capucine gros From Art-Viewing to Art-Experiencing: Perspectives of an Artist / 15 DEBORAH HOWARD The Role of the Five Senses in Cultural Transmission / 19 mary sherman (wiTh conTribuTions by Florian grond) In Praise of Frozen Sound: Audifying Painting / 21 arTicles ika maTyJaszkiewicz The Robe of Corporeality: Sensual Aspects of Medieval Representations of Crucified Christ in the Tunica Manicata / 33 diana raFaela pereira Healing Touch: Clothed Images of the Virgin in Early Modern Portugal / 51 clim wiJnands Reflections of the Hidden Duchess and the Moon King: The Tabula Scalata and the Engaged Beholder in Sixteenth-Century Italy / 79 sara benninga The Changing Perception of the Five Senses / 103 Julia saviello Tobacco’s Appeal to the Senses and the Early Modern Smoker’s Still Life /123 3 Table of Contents chrisTian dieTer sauer Smell and Taste in Art: Suggestions towards a Systematic Approach /151 anTJe von graeveniTz Another Form of Blindness – a Symptom of an Artistic Viewpoint: Glossing the Work of Marcel Duchamp / 177 karen wesTphal eriksen Blindness as Empathy: The Politics of Touch in Works by Dan Sterup-Hansen / 205 hanna doroszuk Applying the Avant-Garde: Display Experience in the Exhibition of Modern Art (1948) / 229 TanJa zimmermann Objects of Embodiment: A “Post-Material Turn” in Exhibiting Lost Material Culture / 249 reviews zuzanna sarnecka Justyna Balisz-Schmelz, Przeszłość niepokonana. Sztuka niemiecka po 1945 roku jako przestrzeń i medium pamięci [The Unsurmountable Past: The German Post-1945 Art as the Space and Medium of Memory], Kraków, Universitas, 2018, 363 pp. / 277 OBITUARY włodzimierz lengauer Andrzej Wyrobisz: In Memory of a Friend / 283 IKONOTHEKA 29, 2019 Introduction As the new editors of the Ikonotheka, we are delighted to present to the reader the issue of the journal dedicated to the senses. Through the centuries, connoisseurs, critics, art historians, and art institutions favoured sight and the ocularcentric ap- proach to art. This perspective has shaped our understanding of the singular role of the sense of sight in appreciating artworks of the past and it continues to affect the way we engage with contemporary art. In this volume we focus on the role all the senses play in creating, handling, displaying, collecting, and exhibiting art. We are indebted to the course The Sensory Renaissance offered by the Centre for Research in the Arts, Social Sciences and Hu- manities (CRASSH, Cambridge, 2014) and the recent studies into the importance of multisensory engagement with art and its history, including the research and publications of the Centre of Excellence for the History of Emotions funded by the Australian Research Council. The essays included in this publication range from discussion of medieval and early modern representations of the robes of Christ and the Virgin, through analysis of engaging sixteenth-century tabulae scalate, the significance of tobacco in early modern still lives, to the category of blindness in works by Marcel Duchamp and Dan Sterup-Hansen, and the sensory challenges of exhibiting modern and con- temporary art. These focused case studies are complemented by texts of a broader methodological scope, which seek to provide a theoretical framework for dealing with the senses, most notably in contemporary artistic practice. Apart from the contributions selected through the open call, we have invited several participants to provide statements about the role of the senses in artistic, art historical, and curatorial practices. We are very grateful to Marietta Cambareri (Museum of Fine Arts in Boston), Capucine Gros (artist), Deborah Howard (Univer- sity of Cambridge), and Mary Sherman (artist) for their fascinating insights. Their statements open the volume and demonstrate a wide range of perspectives on the senses in their work. The volume includes contributions focused on Central European art and works by artists from outside the mainstream of art historical discourse. The essays ad- dress the problem of senses in cultural, religious, philosophical, sociological, and political contexts. They attempt to historicize the sensorium and discuss ways of recreating the sensory experience in a museum space. Furthermore, authors include 5 Introduction artworks that can be discussed from a multi-sensory perspective. We hope that this multifaceted approach will be of interest to a wider audience. We would like to thank our reviewers for providing invaluable feedback to indi- vidual contributors and our advisory board for their academic guidance. Zuzanna Sarnecka, Editor of the volume Wojciech Szymański, Editor-in-Chief 6 STATEMENTS IKONOTHEKA 29, 2019 Marietta Cambareri senior curaTor oF european sculpTure and JeTskalina h. phillips curaTor oF Judaica museum oF Fine arTs, bosTon Multi-Sensory Approaches to Art in Museum Settings: A Curator’s View As a curator of European sculpture, decorative arts and Judaica, and someone in- terested in the way works of art supported devotional experience in medieval and Renaissance Europe, I always have in my mind the question of bringing objects to life through sensory activation. Museum practice has traditionally worked against this impulse, leaving curators to rely almost entirely on the visual experience of the objects. “Please Don’t Touch” signs abound in museum galleries, often along with explanations that touching objects can damage the works, eroding fine details and leaving the oil and dirt from fingers to accumulate over time, creating stains. Paintings are framed, their surfaces sometimes covered with protective glass. Sculp- tures are presented on pedestals or roped off to discourage visitors from getting too close. More fragile and smaller works are placed in cases with glass or plexiglass bonnets, to protect them from theft as well as the touch of curious hands. At the same time, museums today are prioritizing visitors’ experiences of the works of art in our galleries. Creating a visitor-centered approach is the work of teams of curators, conservators, educators, interpretation specialists, museum designers ,and architects. All contribute to the potential for multi-sensory experience of works in a museum setting.1 Privileging sight over other experiences is no longer enough. As a museum cura- tor, I am excited to try to bring audiences into close contact with objects I oversee, and I often select works exactly because they engage the senses. Many pieces require interaction through handing to function properly. Whenever possible, I write labels that encourage the viewer to imagine the sensory aspects of the works, in the hope of calling forth a response or a memory that can enliven the experience. Even if the visitor cannot actually touch them, looking closely to understand the objects, along with descriptions, guides, and additional visual images, can suggest what it might be like to use them. The objects themselves often reveal the ways they might have once engaged the sense of smell (open work on pomanders and spice containers 1 C. Classen, The Museum of the Senses, London and New York, 2017; G. Black, The Engaging Museum. Developing Museums for Visitor Involvement, New York, 2012. 9 Marietta Cambareri allowed the scents to permeate the air), touch (jewels, small bronze sculptures, and books were meant to be worn, held, carried, opened and closed), and even taste (describing the contents of a chocolate pot or a honey jar can help to bring the memory of tastes to the viewers’ consciousness). Display of objects can also set a scene: a table set for dining, for example, can enliven the experience of looking at plates, serving vessels and utensils, candlesticks, and decorative objects like small porcelain sculptures, creating a sense of immediacy even if the visitor cannot actu- ally touch the objects (Fig. 1). All of these activations seek to provide a visitor with a more complete experience of an object that may be behind a barrier. Fig. 1. Angelica Lloyd Russell Gallery (Europe 1700–1800), Museum of Fine Arts, Boston (Novem- ber 2010) Museums sometimes include soundscapes, music, and audio-guides to provide shared or individual access to sounds appropriate for works in gallery spaces.
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