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Xavier F. Salomon Appointed Peter Jay Sharp Chief Curator of the Frick Collection
XAVIER F. SALOMON APPOINTED PETER JAY SHARP CHIEF CURATOR OF THE FRICK COLLECTION Xavier F. Salomon has been appointed to the position of Peter Jay Sharp Chief Curator of The Frick Collection, taking up the post in January of 2014. Dr. Salomon―who has organized exhibitions and published most particularly in the areas of Italian and Spanish art of the sixteenth through eighteenth century―comes to The Frick Collection from The Metropolitan Museum of Art, where he is a curator in the Department of European Paintings. Previously, he was the Arturo and Holly Melosi Chief Curator of Dulwich Picture Gallery, London. Salomon’s two overall fields of expertise are the painter Paolo Veronese (1528–1588) and the collecting and patronage of cardinals in Rome during the early seventeenth century. Born in Rome, and raised in Italy and the United Kingdom, Salomon received his Ph.D. from the Courtauld Institute of Art, University of London. A widely published author, essayist, and reviewer, Salomon sits on the Consultative Committee of The Burlington Magazine and is a member of the International Scientific Committee of Storia dell’Arte. Comments Frick Director Ian Wardropper, “We are thrilled to welcome Salomon to the post of Peter Jay Sharp Chief Curator. He is a remarkable scholar of great breadth and vitality, evidenced by his résumé, on which you will find names as far ranging as Veronese, Titian, Carracci, Guido Reni, Van Dyck, Claude Lorrain, Poussin, Tiepolo, Lucian Freud, Cy Twombly, and David Hockney. At the same time, he brings to us significant depth in the schools of painting at the core of our Old Master holdings, and he will complement superbly the esteemed members of our curatorial team. -
Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject. -
The Reception of Palaeolithic Art at the Turn of the Twentieth Century: Between Archaeology and Art History
The reception of Palaeolithic art at the turn of the twentieth century: between archaeology and art history Oscar Moro Abadía If I am asked to define any further what I mean by ‘the primitive’ I must refer the reader to the pages of this book, which will show that the term was associated in its time with early Greek vases, with quattrocento painting and with tribal art.1 These words by Ernst Gombrich summarize some of the main meanings associated with the term ‘primitive’ in the field of art history. In its original sense, the word refers to a movement of taste that, in the story of art, runs parallel to the progress towards naturalism. According to Gombrich, while art history may be described as the story of how ‘the artist got better and better in the imitation of nature’,2 there have been a number of artistic movements that have called for a deliberate abandonment of classical standards.3 This ‘preference for the primitive’ has been expressed in ‘the revulsion from that very perfection that art had been said to aim at’.4 During the last years of the nineteenth century, the theory of evolution ‘gave a new meaning to the term ‘primitive’ which […] came to denote the beginnings of human civilization’.5 As a result of this development, the term ‘primitive art’ was incorporated into art historians’ vocabulary to refer to a set of non-Western arts coming from Africa, America and Oceania.6 At the beginning of the twentieth century, ‘primitive art’ was used interchangeably with terms such as ‘savage art’, ‘tribal art’ and ‘art nègre’.7 Since then, the label has been intensively criticized for Acknowledgements. -
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Global histories a student journal The Construction of Chinese Art History as a Modern Discipline in the Early Twentieth Century Author: Jialu Wang DOI: http://dx.doi.org/10.17169/GHSJ.2019.294 Source: Global Histories, Vol. 5, No. 1 (May 2019), pp. 64-77 ISSN: 2366-780X Copyright © 2019 Jialu Wang License URL: https://creativecommons.org/licenses/by/4.0/ Publisher information: ‘Global Histories: A Student Journal’ is an open-access bi-annual journal founded in 2015 by students of the M.A. program Global History at Freie Universität Berlin and Humboldt-Universität zu Berlin. ‘Global Histories’ is published by an editorial board of Global History students in association with the Freie Universität Berlin. Freie Universität Berlin Global Histories: A Student Journal Friedrich-Meinecke-Institut Koserstraße 20 14195 Berlin Contact information: For more information, please consult our website www.globalhistories.com or contact the editor at: [email protected]. The Construction of Chinese Art History as a Modern Discipline in the Early Twentieth Century by: WANG JIALU Wang Jialu Construction of Chinese Art | 65 | VI - 1 - 2019 Nottingham Ningbo China. ABOUT THE AUTHOR degree in Transcultural Studies at the Studies degree in Transcultural with a particular focus on China and its are Visual, Media and Material Cultures, global art history, and curating practices. global art history, She also holds an MA degree in Identity, She also holds an MA degree in Identity, London and a BA degree in International London contemporary media and cultural studies, Jialu Wang is currently pursuing a Master’s is currently pursuing a Master’s Jialu Wang Culture and Power from University College Culture and Power Communications Studies from University of Communications Studies University of Heidelberg. -
Imprisoned Art, Complex Patronage
Imprisoned Art, Complex Patronage www.sarpress.sarweb.org Copyrighted Material Figure 4. “The young men, Prisoners, taken to Florida,” Saint Augustine, Florida, 1875. Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, 1004474. 2 ❖ Copyrighted Material ❖ CHAPTER ONE ❖ The Southern Plains Wars, Fort Marion, and Representational Art Drawings by Zotom and Howling Wolf, the one a Kiowa Indian and the other a South- ern Cheyenne, are histories of a place and time of creation—Fort Marion, Florida, in the 1870s. These two men were among seventy-two Southern Plains Indian warriors and chiefs selected for incarceration at Fort Marion, in Saint Augustine, at the end of the Southern Plains wars. Among the Cheyenne prisoners was a woman who had fought as a warrior; the wife and young daughter of one of the Comanche men also went to Florida, but not as prisoners. During their three years in exile, Zotom, Howling Wolf, and many of the other younger men made pictures narrating incidents of life on the Great Plains, their journey to Florida, and life at Fort Marion. The drawings explored in this book also have a history subsequent to their creation, a history connected to the patron of the drawings and her ownership of them. Other audiences who have seen and studied Zotom’s and Howling Wolf’s drawings are part of the works’ continuing histories, too. Plains Indian drawings and paintings, including works created by men imprisoned at Fort Marion, were visual narratives, intended to tell stories. Those stories still live, for history is, simply put, composed of stories about the past. -
A Review on Historical Earth Pigments Used in India's Wall Paintings
heritage Review A Review on Historical Earth Pigments Used in India’s Wall Paintings Anjali Sharma 1 and Manager Rajdeo Singh 2,* 1 Department of Conservation, National Museum Institute, Janpath, New Delhi 110011, India; [email protected] 2 National Research Laboratory for the Conservation of Cultural Property, Aliganj, Lucknow 226024, India * Correspondence: [email protected] Abstract: Iron-containing earth minerals of various hues were the earliest pigments of the prehistoric artists who dwelled in caves. Being a prominent part of human expression through art, nature- derived pigments have been used in continuum through ages until now. Studies reveal that the primitive artist stored or used his pigments as color cakes made out of skin or reeds. Although records to help understand the technical details of Indian painting in the early periodare scanty, there is a certain amount of material from which some idea may be gained regarding the methods used by the artists to obtain their results. Considering Indian wall paintings, the most widely used earth pigments include red, yellow, and green ochres, making it fairly easy for the modern era scientific conservators and researchers to study them. The present knowledge on material sources given in the literature is limited and deficient as of now, hence the present work attempts to elucidate the range of earth pigments encountered in Indian wall paintings and the scientific studies and characterization by analytical techniques that form the knowledge background on the topic. Studies leadingto well-founded knowledge on pigments can contribute towards the safeguarding of Indian cultural heritage as well as spread awareness among conservators, restorers, and scholars. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Exploring the Gilded Age of Sculpture Length of Lesson 1-3 Class Grade Levels 9-12 Lesson Type (Pre/During/Post) Pre/During Visit And/Post
United Arts’ Arts and Culture Access Grant Organization name The Albin Polasek Museum & Sculpture Gardens Lesson title Exploring the Gilded Age of Sculpture Length of lesson 1-3 class Grade levels 9-12 Lesson type (pre/during/post) Pre/during visit and/post Objectives Students will visually evaluate the works of art found in the Polasek Historic Home and apply the Gilded Age concepts they have learned to understand which works fall into this aesthetic movement and historical time period. They will then create drawings based on this new knowledge and conduct research on their own. To prepare for your visit, we suggest you review the following vocabulary terms and opt to further engage students with a post activity. Next Generation Sunshine State Standards (NGSSS) VA.912.C.1.1- Integrate curiosity, range of interests, attentiveness, complexity, and artistic intention in the art-making process to demonstrate self-expression. VA.912.C.1.6- Identify rationale for aesthetic choices in recording visual media. VA.912.C.2.4- Classify artworks, using accurate art vocabulary and knowledge of art history to identify and categorize movements, styles, techniques, and materials. VA.912.C.3.3- Examine relationships among social, historical, literary, and/or other references to explain how they are assimilated into artworks. VA.912.C.3.5- Make connections between timelines in other content areas and timelines in the visual arts. VA.912.H.1.3- Examine the significance placed on art forms over time by various groups or cultures compared to current views on aesthetics. Common Core State Standards (CCSS) NA Key vocabulary and definitions Gilded Age - historical time period: The Gilded Age is defined as the time between the Civil War and World War I during which the U.S. -
Cardinals As Patrons of the Visual Arts
Chapter 31 Cardinals as Patrons of the Visual Arts Piers Baker-Bates, Mary Hollingsworth and Arnold Witte Five decades of research on the patronage of cardinals should suggest that the commissioning of art by members of the Sacred College during the early mod- ern period is well understood.1 However, the traditional interpretation of pa- tronage as a sign of personal taste and conspicuous consumption – or to phrase it in an early modern term, magnificenza – which cardinals shared with other wealthy nobles and sovereigns, has had a negative impact on an assessment of how cardinals from the Renaissance until the late Settecento commissioned art in relation to their ecclesiastical positions.2 It was this latter aspect that distin- guished cardinals from other categories of patron, and this chapter thus aims to flesh out the ways in which cardinals’ patronage in the context of the insti- tutional Catholic Church was distinct from that of other dignitaries and sover- eigns in the period 1420 to ca. 1750. 1 Terminology and Historiography Patronage is clearly a separate concept to collecting. First, as a concept, it links the social side of patronage to the artistic results – through the fact that net- works and connections are an integral part of this phenomenon.3 Second, pa- tronage allows for a focus on those works of art that were commissioned spe- cifically with an eye to public visibility, reflecting back on the patron’s social and institutional position.4 Patrons were not simply customers; they often de- termined the iconographical contents of the work of art. Collecting, on the 1 The authors would like to thank Patrizia Cavazzini and Lydia Hansell for their critical reading and suggestions for improvement. -
Foundations and Contemporary Art
Rebecca Coates, The curator/patron: Foundations and contemporary art REBECCA COATES The curator/patron: Foundations and contemporary art Abstract This article addresses the role of private foundations in commissioning site-specific ephemeral art works: contemporary art projects of a temporary nature that are realised outside of public institutions. Though small in number, I argue that the private individuals creating and managing private foundations of this nature demonstrate a new form of patronage, creating in the process a new role of ‘curator/patron’. Equally, this process of realisation reflects the changing needs of contemporary art practice. Work of this scale and ambition would increasingly not be possible without the vision, perseverance and funding of these kinds of foundation. In Australia, this trend is demonstrated by two foundations: Kaldor Art Projects, and their commissioning of works by artists such as Christo and Jeanne-Claude, Gilbert & George and Jeff Koons; and the more recently formed Sherman Contemporary Art Foundation, whose first project was with Chinese artist Ai Weiwei. In this article, these examples are placed within the broader international context of foundation models such as Artangel, UK, Fondazione Nicola Trussardi, Milan, and The Public Art Fund, New York. The birth of Kaldor Art Projects In 1969, collector, entrepreneur and art patron John Kaldor invited internationally acclaimed contemporary artists Christo and Jeanne-Claude to wrap a section of the New South Wales coast. Wrapped Coast – One Million Square Feet, Little Bay, Sydney, Australia, 1969, was the culmination of many hours of planning, organisation and work. Wrapped Coast was installed by the artists together with a daily workforce of around 120 people, including professional mountain climber, labourers, students from the University of Sydney and East Sydney Technical College, and a number of Australian artists and teachers. -
Patronage Protocol Sonae/Mnac
PRESS KIT PATRONAGE PROTOCOL SONAE/MNAC MNAC, WEDNESDAY 19TH FEBRUARY 2014, 4PM SONAE AND MNAC - MUSEU DO CHIADO ENTER AGREEMENT Creation of the Sonae Media Art Prize , Three Artist Residencies and Support for the Museum’s Annual Programme Today, Sonae entered into a patronage agreement with the National Museum of Contemporary Art - Museu do Chiado [MNAC-MC], due to last for the next five years. This move fits into Sonae’s corporate responsibility policy, which seeks to promote creativity and innovation, to stimulate new trends and bring society closer to art, particularly through important cultural events which provide rewarding personal and collective development experiences. The agreement provides for three artist residences to be set up through the SONAE/MNAC Art Cycles project and the creation of the Sonae Media Art Prize to honour work in the multimedia field. It also provides for support for the MNAC-MC programme and the naming of the museum’s multipurpose room, which will be dedicated to multimedia art, as the Sonae room. Luís Reis, Sonae’s CCCO, confirmed “Sonae invests in a corporate responsibility strategy for the communities in which it operates, and our agreement with MNAC-MC is another relevant Sonae initiative in the cultural sector. Despite the current climate, Sonae will continue to invest in the promotion of culture, since art is an important stimulus in societal development.” David Santos, MNAC-MC’s director, emphasises “the vital importance of Sonae’s patronage for the promotion of contemporary Portuguese art in the Chiado National Museum of Contemporary Art’s general programme”. Within the scope of its policy on the promotion of the values of creativity and innovation in society, Sonae already works with some of the key institutions for the dissemination of culture in Portugal, promoting initiatives in a very wide range of strands of art. -
Female Patronage of Public Space in Roman Cities
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2017 Female Patronage of Public Space in Roman Cities Joy H. Kim Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Urban Studies and Planning Commons Recommended Citation Kim, Joy H., "Female Patronage of Public Space in Roman Cities". Senior Theses, Trinity College, Hartford, CT 2017. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/653 FEMALE PATRONAGE OF PUBLIC SPACE IN ROMAN CITIES By Joy Kim Senior Honors Thesis for Classical Studies and Urban Studies Advisors: Dr. Gary Reger, Dr. Garth Myers Spring 2017 2 Table of Contents INTRODUCTION ........................................................................................................................ 3 DEFINING PATRONS AND BENEFACTORS ...................................................................................... 5 METHODOLOGY ........................................................................................................................... 8 TYPES OF ROMAN PUBLIC ARCHITECTURE ................................................................................ 11 CULTURAL AND HISTORICAL CONSIDERATIONS ........................................................................ 13 CHAPTER ONE: EXEMPLARY IMPERIAL WOMEN .....................................................