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Life Outside the Canon – Hommage to Foteini Vlachou

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Life Outside the Canon – Hommage to Foteini Vlachou REVISTA DE HISTÓRIA /09 DA ARTE LIFE OUTSIDE THE CANON – HOMMAGE TO FOTEINI VLACHOU (1975-2017) JOURNAL DIRECTORS (IHA/NOVA/FCSH) 4 Joana Cunha Leal Nuno Senos Margarida Tavares da Conceição EDITORIAL Joana Cunha Leal | Mariana Pinto dos Santos | Begoña Farré Torras JOURNAL COORDINATION Ana Paula Louro (IHA/NOVA/FCSH) PUBLISHER Instituto de História da Arte EDITORS 8 Joana Cunha Leal Mariana Pinto dos Santos Begoña Farré Torras THE TIME DISCORDANCE OF ART AUTHORS GLOBALIZATION (AT WORK AND IN ART Béatrice Joyeux-Prunel | Katarzyna Cytlak | Sofia Katopi | Annie Kontogiorgi & Manolis Karterakis | Lucy Mounfield WORKS) | Eliana Sousa Santos | Iveta Slavkova | Nóra Veszprémi Béatrice Joyeux-Prunel | Mariana Pinto dos Santos | João Oliveira Duarte REVIEWERS Alessandro del Puppo (Università Degli Studi di Udine) | Alexandra Curvelo (Instituto de História da Arte, NOVA FCSH) | Ana Balona de Oliveira (Instituto de História da Arte, NOVA FCSH) | Annika Öhrner (Södertörn University) | Hannah Sigur (Instituto 19 de História da Arte, NOVA FCSH) | Jean-Yves Durand (CRIA-Centro em Rede de Investigação em Antropologia, NOVA FCSH), Antigoni Memou (College of Arts, Technologies & Innovation, University of East DOSSIER London) | Joana Baião (Instituto de História da Arte, NOVA FCSH) | Lluïsa Faxedas (Universitat de Girona) | Margarida Brito Alves (Instituto de História da Arte, NOVA FCSH) | Margarida Tavares da Conceição (Instituto de História da Arte, NOVA FCSH) | Michal Wenderski (Adam Mickiewicz University in Poznań) | Nora Fischer (Art historian, Austria) | Nuno Senos (Instituto de História da Arte, NOVA FCSH) | Pedro Lapa (Artis, Universidade de Lisboa) | Reeva Wolf (State University of New York at New Paltz) | Stefano Colombo (Dutch University Institute for Art History in Florence) | 109 Teresa Flores (ICNOVA, NOVA FCSH) DESIGN VARIA José Domingues (Undo) ENGLISH PROOFREADING Cristina Alcock 126 RECENSÕES/BOOK REVIEWS Cover 136 Mariano Fortuny Y Marsal Los hijos del pintor en el salón japonés, 1874 NOTÍCIAS/NEWS Óleo sobre tela, 44 x 93 cm ©Museu Nacional del Prado, Madrid «So, I am not sure what kind of post this is, if it is a literary one or what, but the photo to accompany it, naturally, was one of my most favorite paintings ever, from Mariano Fortuny, a late nineteenth‑century Spanish painter – a painting whose poster I have framed in life‑size format and which is hanging in my son’s room (framing posters, I used to look down to the activity as the worst kind of petty bourgeois habit, but there are few things that afford me greater pleasure than sitting across from it and staring at it for long intervals). I know that art historians can be insufferably pretentious, insisting that it’s not the same looking at reproductions, as opposed to the ‘real thing’ at a museum, but there are truly (relatively – OK, probably not true…) few things I would insist upon seeing in a gallery or a museum (one day, I’ll make a list). Fortuny’s paintings are one of those things, his brushwork is so lively, in a way that it deceives you into thinking that it’s actually swaying before your very eyes. And it’s so fortunate (pun intended) that the Prado finally, finally opened a sumptuous new wing dedicated to nineteenth‑century Spanish painting, because there’s so much Greco, and Goya, and Zurbarán and Murillo a decent person can put up with, and one cannot imagine the treasures or the versatility of nineteenth‑century Spanish painters (digression).» I Know where I’m going, blog by Foteini Vlachou EDITORIAL n March 2019 over thirty scholars and researchers In this volume, you will find the work of scholars who JOANA CUNHA LEAL coming from different parts of the globe met in deliberately chose to research life outside established artistic MARIANA PINTO DOS SANTOS BEGOÑA FARRÉ TORRAS Lisbon for three days (14‑16) to pay homage to the canons, be it because of the kind of peripheral subjects and art historian Foteini Vlachou, who had left us on June geographies they decided to study, or because their approach th I 8 2017, not long after her forty‑second birthday. The Art in to the history of art questions the prevalence of canonical the Periphery conference was held at the School of Humanities art historical writing. As we shall see, that choice draws them and Social Sciences of the Universidade NOVA de Lisboa closer to Foteini’s long‑standing historiographical project. (NOVA FCSH), organized by the two research centres that had One of the most prominent expressions of that project was welcomed Foteini Vlachou since she settled down in Lisbon the ‘art in the periphery — life outside the canon’ network she in 2009 coming from Greece — the Art History Institute (IHA) launched back in 2013. This international platform succeeded and the Contemporary History Institute (IHC). The scholarly in bringing together scholars working on/with the notion of exchange during the conference was intense, occurring in a periphery, discussing it from the point of view of whichever warm atmosphere of shared emotions, as Foteini had been a chronological period or geographical area (especially those dear colleague, and a close friend to many participants, and areas and topics that had so far been neglected by traditional the attendees included her family. We want to express our and canonical art history). As Foteini stated in the network deepest gratitude to all those who were involved in the Art website herself: “Eschewing models that have been for the in the Periphery conference, especially: Pedro Aires Oliveira, most part produced in artistic centres and often uncritically Luís Trindade and Rui Lopes from the IHC for all their work and reproduced in the peripheries, [the network’s approach] will support during the preparation of the conference; Terry Smith seek to populate the discipline with alternative narratives and Béatrice Joyeux‑Prunel for their key‑note addresses, as well on the specific and complex ways art (conceived in the as for enriching the debates and the round‑table discussions widest sense imaginable) was/is produced, displayed and together with Eleonora Vratskidou, Barbara Pezzini, Raquel consumed.” Henriques da Silva, Alicia Miguélez, Alexandra Curvelo, Nuno Nevertheless, Foteini’s commitment to the study of the Senos and Maria Vlachou. After the conference, a call for periphery went farther back in time. Her singular educational contributions to this special issue of the Art History Institute’s and academic journey between Greece and Portugal had it Revista de História da Arte online series was launched, and we right at its backbone. She arrived in Lisbon with a scholarship are now happy to present the results of the long peer review awarded by the Portuguese Foundation of Science and and editing process that followed. Technology (2009), for the PhD project she would complete 5 RHA 09 EDITORIAL in the University of Crete (2013) under the supervision of Nicos authorship and originality. More importantly, the periphery will Hadjinicolaou — with the thesis (in Greek) Art in the European not be framed in exclusively geographical terms (as a region Periphery: History Painting in Portugal at the beginning of the distinct from the centre), but rather as situated at the margins Nineteenth Century. She received other research fellowships of dominant art history. As such, it may refer to areas, periods from the Panagiotis and Effi Michelis Foundation (Athens), or even materials that have been delegated to a secondary the Calouste Gulbenkian Foundation (Lisbon), and eventually position in the hierarchy of fine arts (the decorative arts can a postdoctoral fellowship from the Contemporary History serve as a prime example of this process)” (quoted from the Institute (NOVA FCSH), for a project entitled Art and Culture network website). in the Iberian Peninsula and Latin America 1870-1914: Making/ Foteini would finally argue for the study of the periphery Unmaking National and Imperial Identities. She worked as a as a temporal rather than a spatial concept, highlighting researcher (Crossing Borders Project, 2014) and taught art the political implications that could be driven from this history and non‑western arts as a visiting assistant professor perspective. By 2016, and following the ever growing activity at the department of Art History of NOVA FCSH. She of the ‘art in the periphery’ network, in the scope of which published chapters and articles on Portuguese art, matters of many scholars applied to present their work in Lisbon, she historiography and reception, keeping the discussion around indeed had convincingly made a case for the return of the the notion of periphery ongoing. At the time she got ill, Foteini periphery to the centre of scholarly concerns. In her thought‑ had a contract with Routledge for a book titled Painting provoking essay “Why Spatial? Time and the Periphery” (Visual History, Monarchy and the Empire, Portugal c. 1799–1807. She Resources 32, 2016) the argument does not respond to the was also co‑editing a book about collecting and displaying prevalent interest in geography, and the notions of place and in Portugal, a special issue on Portuguese historiography of space, rather contending that in order to discuss periphery art for The Journal of Art Historiography, and another special we should reconsider the dominant conceptions of time. That issue for Visual Resources, titled A View from the Periphery. is, we must consider the full ideological implications of linear, She had furthermore launched the basis for other future homogeneous historical narratives where notions of influence, editorial projects, namely a special issue for the RIHA Journal progress, and development provide the seemingly neutral and on transnational nineteenth‑century landscape. universal accounts of culture and the production of art. In 2016, Foteini’s project What Time for the Periphery? was At the peak of her illness, and at the suggestion of the awarded an ICI Fellowship (Berlin), which she eventually had to editors and friends at Edições do Saguão, Foteini began to decline.
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