{"title":"Luxury and Propriety: Edo-Period Noh Costumes and Samurai Women's Garments in the Detroit Institute of Arts","authors":"J. Denney","doi":"10.1086/DIA43493632","DOIUrl":"https://doi.org/10.1086/DIA43493632","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/DIA43493632","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60999690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Making Maiolica","authors":"Timothy H. Wilson","doi":"10.1086/dia43493614","DOIUrl":"https://doi.org/10.1086/dia43493614","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/dia43493614","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60998452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
aesthetic or, indeed, monetary value is, to some degree, part of Christendom's debt to the Islamic world, which had been producing gorgeously decorated ceramics for some six hundred years before the flowering of Italian maiolica in the fifteenth and sixteenth centuries.1 The Nasrid kingdom of Andalucía was the last outpost of Islam in Western Europe. It was founded, with its capital at Granada, in 1238, and lasted until it was overwhelmed by the armies of the united Christian kingdoms of Castile and Aragon in 1492. From the thirteenth century, potters in the port of Malaga had made a speciality of luster, adding blue derived from imported cobalt to the palette, and achieved astonishing kiln virtuosity. The colossal wing-handled vases made by Malagan potters to decorate the Alhambra Palace in Granada (fig. 1) are, both technically and artistically, among the most brilliant and virtuoso achievements in world ceramics.
{"title":"The Impact of Hispano-Moresque Imports in Fifteenth-century Florence","authors":"Timothy H. Wilson","doi":"10.1086/dia43493615","DOIUrl":"https://doi.org/10.1086/dia43493615","url":null,"abstract":"aesthetic or, indeed, monetary value is, to some degree, part of Christendom's debt to the Islamic world, which had been producing gorgeously decorated ceramics for some six hundred years before the flowering of Italian maiolica in the fifteenth and sixteenth centuries.1 The Nasrid kingdom of Andalucía was the last outpost of Islam in Western Europe. It was founded, with its capital at Granada, in 1238, and lasted until it was overwhelmed by the armies of the united Christian kingdoms of Castile and Aragon in 1492. From the thirteenth century, potters in the port of Malaga had made a speciality of luster, adding blue derived from imported cobalt to the palette, and achieved astonishing kiln virtuosity. The colossal wing-handled vases made by Malagan potters to decorate the Alhambra Palace in Granada (fig. 1) are, both technically and artistically, among the most brilliant and virtuoso achievements in world ceramics.","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/dia43493615","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60998914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The first maiolica pieces were purchased for the museum by Ralph Harman Booth, president of both the City of Detroit Arts Commission and the museum's Board of Trustees, on a trip to Berlin in the summer of 192 1, probably in consultation with Wilhelm Bode, a noted German museum director, art expert, and critic, and his protégé Valentiner. Born in Karlsruhe, Germany, in 1880, Valentiner received a graduate degree in the history of art from the University of Heidelberg, where he came to the attention of Bode, who hired him in 1906 as his personal assistant at the Kaiser Friedrich Museum in Berlin. Both men were knowledgeable about Italian ceramics.
底特律艺术委员会(City of Detroit Arts Commission)主席兼博物馆董事会主席拉尔夫·哈曼·布斯(Ralph Harman Booth)在1921年夏天去柏林旅行时为博物馆购买了第一批马爵利卡陶器，可能是在与德国著名博物馆馆长、艺术专家和评论家威廉·博德(Wilhelm Bode)及其同事瓦伦蒂纳(Valentiner)协商后购买的。瓦伦蒂纳于1880年出生于德国卡尔斯鲁厄，在海德堡大学获得艺术史研究生学位，在那里他引起了博德的注意，博德于1906年聘请他在柏林凯撒弗里德里希博物馆担任私人助理。两人都精通意大利陶瓷。
{"title":"Collecting Italian Renaissance and Later Ceramics at the DIA from William Valentiner to Today","authors":"A. Darr","doi":"10.1086/DIA43493617","DOIUrl":"https://doi.org/10.1086/DIA43493617","url":null,"abstract":"The first maiolica pieces were purchased for the museum by Ralph Harman Booth, president of both the City of Detroit Arts Commission and the museum's Board of Trustees, on a trip to Berlin in the summer of 192 1, probably in consultation with Wilhelm Bode, a noted German museum director, art expert, and critic, and his protégé Valentiner. Born in Karlsruhe, Germany, in 1880, Valentiner received a graduate degree in the history of art from the University of Heidelberg, where he came to the attention of Bode, who hired him in 1906 as his personal assistant at the Kaiser Friedrich Museum in Berlin. Both men were knowledgeable about Italian ceramics.","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/DIA43493617","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60998711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Professor, History of Art, University of Michigan The rise of Italian maiolica is a quintessential phenomenon of the Renaissance, the result of technical innovation and artistic skill, and an increasingly varied addition to the market of consumer items that served functions of display and conviviality.1 It was admired for its novelty, pleasurable visual effects, and ability to trump the ancients. In 1568, the painter Giorgio Vasari favorably contrasted maiolica with ancient pottery, which never had "the lustrous glazing nor the charm and variety of painting" evident in his own day.2 Spurred by local demand for Hispano-Moresque ceramics [see Wilson, "The Impact of Hispano-Moresque Imports in Fifteenth-century Florence," this volume], Italian potters transformed utilitarian objects into increasingly colorful, diverse products, which in turn became export items. Early Italian pottery was decorated with simple forms and marked by a limited palette, like a green and brown jug from Orvieto (cat. no. 5) or mid-fifteenth-century pitcher from Florence ornamented with dark blue monstrous birds, a lion, and an oak-leaf pattern against a cream ground
{"title":"The Cultural Context of Maiolica in Renaissance Italy","authors":"P. Simons","doi":"10.1086/DIA43493616","DOIUrl":"https://doi.org/10.1086/DIA43493616","url":null,"abstract":"Professor, History of Art, University of Michigan The rise of Italian maiolica is a quintessential phenomenon of the Renaissance, the result of technical innovation and artistic skill, and an increasingly varied addition to the market of consumer items that served functions of display and conviviality.1 It was admired for its novelty, pleasurable visual effects, and ability to trump the ancients. In 1568, the painter Giorgio Vasari favorably contrasted maiolica with ancient pottery, which never had \"the lustrous glazing nor the charm and variety of painting\" evident in his own day.2 Spurred by local demand for Hispano-Moresque ceramics [see Wilson, \"The Impact of Hispano-Moresque Imports in Fifteenth-century Florence,\" this volume], Italian potters transformed utilitarian objects into increasingly colorful, diverse products, which in turn became export items. Early Italian pottery was decorated with simple forms and marked by a limited palette, like a green and brown jug from Orvieto (cat. no. 5) or mid-fifteenth-century pitcher from Florence ornamented with dark blue monstrous birds, a lion, and an oak-leaf pattern against a cream ground","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/DIA43493616","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60999112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Valerie J. Mercer, Mora J. Beauchamp-Byrd, Mary Wilkinson, Stephanie James, Nancy Sojka, Courtney J. Martin
Following were exposed World to War a wide II, range African of American influences artists a they gained entry to American art schools and art programs in colleges and universities and were able to study abroad, especially in Paris. As students, they were taught and mentored by some of the leading artists of the time. In succeeding decades, works by African Americans increasingly reflected various approaches and styles prevalent in American art, such as abstraction, the use of nontraditional materials to create fine art, the reconsideration of the figure, and the expression of a wide range of interests through choice of subject matter, which was not always about race.
{"title":"Diversity of Contemporary African American Art","authors":"Valerie J. Mercer, Mora J. Beauchamp-Byrd, Mary Wilkinson, Stephanie James, Nancy Sojka, Courtney J. Martin","doi":"10.1086/DIA43492327","DOIUrl":"https://doi.org/10.1086/DIA43492327","url":null,"abstract":"Following were exposed World to War a wide II, range African of American influences artists a they gained entry to American art schools and art programs in colleges and universities and were able to study abroad, especially in Paris. As students, they were taught and mentored by some of the leading artists of the time. In succeeding decades, works by African Americans increasingly reflected various approaches and styles prevalent in American art, such as abstraction, the use of nontraditional materials to create fine art, the reconsideration of the figure, and the expression of a wide range of interests through choice of subject matter, which was not always about race.","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/DIA43492327","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60998367","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Valerie J. Mercer, Mary Wilkinson, Michael D. Harris, Nancy Sojka
{"title":"Examining Identities","authors":"Valerie J. Mercer, Mary Wilkinson, Michael D. Harris, Nancy Sojka","doi":"10.1086/DIA43492326","DOIUrl":"https://doi.org/10.1086/DIA43492326","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/DIA43492326","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60998271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Valerie J. Mercer, Stephanie James, Courtney J. Martin, Amy M. Mooney, Nancy Sojka
{"title":"Expressions of Political and Social Consciousness","authors":"Valerie J. Mercer, Stephanie James, Courtney J. Martin, Amy M. Mooney, Nancy Sojka","doi":"10.1086/DIA43492325","DOIUrl":"https://doi.org/10.1086/DIA43492325","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/DIA43492325","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60998239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Collecting African American Art at the Detroit Institute of Arts","authors":"Valerie J. Mercer","doi":"10.1086/dia43492321","DOIUrl":"https://doi.org/10.1086/dia43492321","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/dia43492321","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60998577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"African American Artists Gain Access to the Fine Art Professions","authors":"Valerie J. Mercer, K. Buick","doi":"10.1086/dia43492323","DOIUrl":"https://doi.org/10.1086/dia43492323","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/dia43492323","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60998645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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