This technical-art historical study sets out to clarify central questions about the relationship of US-American artist Jay DeFeo (1929–89) to materiality, in particular the role media choices played in the development of her visual vocabulary. To that end, the essay traces distinct stages of DeFeo’s experimentation and maturation through a wide array of documents, many of which have, to date, gone unpublished: color charts, photographs of works in progress and studio contents, interviews, lectures, letters, and journals. We discuss the insights yielded by these archival sources alongside results of scientific analysis of fifty-eight samples from paintings representative of her entire oeuvre.
{"title":"Jay DeFeo’s Dialectics of Painting","authors":"P. Gottschaller, Joy Mazurek","doi":"10.1086/726887","DOIUrl":"https://doi.org/10.1086/726887","url":null,"abstract":"This technical-art historical study sets out to clarify central questions about the relationship of US-American artist Jay DeFeo (1929–89) to materiality, in particular the role media choices played in the development of her visual vocabulary. To that end, the essay traces distinct stages of DeFeo’s experimentation and maturation through a wide array of documents, many of which have, to date, gone unpublished: color charts, photographs of works in progress and studio contents, interviews, lectures, letters, and journals. We discuss the insights yielded by these archival sources alongside results of scientific analysis of fifty-eight samples from paintings representative of her entire oeuvre.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"18 1","pages":"107 - 132"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43155882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This analysis of Jacques Joseph (James) Tissot’s pictures of the Thames, painted and etched following his relocation to London in 1871, argues against the predominant scholarship that frames them as reflective of Tissot’s ambition to strive for identification with the interests and perspectives of English viewers. I find instead that the artworks are indices of the artist’s distance and disorientation, and that the pictures register his alienation from British imperial commerce through an indifference to summoning up its political and economic valences. While Tissot’s narratives, in which the English play the starring roles, tell vivid and engaging stories, the hyperrealistic depictions of nautical lines function otherwise. Tissot’s idiosyncratically dense and hectic rigging works to unmoor his boats from their surroundings in his pictures, thereby diminishing the stature and force of the machines and mechanisms of international shipping on the Thames, the unequivocal markers of British imperial dominion.
{"title":"“Quite Astonishing Fidelity?”: Verisimilitude and Obstruction in Jacques Joseph Tissot’s Thames Pictures","authors":"H. Clayson","doi":"10.1086/726885","DOIUrl":"https://doi.org/10.1086/726885","url":null,"abstract":"This analysis of Jacques Joseph (James) Tissot’s pictures of the Thames, painted and etched following his relocation to London in 1871, argues against the predominant scholarship that frames them as reflective of Tissot’s ambition to strive for identification with the interests and perspectives of English viewers. I find instead that the artworks are indices of the artist’s distance and disorientation, and that the pictures register his alienation from British imperial commerce through an indifference to summoning up its political and economic valences. While Tissot’s narratives, in which the English play the starring roles, tell vivid and engaging stories, the hyperrealistic depictions of nautical lines function otherwise. Tissot’s idiosyncratically dense and hectic rigging works to unmoor his boats from their surroundings in his pictures, thereby diminishing the stature and force of the machines and mechanisms of international shipping on the Thames, the unequivocal markers of British imperial dominion.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"18 1","pages":"63 - 82"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42752148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the significance of palms for geographer and naturalist Alexander von Humboldt (1769–1859) and botanist Carl Friedrich Philipp von Martius (1794–1868). Long regarded as representative of tropical nature, palms became a central object in Humboldt’s work, and later in the multivolume work Historia naturalis palmarum (1823–50) published by Martius. By reflecting on the practices by which palms were made objects of research—during travel and fieldwork, and in specimen collection, depictions of landscape, and cartography—this essay considers the process of visualization that led to a coherent representation of tropical nature. I argue that the development of landscape, along with reports from fieldwork, collections, and botanical images, contributed to the stabilization of a tropical space explained as result of its physiognomies. Within this frame, I focus on Humboldt and Bonpland’s palm Ceroxylon andicola and Martius’s world map of palm distribution.
{"title":"Picturing Tropical Americas: Alexander von Humboldt and Carl Friedrich Philipp von Martius’s Visual Practices for a Global Geography of Palms","authors":"Omar Olivares Sandoval","doi":"10.1086/726884","DOIUrl":"https://doi.org/10.1086/726884","url":null,"abstract":"This article explores the significance of palms for geographer and naturalist Alexander von Humboldt (1769–1859) and botanist Carl Friedrich Philipp von Martius (1794–1868). Long regarded as representative of tropical nature, palms became a central object in Humboldt’s work, and later in the multivolume work Historia naturalis palmarum (1823–50) published by Martius. By reflecting on the practices by which palms were made objects of research—during travel and fieldwork, and in specimen collection, depictions of landscape, and cartography—this essay considers the process of visualization that led to a coherent representation of tropical nature. I argue that the development of landscape, along with reports from fieldwork, collections, and botanical images, contributed to the stabilization of a tropical space explained as result of its physiognomies. Within this frame, I focus on Humboldt and Bonpland’s palm Ceroxylon andicola and Martius’s world map of palm distribution.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"18 1","pages":"35 - 62"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48208981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article seeks to make visible the affective and immaterial labor that women performed in the 1920s within the male-dominated circuits of the avant-gardes. It centers on a long-forgotten agent of the European and Soviet avant-gardes—the Russian-speaking, Vienna-based Jewish art historian Fannina Halle (1881–1963). Although the whereabouts of most of Halle’s documents are unknown today, her name regularly appears in the letters that the Soviet artist El Lissitzky wrote to his manager and later wife, Sophie Küppers, in 1924. Yet the edited volume of Lissitzky’s letters published in 1967, which has served as a predominant source for scholars interested in the artist’s primary documents, elided most mentions of Halle. In order to recover the fragments that relate to Halle, I read the published volume of Lissitzky’s letters against his archive. Although the artist’s mentions of Halle might appear to be mundane, they reveal the many forms of invisible labor that mostly women performed in support of the avant-garde. In addition to offering her care, Halle sold and distributed Lissitzky’s work in Vienna as well as organized lectures and a major exhibition for him and his Russian comrades.
{"title":"Tracing Fannina Halle in El Lissitzky’s Letters","authors":"Adrienn Kácsor","doi":"10.1086/726889","DOIUrl":"https://doi.org/10.1086/726889","url":null,"abstract":"This article seeks to make visible the affective and immaterial labor that women performed in the 1920s within the male-dominated circuits of the avant-gardes. It centers on a long-forgotten agent of the European and Soviet avant-gardes—the Russian-speaking, Vienna-based Jewish art historian Fannina Halle (1881–1963). Although the whereabouts of most of Halle’s documents are unknown today, her name regularly appears in the letters that the Soviet artist El Lissitzky wrote to his manager and later wife, Sophie Küppers, in 1924. Yet the edited volume of Lissitzky’s letters published in 1967, which has served as a predominant source for scholars interested in the artist’s primary documents, elided most mentions of Halle. In order to recover the fragments that relate to Halle, I read the published volume of Lissitzky’s letters against his archive. Although the artist’s mentions of Halle might appear to be mundane, they reveal the many forms of invisible labor that mostly women performed in support of the avant-garde. In addition to offering her care, Halle sold and distributed Lissitzky’s work in Vienna as well as organized lectures and a major exhibition for him and his Russian comrades.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"18 1","pages":"147 - 165"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43833421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article presents a group of twenty-two mostly unpublished terracotta loom weights in the Villa collection of the J. Paul Getty Museum. Most have been classed as coming from the southern Italian Peninsula and are discoid or hemispherical. A functional analysis based on experimental archaeology demonstrates that these loom weights were used for weaving fine cloth. Their decoration includes dots and lines, imprints of coins, and images pressed in a mold of figures from mythology, and the iconography draws on themes from domestic life and women’s experiences. The assemblage of pyramidal and discoid or hemispherical loom weights may reflect chronological and cultural differences (e.g., Greek versus Italic) in weaving technology on the southern Italian Peninsula. Based on comparative material, we suggest dating the discoid and hemispherical Getty loom weights to the third to second centuries BCE, with a plausible context in or near Herakleia or Taranto.
{"title":"Ancient Loom Weights at the J. Paul Getty Museum","authors":"M. Nosch, C. Sauvage","doi":"10.1086/726883","DOIUrl":"https://doi.org/10.1086/726883","url":null,"abstract":"The article presents a group of twenty-two mostly unpublished terracotta loom weights in the Villa collection of the J. Paul Getty Museum. Most have been classed as coming from the southern Italian Peninsula and are discoid or hemispherical. A functional analysis based on experimental archaeology demonstrates that these loom weights were used for weaving fine cloth. Their decoration includes dots and lines, imprints of coins, and images pressed in a mold of figures from mythology, and the iconography draws on themes from domestic life and women’s experiences. The assemblage of pyramidal and discoid or hemispherical loom weights may reflect chronological and cultural differences (e.g., Greek versus Italic) in weaving technology on the southern Italian Peninsula. Based on comparative material, we suggest dating the discoid and hemispherical Getty loom weights to the third to second centuries BCE, with a plausible context in or near Herakleia or Taranto.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"18 1","pages":"1 - 34"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45842152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between 1876 and 1882, Brazilian photographer Marc Ferrez produced a series of photographs documenting the construction and completion of dams, reservoirs, and various engineering projects for Rio de Janeiro’s new water supply systems. While the titled subject of each image is infrastructure, an unacknowledged presence marks many of the compositions: the human body. People constellate the series, captured by accident or intentionally posed by Ferrez as tools by which size can be made sense of, setting monumental constructions to scale. The use of the body as an informal scale legend signals unintended tensions in Ferrez’s photographs. In concert with the imperial constructions, Brazil’s government completed a tumultuous process of implementing new metric guidelines that redefined the country’s measurement system, enabled large-scale civil infrastructure projects, and sparked popular protest. More than a marker, the human body—a fundamentally inexact tool of measurement—renders a distinct ambiguity to the modernity and scientific rationality Ferrez’s images champion, returning to embodied modes of knowledge.
{"title":"The Body as Measure: Scale, Power, and Human Presence in Marc Ferrez’s Obras do novo abastecimento de água do Rio de Janeiro","authors":"Quinn Schoen","doi":"10.1086/726888","DOIUrl":"https://doi.org/10.1086/726888","url":null,"abstract":"Between 1876 and 1882, Brazilian photographer Marc Ferrez produced a series of photographs documenting the construction and completion of dams, reservoirs, and various engineering projects for Rio de Janeiro’s new water supply systems. While the titled subject of each image is infrastructure, an unacknowledged presence marks many of the compositions: the human body. People constellate the series, captured by accident or intentionally posed by Ferrez as tools by which size can be made sense of, setting monumental constructions to scale. The use of the body as an informal scale legend signals unintended tensions in Ferrez’s photographs. In concert with the imperial constructions, Brazil’s government completed a tumultuous process of implementing new metric guidelines that redefined the country’s measurement system, enabled large-scale civil infrastructure projects, and sparked popular protest. More than a marker, the human body—a fundamentally inexact tool of measurement—renders a distinct ambiguity to the modernity and scientific rationality Ferrez’s images champion, returning to embodied modes of knowledge.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"18 1","pages":"135 - 146"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42811888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The discovery of previously unpublished documentary evidence in the archives of the Museum Mayer van den Bergh concerning sculptor Pedro Millán’s terracotta statuette of Saint George (circa 1487–1515, Victoria and Albert Museum) sheds new light on the position of polychrome Spanish sculpture from the late Gothic period in the international art market at the turn of the twentieth century. This article discusses the trajectories of Millán’s statuette, the agents and dealers involved, and the limitations of marketing Spanish sculpture internationally around 1900. The article employs the methods of economic history and theory, network analysis, provenance research, and the cultural history of taste. It brings to light the value of digitizing collectors’ archives to make visible the ways in which information and ideas circulated within collectors’ networks and how such exchanges created the conditions for a flourishing economy of knowledge, which was an essential component of the expanding nineteenth-century art market in Western Europe.
在Mayer van den Bergh博物馆的档案中发现了以前未发表的关于雕塑家Pedro Millán的兵马俑圣乔治雕像(约1487-1515，维多利亚和阿尔伯特博物馆)的文献证据，这为20世纪之交哥特晚期的西班牙彩色雕塑在国际艺术市场上的地位提供了新的线索。本文讨论了Millán雕像的发展轨迹，所涉及的代理商和经销商，以及1900年左右西班牙雕塑国际营销的局限性。本文采用经济史与理论、网络分析、物源研究、品味文化史等方法。它揭示了数字化收藏家档案的价值，让人们看到信息和思想在收藏家网络中传播的方式，以及这种交流如何为知识经济的繁荣创造条件，知识经济是19世纪西欧艺术市场不断扩大的重要组成部分。
{"title":"The Reception of Late Gothic Spanish Sculpture around 1900: A Case Study of Collectors’ Archives as a Tool for Art-Market Research","authors":"Ulrike Müller","doi":"10.1086/726886","DOIUrl":"https://doi.org/10.1086/726886","url":null,"abstract":"The discovery of previously unpublished documentary evidence in the archives of the Museum Mayer van den Bergh concerning sculptor Pedro Millán’s terracotta statuette of Saint George (circa 1487–1515, Victoria and Albert Museum) sheds new light on the position of polychrome Spanish sculpture from the late Gothic period in the international art market at the turn of the twentieth century. This article discusses the trajectories of Millán’s statuette, the agents and dealers involved, and the limitations of marketing Spanish sculpture internationally around 1900. The article employs the methods of economic history and theory, network analysis, provenance research, and the cultural history of taste. It brings to light the value of digitizing collectors’ archives to make visible the ways in which information and ideas circulated within collectors’ networks and how such exchanges created the conditions for a flourishing economy of knowledge, which was an essential component of the expanding nineteenth-century art market in Western Europe.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"18 1","pages":"83 - 106"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47961250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In less than fifty years, King Ferdinand II of Portugal formed an outstanding collection of works of art by old masters and modern Portuguese artists that attracted international attention. Nationally, his devotion to art won him the people’s affection as well as an illustrative nickname: the “Artist King.” When, upon Ferdinand II’s death in 1885, it was discovered that his will did not bequeath a single artwork to the Portuguese nation but instead left them to his heirs and at auction, the country was shocked. This essay provides a holistic review of the dispersal of Ferdinand II’s painting collection, here reassembled in a dataset that draws upon an after-death inventory and auction sales records. By contextualizing the data with economic, social, and historical factors and exploring the behavior of the collection’s main buyers, it becomes clear that the 1893 public auction of Ferdinand II’s collection truly stirred the nineteenth-century Portuguese art market and led to the rise of new collections of Portuguese modern art.
{"title":"Tracing the (Unexpected) Dispersal of the Paintings Collection of Ferdinand II of Portugal, the “Artist King”","authors":"Vera Mariz","doi":"10.1086/724138","DOIUrl":"https://doi.org/10.1086/724138","url":null,"abstract":"In less than fifty years, King Ferdinand II of Portugal formed an outstanding collection of works of art by old masters and modern Portuguese artists that attracted international attention. Nationally, his devotion to art won him the people’s affection as well as an illustrative nickname: the “Artist King.” When, upon Ferdinand II’s death in 1885, it was discovered that his will did not bequeath a single artwork to the Portuguese nation but instead left them to his heirs and at auction, the country was shocked. This essay provides a holistic review of the dispersal of Ferdinand II’s painting collection, here reassembled in a dataset that draws upon an after-death inventory and auction sales records. By contextualizing the data with economic, social, and historical factors and exploring the behavior of the collection’s main buyers, it becomes clear that the 1893 public auction of Ferdinand II’s collection truly stirred the nineteenth-century Portuguese art market and led to the rise of new collections of Portuguese modern art.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"17 1","pages":"55 - 80"},"PeriodicalIF":0.1,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48238429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On 25 May 1939, the SS Sinaia left the French port of Sète, bound for Veracruz in Mexico. On board were 1,599 Republicans looking for a new home in Mexico after the end of the Spanish Civil War. During the crossing, the onboard newspaper, Sinaia: Diario de la primera expedición de republicanos españoles a México was published, providing reports of daily life on the ship and preparing the asilados (asylees) for society, culture, and politics in Mexico. ¿Lo que pasa a bordo? ¿Lo que pasa en el mundo? (What’s happening on board? What’s happening in the world?) Taking these questions as a starting point, this article adopts a transnational and transcultural perspective to show how the exiles’ experience of the crossing constituted a temporal and spatial dislocation between the self and that which is foreign, between the “Spanish” and the “Mexican.” Analyzing previously unpublished photographs by David Seymour (“Chim”) in terms of their symbolic imagery and political intent, this discussion demonstrates how the Spanish Republicans used the crossing to mediate their exile. Finally, it examines how artists translated the journey to Mexico, a cross-cultural event, into their specific artistic practices.
1939年5月25日，党卫军西纳亚号离开法国塞特港，前往墨西哥韦拉克鲁斯。西班牙内战结束后，1599名共和党人在墨西哥寻找新家。在穿越期间，船上报纸《Sinaia:Diario de la primera expedición de republicanos españoles a México》出版，提供船上日常生活的报道，并为墨西哥的社会、文化和政治做好准备。？这是边境吗？世界末日？（船上发生了什么？世界上正在发生什么？）本文以这些问题为出发点，采用跨国和跨文化的视角，展示了流亡者的穿越经历是如何构成自我与外国、“西班牙”与“墨西哥”之间的时空错位的。通过分析大卫·西摩（“Chim”）之前未发表的照片的象征性形象和政治意图，这场讨论展示了西班牙共和党人是如何利用过境来调解他们的流亡的。最后，它考察了艺术家如何将墨西哥之旅这一跨文化事件转化为他们的具体艺术实践。
{"title":"¿Qué pasa a bordo? ¿Qué que pasa en el mundo? The Crossing of Spanish Republican Refugees on the SS Sinaia to Mexico (1939)","authors":"Martin Schieder","doi":"10.1086/724139","DOIUrl":"https://doi.org/10.1086/724139","url":null,"abstract":"On 25 May 1939, the SS Sinaia left the French port of Sète, bound for Veracruz in Mexico. On board were 1,599 Republicans looking for a new home in Mexico after the end of the Spanish Civil War. During the crossing, the onboard newspaper, Sinaia: Diario de la primera expedición de republicanos españoles a México was published, providing reports of daily life on the ship and preparing the asilados (asylees) for society, culture, and politics in Mexico. ¿Lo que pasa a bordo? ¿Lo que pasa en el mundo? (What’s happening on board? What’s happening in the world?) Taking these questions as a starting point, this article adopts a transnational and transcultural perspective to show how the exiles’ experience of the crossing constituted a temporal and spatial dislocation between the self and that which is foreign, between the “Spanish” and the “Mexican.” Analyzing previously unpublished photographs by David Seymour (“Chim”) in terms of their symbolic imagery and political intent, this discussion demonstrates how the Spanish Republicans used the crossing to mediate their exile. Finally, it examines how artists translated the journey to Mexico, a cross-cultural event, into their specific artistic practices.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"17 1","pages":"81 - 106"},"PeriodicalIF":0.1,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44821628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：