Aldo Rossi’s manuscript, titled “Autobiographical Notes, Etc.” and dated December 1971, is held with his papers in the special collections of the Getty Research Institute in Los Angeles. Writing on both recto and verso sides of seven small sheets of laid paper, the author takes stock of his life at age forty. In the manuscript, Rossi reexamines some fundamental moments in his development as an architect. In particular, both his encounter with Ernesto Nathan Rogers, who had invited him to join the editorial staff of the journal Casabella continuità when Rossi was just over twenty years old, and his enduring friendship with Carlo Aymonino mattered more to his development than his years as a student and instructor at the Politecnico di Milano. The urgency behind Rossi’s manuscript is found in a series of events from 1971, two of which were dramatic: a serious automobile accident and his suspension from university teaching for political reasons. At the end of this bitter year, he felt the need to rethink the choices that he had made up to that point. The result was a wide-ranging confession that constitutes a direct precursor to the publication, ten years later, of his book A Scientific Autobiography (1982).
阿尔多·罗西的手稿名为《自传笔记等》，日期为1971年12月，与他的论文一起被洛杉矶盖蒂研究所收藏。作者在七张铺好的小纸的正面和反面写下了他四十岁时的生活。在手稿中，罗西重新审视了他作为一名建筑师发展过程中的一些基本时刻。特别是，在罗西刚刚20多岁的时候，他与埃内斯托·内森·罗杰斯（Ernesto Nathan Rogers）的会面一直在继续，而他与卡洛·艾莫尼诺（Carlo Aymonino）的持久友谊对他的发展比他在米兰理工大学（Politecnico di Milano）担任学生和讲师的岁月更重要。罗西手稿背后的紧迫性可以从1971年的一系列事件中找到，其中两件事很戏剧性：一场严重的车祸和他因政治原因被大学停课。在这痛苦的一年结束时，他觉得有必要重新思考自己当时做出的选择。结果是一个广泛的忏悔，这是十年后出版他的书《科学自传》（1982）的直接先驱。
{"title":"An Introduction to Aldo Rossi’s “Autobiographical Notes, Etc.”","authors":"M. Casciato","doi":"10.1086/721987","DOIUrl":"https://doi.org/10.1086/721987","url":null,"abstract":"Aldo Rossi’s manuscript, titled “Autobiographical Notes, Etc.” and dated December 1971, is held with his papers in the special collections of the Getty Research Institute in Los Angeles. Writing on both recto and verso sides of seven small sheets of laid paper, the author takes stock of his life at age forty. In the manuscript, Rossi reexamines some fundamental moments in his development as an architect. In particular, both his encounter with Ernesto Nathan Rogers, who had invited him to join the editorial staff of the journal Casabella continuità when Rossi was just over twenty years old, and his enduring friendship with Carlo Aymonino mattered more to his development than his years as a student and instructor at the Politecnico di Milano. The urgency behind Rossi’s manuscript is found in a series of events from 1971, two of which were dramatic: a serious automobile accident and his suspension from university teaching for political reasons. At the end of this bitter year, he felt the need to rethink the choices that he had made up to that point. The result was a wide-ranging confession that constitutes a direct precursor to the publication, ten years later, of his book A Scientific Autobiography (1982).","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"119 - 136"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46258537","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 scrutinizes the persistent preoccupation with fragments in the work of Italian architect Aldo Rossi. Two heretofore overlooked volumes of his Quaderni Azzurri (blue notebooks) from the special collections of the Getty Research Institute are deployed as a point of departure in order to unpack the analogies Rossi draws between archaeology and conceptualization in architecture. His observations on three approaches to restoration, which correspond to Olympia and the two radically diverse Minoan Palaces of Knossos and Phaistos in Greece, are analyzed as three distinct states of the architectural fragment. The states are paralleled with interconnected projects that Rossi developed sequentially over the course of a decade—namely, the two iterations of La città analoga (The analogous city) exhibited at the Milan Triennale (1972) and the Venice Biennale (1976) as well as a contribution to the exhibition Roma interrotta (1978)—to delineate an architectural genealogy informed by a collective archive of concepts.
这篇文章仔细观察了意大利建筑师阿尔多·罗西对碎片的执着。盖蒂研究所（Getty Research Institute）特别收藏的两本迄今为止被忽视的《蓝衣军团》（Quaderni Azzurri）（蓝色笔记本）被用作出发点，以解开罗西在考古学和建筑概念化之间的类比。他对三种修复方法的观察，分别对应于奥林匹亚和希腊两个截然不同的米诺斯宫（Knossos和Phaistos），被分析为建筑碎片的三种不同状态。这些州与罗西在十年中相继开发的相互关联的项目平行，即，在米兰三年展（1972年）和威尼斯双年展（1976年）上展出的La cittàanalog a（类似的城市）的两次迭代，以及对展览Roma interrotta（1978年）的贡献——描绘了一个由概念集体档案提供信息的建筑谱系。
{"title":"The Three States of the Architectural Fragment as a Collective Archive of Concepts: Tracing an Alternative Genealogy of Aldo Rossi’s Analogous Cities","authors":"I. Angelidou","doi":"10.1086/721988","DOIUrl":"https://doi.org/10.1086/721988","url":null,"abstract":"This article scrutinizes the persistent preoccupation with fragments in the work of Italian architect Aldo Rossi. Two heretofore overlooked volumes of his Quaderni Azzurri (blue notebooks) from the special collections of the Getty Research Institute are deployed as a point of departure in order to unpack the analogies Rossi draws between archaeology and conceptualization in architecture. His observations on three approaches to restoration, which correspond to Olympia and the two radically diverse Minoan Palaces of Knossos and Phaistos in Greece, are analyzed as three distinct states of the architectural fragment. The states are paralleled with interconnected projects that Rossi developed sequentially over the course of a decade—namely, the two iterations of La città analoga (The analogous city) exhibited at the Milan Triennale (1972) and the Venice Biennale (1976) as well as a contribution to the exhibition Roma interrotta (1978)—to delineate an architectural genealogy informed by a collective archive of concepts.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"137 - 168"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47993392","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}
Military histories of the Spanish invasion of Tenochtitlan (1519–21), home to the Mexica-led Triple Alliance (or so-called Aztec Empire), have primarily focused upon men and their armories, often juxtaposing ironclad Spaniards against Nahua opponents dressed as Eagle and Jaguar Warriors. Indigenous women appear to lack this battle garb, known by specialists as military “devices” (tlahuiztin in Nahuatl), unlike precolonial depictions of warrior matriarchs and precolonial records showing women as unruly community defenders. This study challenges assumptions about Nahua material culture through critical engagement with a key source in Nahuatl studies, the sixteenth-century Florentine Codex, an encyclopedic collection consisting of “three texts”: the original Nahuatl, an accompanying Spanish translation, and thousands of illuminations created by Nahua scholar-artists. By utilizing ethnolinguistic and visual analytic methodologies, this essay reveals an inextricable link between Nahua women’s maternity, maturation, and martial ability in conventional and supernatural warfare.
{"title":"Visualizing Martial Mothers, Eagle-Women, and Water Warriors in the Florentine Codex","authors":"Joshua Fitzgerald","doi":"10.1086/721984","DOIUrl":"https://doi.org/10.1086/721984","url":null,"abstract":"Military histories of the Spanish invasion of Tenochtitlan (1519–21), home to the Mexica-led Triple Alliance (or so-called Aztec Empire), have primarily focused upon men and their armories, often juxtaposing ironclad Spaniards against Nahua opponents dressed as Eagle and Jaguar Warriors. Indigenous women appear to lack this battle garb, known by specialists as military “devices” (tlahuiztin in Nahuatl), unlike precolonial depictions of warrior matriarchs and precolonial records showing women as unruly community defenders. This study challenges assumptions about Nahua material culture through critical engagement with a key source in Nahuatl studies, the sixteenth-century Florentine Codex, an encyclopedic collection consisting of “three texts”: the original Nahuatl, an accompanying Spanish translation, and thousands of illuminations created by Nahua scholar-artists. By utilizing ethnolinguistic and visual analytic methodologies, this essay reveals an inextricable link between Nahua women’s maternity, maturation, and martial ability in conventional and supernatural warfare.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"41 - 66"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44911391","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 2017 and 2018, the California-based photographer Michael Light went to the Great Basin, allegedly one of the emptiest places left in the continental United States, in search of the void. He returned with striking and aesthetically pleasing images of a desert that is far from empty. Working collaboratively with his colleagues at Radius Books, Light realized the series and photobook Lake Lahontan / Lake Bonneville (2019). In this work, Light employs the unique combination of aerial perspective and photographic abstraction to capture images of the Great Basin that challenge our perception of empty spaces, the desert, and the American West. Light’s images emphasize the paradoxical effect of humans on the environment while leaving space for interpretation. The work opens the viewer to larger questions about the impact all humans have on the earth, inevitably prompting viewers to recognize their own role in the process.
{"title":"Capturing the Void: Michael Light’s Aerial Photographs of the American West","authors":"S. M. Farmer","doi":"10.1086/721989","DOIUrl":"https://doi.org/10.1086/721989","url":null,"abstract":"In 2017 and 2018, the California-based photographer Michael Light went to the Great Basin, allegedly one of the emptiest places left in the continental United States, in search of the void. He returned with striking and aesthetically pleasing images of a desert that is far from empty. Working collaboratively with his colleagues at Radius Books, Light realized the series and photobook Lake Lahontan / Lake Bonneville (2019). In this work, Light employs the unique combination of aerial perspective and photographic abstraction to capture images of the Great Basin that challenge our perception of empty spaces, the desert, and the American West. Light’s images emphasize the paradoxical effect of humans on the environment while leaving space for interpretation. The work opens the viewer to larger questions about the impact all humans have on the earth, inevitably prompting viewers to recognize their own role in the process.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"169 - 193"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49448564","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 1914, the American photographer Edward S. Curtis released the first feature-length silent film to star an entirely Indigenous cast. In the Land of the Head Hunters—an epic melodrama of love, war, and ritual—was made with Kwakwa̲ka̲’wakw (Kwakiutl) people on location in British Columbia. Curtis then worked with artists and musicians in New York to frame it as commercial entertainment. This interdisciplinary essay explores an inherent tension in Curtis’s landmark film between his reliance on Western aesthetic references (classical literature, orchestral music, fine and popular art), and his efforts to be taken seriously as an ethnographer. Neither pure artistic fiction nor anthropological “documentary,” Head Hunters emerged in an intermediate zone of popular culture during the early twentieth century. Curtis and his Kwakwa̲ka̲’wakw partners mobilized both European and Indigenous mythologies, aesthetics, and theatrical traditions to make a shared contribution to that quintessentially modern art form—the motion picture.
{"title":"“Ethnology as an Epic”: The Modern Cinema of Edward S. Curtis and the Kwakwa̲ka̲’wakw","authors":"Aaron Glass, Brad Evans, Colin Browne","doi":"10.1086/721985","DOIUrl":"https://doi.org/10.1086/721985","url":null,"abstract":"In 1914, the American photographer Edward S. Curtis released the first feature-length silent film to star an entirely Indigenous cast. In the Land of the Head Hunters—an epic melodrama of love, war, and ritual—was made with Kwakwa̲ka̲’wakw (Kwakiutl) people on location in British Columbia. Curtis then worked with artists and musicians in New York to frame it as commercial entertainment. This interdisciplinary essay explores an inherent tension in Curtis’s landmark film between his reliance on Western aesthetic references (classical literature, orchestral music, fine and popular art), and his efforts to be taken seriously as an ethnographer. Neither pure artistic fiction nor anthropological “documentary,” Head Hunters emerged in an intermediate zone of popular culture during the early twentieth century. Curtis and his Kwakwa̲ka̲’wakw partners mobilized both European and Indigenous mythologies, aesthetics, and theatrical traditions to make a shared contribution to that quintessentially modern art form—the motion picture.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"67 - 90"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49592042","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}
Developed by the Getty Vocabulary Program, the Art & Architecture Thesaurus® (AAT) is a tool for cataloging and indexing works of art and other cultural objects. It was begun in 1979 by a group of librarians who needed specific art terms for cataloging art information. In the early 1980s, the AAT was incorporated into the Getty Art History Information Program. Originally comprising only English terms, it has become more inclusive over the years through translation into other languages, including Portuguese. The first Portuguese translation project began in 2016; the second project began in 2020 and was made possible through the Getty Graduate Internship Program. These AAT translation projects facilitate the access and retrieval of art collection information by Portuguese-language users around the world.
{"title":"The Ongoing Translation of the Getty Art & Architecture Thesaurus® into Portuguese: An Art Information Access and Retrieval Tool for Cultural Institutions in Portuguese-Speaking Countries","authors":"Camila da Silva","doi":"10.1086/721991","DOIUrl":"https://doi.org/10.1086/721991","url":null,"abstract":"Developed by the Getty Vocabulary Program, the Art & Architecture Thesaurus® (AAT) is a tool for cataloging and indexing works of art and other cultural objects. It was begun in 1979 by a group of librarians who needed specific art terms for cataloging art information. In the early 1980s, the AAT was incorporated into the Getty Art History Information Program. Originally comprising only English terms, it has become more inclusive over the years through translation into other languages, including Portuguese. The first Portuguese translation project began in 2016; the second project began in 2020 and was made possible through the Getty Graduate Internship Program. These AAT translation projects facilitate the access and retrieval of art collection information by Portuguese-language users around the world.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"209 - 225"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43467216","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 retraces the sources that influenced the ideas that Russian artist El Lissitzky held about the encounter between human beings and nature during his stay in Europe in the early 1920s. Notes and private correspondence held in the Special Collections of the Getty Research Institute detail an interest in Austro-Hungarian biologist Raoul Heinrich Francé’s concepts from Die Pflanze als Erfinder (1920; Plants as Inventors, 1923) and Bios: Die Gesetze der Welt (1921; Bios: The laws of the world), along with other new sources that relate to the philosophical debate around Albert Einstein’s special and general theories of relativity. A close reading of these sources and Lissitzky’s interest in them enables a reconsideration of what Oliver A. I. Botar describes as Lissitzky’s “biocentric turn” and the artist’s closely connected book project “1=1.”
本文追溯了影响俄罗斯艺术家埃尔·利西茨基20世纪20年代初在欧洲期间关于人与自然相遇的思想的来源。盖蒂研究所特别收藏的笔记和私人信件详细介绍了对奥匈生物学家拉乌尔·海因里希·弗朗塞的概念的兴趣，这些概念来自Die Pplanze als Erfinder（1920；植物作为发明家，1923）和Bios:Die Gesetze der Welt（1921；Bios:the laws of the world），以及与围绕阿尔伯特·爱因斯坦的狭义和广义相对论的哲学辩论有关的其他新来源。仔细阅读这些来源以及利西茨基对它们的兴趣，可以重新思考奥利弗·A·I·博塔所描述的利西茨基的“生物中心转向”和艺术家紧密相连的图书项目“1=1”
{"title":"El Lissitzky and the Biocentric Project “1=1”","authors":"C. Castellani","doi":"10.1086/721986","DOIUrl":"https://doi.org/10.1086/721986","url":null,"abstract":"This article retraces the sources that influenced the ideas that Russian artist El Lissitzky held about the encounter between human beings and nature during his stay in Europe in the early 1920s. Notes and private correspondence held in the Special Collections of the Getty Research Institute detail an interest in Austro-Hungarian biologist Raoul Heinrich Francé’s concepts from Die Pflanze als Erfinder (1920; Plants as Inventors, 1923) and Bios: Die Gesetze der Welt (1921; Bios: The laws of the world), along with other new sources that relate to the philosophical debate around Albert Einstein’s special and general theories of relativity. A close reading of these sources and Lissitzky’s interest in them enables a reconsideration of what Oliver A. I. Botar describes as Lissitzky’s “biocentric turn” and the artist’s closely connected book project “1=1.”","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"91 - 118"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47017741","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 aims of this study of four photographs by Hippolyte Bayard that were taken in Paris between 1848 and 1850 are twofold. One objective is to provide the historical details necessary to understand the ways in which the images engaged with events of the 1848 Revolution. The other is to bring attention to how photography’s contribution to the historical record differs from that of other visual media such as paintings, prints, and drawings. The fact that the photograph denoted a temporal specificity put Bayard in the unique position of being able to evince the transitional and ephemeral nature of the 1848 Revolution that so many of his contemporaries remarked upon.
{"title":"Traces of History: Hippolyte Bayard’s Photographs of the 1848 Revolution","authors":"M. Denton","doi":"10.1086/718877","DOIUrl":"https://doi.org/10.1086/718877","url":null,"abstract":"The aims of this study of four photographs by Hippolyte Bayard that were taken in Paris between 1848 and 1850 are twofold. One objective is to provide the historical details necessary to understand the ways in which the images engaged with events of the 1848 Revolution. The other is to bring attention to how photography’s contribution to the historical record differs from that of other visual media such as paintings, prints, and drawings. The fact that the photograph denoted a temporal specificity put Bayard in the unique position of being able to evince the transitional and ephemeral nature of the 1848 Revolution that so many of his contemporaries remarked upon.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"43 - 66"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48659898","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 portrait bust of a Roman matron in the J. Paul Getty Museum (79.AA.118) belongs to a type of sculptural portraiture whose features are distinguished from those of the leading imperial women of Rome. Dating to the first half of the second century CE, this group of portraits of Roman matrons, mostly unidentified women of the middle-lower social ranks, displays striking depictions of mature faces and elaborate hairstyles. Close study of the coiffures suggests ways in which the women differentiated themselves from their peers while demonstrating that they belonged to the social group of urban, affluent, and well-appointed matrons. Their portraits neither copied nor entirely disregarded the styling of imperial or elite women; rather, they suggest a process of exchange in which motifs were selected, sampled, and altered through scale, arrangement, or the evocation of more precious adornment.
{"title":"Style from Below in the Roman Empire: A Bust of a Matron at the J. Paul Getty Museum","authors":"E. D'ambra","doi":"10.1086/718875","DOIUrl":"https://doi.org/10.1086/718875","url":null,"abstract":"The portrait bust of a Roman matron in the J. Paul Getty Museum (79.AA.118) belongs to a type of sculptural portraiture whose features are distinguished from those of the leading imperial women of Rome. Dating to the first half of the second century CE, this group of portraits of Roman matrons, mostly unidentified women of the middle-lower social ranks, displays striking depictions of mature faces and elaborate hairstyles. Close study of the coiffures suggests ways in which the women differentiated themselves from their peers while demonstrating that they belonged to the social group of urban, affluent, and well-appointed matrons. Their portraits neither copied nor entirely disregarded the styling of imperial or elite women; rather, they suggest a process of exchange in which motifs were selected, sampled, and altered through scale, arrangement, or the evocation of more precious adornment.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"1 - 24"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46989179","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}
Brazilian artist Maria Martins (1894–1973) published the book Amazonia in 1943 as part of her exhibition New Sculptures at the Valentine Gallery in New York. Although the book featured photographs of some of the sculptures in the show, there are reasons to believe that it was not simply intended to function as an exhibition catalog. Instead, Amazonia can be regarded as a work in its own right, a textual and visual construction that unfolds the significance of the exhibited sculptures beyond their most salient features and themes. Drawing on information from archival material and a copy of the original book held at the Getty Research Institute library, this article explores Martins’s book, which brings together elements of geography, history, and anatomy to convey a vision of Brazil as her own imaginary territory.
{"title":"Amazonia by Maria Martins: A Journey between Geography and Anatomy","authors":"María Clara Bernal","doi":"10.1086/718881","DOIUrl":"https://doi.org/10.1086/718881","url":null,"abstract":"Brazilian artist Maria Martins (1894–1973) published the book Amazonia in 1943 as part of her exhibition New Sculptures at the Valentine Gallery in New York. Although the book featured photographs of some of the sculptures in the show, there are reasons to believe that it was not simply intended to function as an exhibition catalog. Instead, Amazonia can be regarded as a work in its own right, a textual and visual construction that unfolds the significance of the exhibited sculptures beyond their most salient features and themes. Drawing on information from archival material and a copy of the original book held at the Getty Research Institute library, this article explores Martins’s book, which brings together elements of geography, history, and anatomy to convey a vision of Brazil as her own imaginary territory.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"133 - 152"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43931679","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：