Although noted for their eye-catching colors and vibrant graphics, project renderings of mid-century modern architecture remain little discussed in the field of architectural history. Through the case study of a watercolor rendering of the Century City urban development in Los Angeles by Mario Valenzuela for Welton Becket & Associates, this essay describes the production of work by commercial illustrators for large architecture firms at the turn of the 1960s. It takes up the use of project renderings in the media by public relations staff and news editors, and examines their reception by the general public in the context of the futuristic imagination of the time. Seen through this prism, project renderings appear as an instrument in the construction of a temporal imaginary of the postwar era in the United States. Widely featured in newspaper real-estate columns, these idealized visions of modern architectural and urban developments helped further the legitimacy of the capitalist enterprise to define and implement dreams of the future centered on technological progress.
{"title":"Dreamscape Century City: Architectural Rendering, Mass Media, and the Temporal Imaginary of the Postwar Capitalist Enterprise","authors":"M. Ozdoba","doi":"10.1086/718882","DOIUrl":"https://doi.org/10.1086/718882","url":null,"abstract":"Although noted for their eye-catching colors and vibrant graphics, project renderings of mid-century modern architecture remain little discussed in the field of architectural history. Through the case study of a watercolor rendering of the Century City urban development in Los Angeles by Mario Valenzuela for Welton Becket & Associates, this essay describes the production of work by commercial illustrators for large architecture firms at the turn of the 1960s. It takes up the use of project renderings in the media by public relations staff and news editors, and examines their reception by the general public in the context of the futuristic imagination of the time. Seen through this prism, project renderings appear as an instrument in the construction of a temporal imaginary of the postwar era in the United States. Widely featured in newspaper real-estate columns, these idealized visions of modern architectural and urban developments helped further the legitimacy of the capitalist enterprise to define and implement dreams of the future centered on technological progress.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"153 - 174"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44298588","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 essay offers a close examination of artist Claes Oldenburg’s understudied visual and concrete poetry written between 1956 and 1962. It posits that Oldenburg’s art, irrespective of format or medium, is affected by his large-scale metaphorical bundle “art is a theater of vision,” and that this view of art originates in his poetry. Metaphors such as snapshot vision, the camera eye, and the cartoon eye are discussed as text-generating principles of intermediality in poems such as “Things to See” (1956), an untitled street poem (1959), “MANYELLS” (1959), “Wat I Makz Iz Konkrete Tawts” (1961), and “SONG” (1962). The essay demonstrates how intermediality and metaphoricity are connected and how poetry and sculpture from Oldenburg’s street and store periods are shaped by it.
这篇文章对艺术家克莱斯·奥尔登堡在1956年至1962年间创作的视觉和具体诗歌进行了仔细的研究。它认为奥尔登堡的艺术，无论是形式还是媒介，都受到他大规模隐喻性的捆绑“艺术是一个视觉剧场”的影响，这种艺术观源于他的诗歌。在《看得见的东西》（1956年）、一首无标题的街头诗（1959年）、《MANYELLS》（1959）、《Wat I Makz Iz Konkrete Tawts》（1961年）和《SONG》（1962年）等诗歌中，诸如快照视觉、相机眼和卡通眼等隐喻被讨论为中间性的文本生成原则。本文展示了中间性和隐喻性是如何联系在一起的，以及奥尔登堡街头和商店时期的诗歌和雕塑是如何被它塑造的。
{"title":"Intermediality and Metaphoricity in Claes Oldenburg’s Poetry","authors":"Nadja Rottner","doi":"10.1086/718883","DOIUrl":"https://doi.org/10.1086/718883","url":null,"abstract":"This essay offers a close examination of artist Claes Oldenburg’s understudied visual and concrete poetry written between 1956 and 1962. It posits that Oldenburg’s art, irrespective of format or medium, is affected by his large-scale metaphorical bundle “art is a theater of vision,” and that this view of art originates in his poetry. Metaphors such as snapshot vision, the camera eye, and the cartoon eye are discussed as text-generating principles of intermediality in poems such as “Things to See” (1956), an untitled street poem (1959), “MANYELLS” (1959), “Wat I Makz Iz Konkrete Tawts” (1961), and “SONG” (1962). The essay demonstrates how intermediality and metaphoricity are connected and how poetry and sculpture from Oldenburg’s street and store periods are shaped by it.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"175 - 202"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49425596","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}
F. Nevola, Donal Cooper, Chiara Capulli, L. Brunke
While visualizations of various types—such as maps, 3-D models, and animations—have become staples in digital humanities approaches to art and architectural history, how to integrate analog data (artworks and drawings, archival documents, and so on) into born-digital outputs remains a fundamental concern. This article discusses processes developed through ongoing work on the art historical visualization project Florence4D. It proposes an integrated approach where technologies for 3-D models, mapping, and location-aware augmented reality (AR) converge, while the research data is no more than a click away in structured ontology databases. The structure of the underlying data is key to creating a collaborative research space where the three broadly defined spatial technologies of 3-D and augmented reality, GPS, and geoinformation systems (GIS) interact, enabling researchers to move seamlessly between building-, local-, and urban-scale analysis and the interpretation of art, architecture, and urban design history.
{"title":"Immersive Renaissance Florence: Research-Based 3-D Modeling in Digital Art and Architectural History","authors":"F. Nevola, Donal Cooper, Chiara Capulli, L. Brunke","doi":"10.1086/718884","DOIUrl":"https://doi.org/10.1086/718884","url":null,"abstract":"While visualizations of various types—such as maps, 3-D models, and animations—have become staples in digital humanities approaches to art and architectural history, how to integrate analog data (artworks and drawings, archival documents, and so on) into born-digital outputs remains a fundamental concern. This article discusses processes developed through ongoing work on the art historical visualization project Florence4D. It proposes an integrated approach where technologies for 3-D models, mapping, and location-aware augmented reality (AR) converge, while the research data is no more than a click away in structured ontology databases. The structure of the underlying data is key to creating a collaborative research space where the three broadly defined spatial technologies of 3-D and augmented reality, GPS, and geoinformation systems (GIS) interact, enabling researchers to move seamlessly between building-, local-, and urban-scale analysis and the interpretation of art, architecture, and urban design history.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"203 - 227"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41854328","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}
French artist Marie-Élisabeth Cavé (ca. 1809–83) was a successful watercolorist whose works were frequently exhibited at the Parisian Salons and whose art manual Le dessin sans maitre: Méthode pour apprendre à dessiner de mémoire (1850; Drawing without a Master: The Cavé Method for Learning to Draw from Memory, 1868) achieved wide acclaim with multiple editions in the nineteenth century. Yet Cavé has not received much scholarly attention today. This article recovers the history of Cavé and repositions her as an agent of her own success. The simplicity and autonomy of her novel technique, which used repetition to cultivate visual memory, permitted students of all backgrounds to learn to draw. According to artist Eugène Delacroix, Cavé’s method was the only one that could meet the demands of a growing industrial nation. Remarkably, within these treatises, Cavé marshaled the medium of the art manual to inscribe her own ideas about women’s education and work, and to encourage women in nineteenth-century France to become professional artists.
法国艺术家Marie-Élisabeth cavavore(约1809-83)是一位成功的水彩画家，他的作品经常在巴黎沙龙展出，他的艺术手册Le dessin sans maitre: msamthode pour apprendre dessiner de msammoire (1850;《无主绘画:凭记忆学习绘画的洞穴法》(1868)在19世纪获得了广泛的赞誉，有多个版本。然而，cavavore今天并没有受到太多的学术关注。这篇文章恢复了cavavall的历史，并将她重新定位为她自己成功的代理人。她的新技术简单而自主，通过重复来培养视觉记忆，使各种背景的学生都能学会画画。根据艺术家欧格伦·德拉克罗瓦的说法，卡瓦维尔的方法是唯一能满足一个不断发展的工业国家需求的方法。值得注意的是，在这些论文中，cavavoe整理了艺术手册的媒介，以铭刻她自己对女性教育和工作的看法，并鼓励19世纪法国的女性成为专业艺术家。
{"title":"“The Future of Women Is the Future of the Nation”: Marie-Élisabeth Cavé’s Drawing Manuals and Art Education in Nineteenth-Century France","authors":"Delanie Linden","doi":"10.1086/718879","DOIUrl":"https://doi.org/10.1086/718879","url":null,"abstract":"French artist Marie-Élisabeth Cavé (ca. 1809–83) was a successful watercolorist whose works were frequently exhibited at the Parisian Salons and whose art manual Le dessin sans maitre: Méthode pour apprendre à dessiner de mémoire (1850; Drawing without a Master: The Cavé Method for Learning to Draw from Memory, 1868) achieved wide acclaim with multiple editions in the nineteenth century. Yet Cavé has not received much scholarly attention today. This article recovers the history of Cavé and repositions her as an agent of her own success. The simplicity and autonomy of her novel technique, which used repetition to cultivate visual memory, permitted students of all backgrounds to learn to draw. According to artist Eugène Delacroix, Cavé’s method was the only one that could meet the demands of a growing industrial nation. Remarkably, within these treatises, Cavé marshaled the medium of the art manual to inscribe her own ideas about women’s education and work, and to encourage women in nineteenth-century France to become professional artists.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"87 - 112"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47656369","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 essay looks at the J. Paul Getty Museum’s Bayard Album, a book filled with 167 photographs predominantly taken by pioneering French photographer Hippolyte Bayard (1801–87). It brings to the fore questions about Bayard’s processes, subjects, and network of British colleagues. The uncertainty surrounding the album’s compiler offers an opportunity to explore Bayard’s own role. While the album is undated, physical clues present evidence that it was one of the earliest photographic albums ever made. Thus, the compiler had to turn to non-photographic precedents for the presentation and sequencing of imagery. The various notations and twentieth-century alterations found in the Getty album reveal its mutability, raising questions about whose hands this album passed through and how the various owners changed its meaning over the course of 180 years. This study demonstrates how the album genre complicates our understanding of cultural artifacts and the artists associated with them.
{"title":"The Many Lives of the Getty Bayard Album","authors":"Carolyn Peter","doi":"10.1086/718878","DOIUrl":"https://doi.org/10.1086/718878","url":null,"abstract":"This essay looks at the J. Paul Getty Museum’s Bayard Album, a book filled with 167 photographs predominantly taken by pioneering French photographer Hippolyte Bayard (1801–87). It brings to the fore questions about Bayard’s processes, subjects, and network of British colleagues. The uncertainty surrounding the album’s compiler offers an opportunity to explore Bayard’s own role. While the album is undated, physical clues present evidence that it was one of the earliest photographic albums ever made. Thus, the compiler had to turn to non-photographic precedents for the presentation and sequencing of imagery. The various notations and twentieth-century alterations found in the Getty album reveal its mutability, raising questions about whose hands this album passed through and how the various owners changed its meaning over the course of 180 years. This study demonstrates how the album genre complicates our understanding of cultural artifacts and the artists associated with them.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"67 - 86"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44663445","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}
Many unanswered questions persist about the life and career of Filippo Baldi, an architect active in Pistoia in the early eighteenth century. A notebook of Baldi’s sketches at the Getty Research Institute clarifies aspects of his identity, elucidates the complexity of his style, and unshrouds some of the mystery that characterizes the architectural history of this period in Pistoia. Baldi’s notebook (ca. 1697–1733) contains 178 drawings in pen and ink pasted onto leaves in a vellum binding that held an original manuscript; several of the drawings are signed and dated. While the Palazzo Amati, Palazzo Marchetti, and the facade of the Santa Maria degli Angeli are three outstanding examples of his built architecture, the notebook at the GRI offers insight into other projects that may have remained on paper. In addition to drawings of interior decorations and church furnishings, there are a few studies of Roman architecture, especially structures with a Jesuit connection—suggesting that Baldi may have belonged to the Jesuit order—and projects for not only the Pistoia area but also Arezzo and Romagna.
关于18世纪初活跃在皮斯托亚的建筑师菲利波·巴尔迪的生活和职业生涯，许多悬而未决的问题仍然存在。盖蒂研究所的一本巴尔迪素描笔记本澄清了他的身份，阐明了他的风格的复杂性，并解开了皮斯托亚这一时期建筑史的一些谜团。巴尔迪的笔记本（约1697-1733年）包含178幅钢笔和墨水画，用牛皮纸装订在树叶上，里面装着一份原稿；其中几张图纸已签字并注明日期。阿玛蒂宫（Palazzo Amati）、马尔切蒂宫（Palazzo Marchetti）和圣玛利亚教堂（Santa Maria degli Angeli）的立面是他建造建筑的三个杰出例子，而GRI的笔记本则提供了对其他可能还停留在纸上的项目的深入了解。除了室内装饰和教堂家具的图纸外，还有一些关于罗马建筑的研究，特别是与耶稣会有联系的建筑——这表明巴尔迪可能属于耶稣会——以及不仅针对皮斯托亚地区，还针对阿雷佐和罗马涅的项目。
{"title":"The Notebook of Designs by Filippo Baldi at the Getty Research Institute","authors":"Costantino Ceccanti","doi":"10.1086/718876","DOIUrl":"https://doi.org/10.1086/718876","url":null,"abstract":"Many unanswered questions persist about the life and career of Filippo Baldi, an architect active in Pistoia in the early eighteenth century. A notebook of Baldi’s sketches at the Getty Research Institute clarifies aspects of his identity, elucidates the complexity of his style, and unshrouds some of the mystery that characterizes the architectural history of this period in Pistoia. Baldi’s notebook (ca. 1697–1733) contains 178 drawings in pen and ink pasted onto leaves in a vellum binding that held an original manuscript; several of the drawings are signed and dated. While the Palazzo Amati, Palazzo Marchetti, and the facade of the Santa Maria degli Angeli are three outstanding examples of his built architecture, the notebook at the GRI offers insight into other projects that may have remained on paper. In addition to drawings of interior decorations and church furnishings, there are a few studies of Roman architecture, especially structures with a Jesuit connection—suggesting that Baldi may have belonged to the Jesuit order—and projects for not only the Pistoia area but also Arezzo and Romagna.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"25 - 42"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44925635","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 Émile Rostain papers at the Getty Research Institute contain a rare collection of agendas and account books dating between 1900 and 1910. These reflect the activities and business of restoration studio Maison Kiewert, managed during this period by conservators Antoine-Édouard Chauffrey and Léon Govaert. Originally founded in Paris by Paul Kiewert in 1855, the studio became an emblematic place of painting conservation practice in the twentieth century, perpetuating techniques and recipes inherited from eighteenth century conservators François-Toussaint Hacquin and Émile Mortemard. The archive also documents crossings with dealers and collectors, and, significantly, the practice of active conservation, in which studio restorers collaborated with artists, treating works in the process of their making or soon after completion. Acting as adviser, technical assistant, and aid to creation, the restorer, whose interventions influenced the materiality of paintings, played an integral role in transforming the artistic production of the era.
{"title":"The Maison Kiewert Restoration Studio in Paris and the Practice of Active Conservation","authors":"G. Caupin","doi":"10.1086/718880","DOIUrl":"https://doi.org/10.1086/718880","url":null,"abstract":"The Émile Rostain papers at the Getty Research Institute contain a rare collection of agendas and account books dating between 1900 and 1910. These reflect the activities and business of restoration studio Maison Kiewert, managed during this period by conservators Antoine-Édouard Chauffrey and Léon Govaert. Originally founded in Paris by Paul Kiewert in 1855, the studio became an emblematic place of painting conservation practice in the twentieth century, perpetuating techniques and recipes inherited from eighteenth century conservators François-Toussaint Hacquin and Émile Mortemard. The archive also documents crossings with dealers and collectors, and, significantly, the practice of active conservation, in which studio restorers collaborated with artists, treating works in the process of their making or soon after completion. Acting as adviser, technical assistant, and aid to creation, the restorer, whose interventions influenced the materiality of paintings, played an integral role in transforming the artistic production of the era.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"113 - 132"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48499012","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 J. Paul Getty Museum and the Getty Research Institute possess two nineteenth-century photographic albums containing views of Chile. While the two albums appear only loosely related, they are, in fact, quite connected. Through a synopsis of several similar albums in archives in Chile and Switzerland, a number of photographs can be linked to the same circle of photographers in Valparaiso. Besides new attributions, this comparison yields insights into the photographic business in the port city, shedding light on the importance of international partnerships between studios, the consolidation of a pool of photographs from certain Chilean sites, the passing down of this image stock, and the longevity of some of the vistas as national icons.
{"title":"Two Photographic Albums at the Getty and Their Relation to the Stock-Photography Market in 1860s Chile","authors":"Matthias Johannes Pfaller Schmid","doi":"10.1086/716581","DOIUrl":"https://doi.org/10.1086/716581","url":null,"abstract":"The J. Paul Getty Museum and the Getty Research Institute possess two nineteenth-century photographic albums containing views of Chile. While the two albums appear only loosely related, they are, in fact, quite connected. Through a synopsis of several similar albums in archives in Chile and Switzerland, a number of photographs can be linked to the same circle of photographers in Valparaiso. Besides new attributions, this comparison yields insights into the photographic business in the port city, shedding light on the importance of international partnerships between studios, the consolidation of a pool of photographs from certain Chilean sites, the passing down of this image stock, and the longevity of some of the vistas as national icons.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"81 - 102"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43385804","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 various sculpted busts of Ottavio Farnese (1524–86), duke of Parma and Piacenza, are still at the center of debates of attribution. Focusing on the bust in Carrara marble in the collection of the J. Paul Getty Museum in Los Angeles, the author proposes a new attribution to Lombard-born sculptor Giovanni Battista della Porta (1542–97), one of the protagonists of the Roman artistic scene in the second half of the sixteenth century. While archival sources attest to Della Porta’s ambition to work in the service of the duke and to Farnese’s awareness of the sculptor’s artistic achievements, the attribution is largely based on comparisons with Della Porta’s works. Finally, the author discusses hypotheses related to the dating of the bust, the occasion of its creation, its original location in Parma, and the bust’s movements prior to its entry into the Getty collection.
{"title":"The Bust of Ottavio Farnese at the J. Paul Getty Museum: An Addition to the Corpus of Giovanni Battista della Porta","authors":"Luca Annibali","doi":"10.1086/716572","DOIUrl":"https://doi.org/10.1086/716572","url":null,"abstract":"The various sculpted busts of Ottavio Farnese (1524–86), duke of Parma and Piacenza, are still at the center of debates of attribution. Focusing on the bust in Carrara marble in the collection of the J. Paul Getty Museum in Los Angeles, the author proposes a new attribution to Lombard-born sculptor Giovanni Battista della Porta (1542–97), one of the protagonists of the Roman artistic scene in the second half of the sixteenth century. While archival sources attest to Della Porta’s ambition to work in the service of the duke and to Farnese’s awareness of the sculptor’s artistic achievements, the attribution is largely based on comparisons with Della Porta’s works. Finally, the author discusses hypotheses related to the dating of the bust, the occasion of its creation, its original location in Parma, and the bust’s movements prior to its entry into the Getty collection.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"14 1","pages":"21 - 38"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45602359","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}
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