Pub Date : 2023-11-09DOI: 10.1080/00233609.2023.2280032
Camilla Mørk Røstvik
In the middle of the 2015 United States presidential election race, artist Sarah Levy made a portrait of candidate Donald Trump with her menstrual blood. The work referenced Trump’s comments about menstruation during a conversation with journalist Meghan Kelly, in which he said that she had ‘blood coming out of her wherever’. While much discussed in the media, the portrait has not received the critical art historical attention it deserves. This paper considers the artistic, cultural, political and aesthetic inspiration of the creation of the menstrual artwork ‘Whatever’ (Bloody Trump), the techniques and materiality of the portrait, and its subsequent reception in public, art institutional and media discourse. Drawing on interviews with the artist and critical visual analysis in the tradition of feminist art history, this paper argues that ‘Whatever’ (Bloody Trump) should be understood as an important artwork that aesthetically interprets and recalls the white supremacist politics and strong menstrual taboos of the Trump era.
{"title":"Seeing Red: Menstrual Art and Political Portraiture in the Trump Era","authors":"Camilla Mørk Røstvik","doi":"10.1080/00233609.2023.2280032","DOIUrl":"https://doi.org/10.1080/00233609.2023.2280032","url":null,"abstract":"In the middle of the 2015 United States presidential election race, artist Sarah Levy made a portrait of candidate Donald Trump with her menstrual blood. The work referenced Trump’s comments about menstruation during a conversation with journalist Meghan Kelly, in which he said that she had ‘blood coming out of her wherever’. While much discussed in the media, the portrait has not received the critical art historical attention it deserves. This paper considers the artistic, cultural, political and aesthetic inspiration of the creation of the menstrual artwork ‘Whatever’ (Bloody Trump), the techniques and materiality of the portrait, and its subsequent reception in public, art institutional and media discourse. Drawing on interviews with the artist and critical visual analysis in the tradition of feminist art history, this paper argues that ‘Whatever’ (Bloody Trump) should be understood as an important artwork that aesthetically interprets and recalls the white supremacist politics and strong menstrual taboos of the Trump era.","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":" 41","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135292382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-02DOI: 10.1080/00233609.2023.2277454
Marja Lahelma
Click to increase image sizeClick to decrease image size Notes1 Riikka Stewen, “Circles of Love: The mythologies of Magnus Enckell”, in Magnus Enckell 1870-1925, ed. by Jari Björklöv and Juha-Heikki Tihinen, transl. by Tomi Snellman, Helsinki, Helsinki City Art Museum, 2000, pp. 40–65.2 For example, the exhibitions Hilma af Klint: Paintings for the Future, Solomon R. Guggenheim Museum, New York, 12 October 2018–23 April 2019; and Hilma af Klint & Piet Mondrian: Forms of Life, Tate Modern, London, 20 April – 3 September 2023.3 See, for example, Karin Ström Lehander, “Tyra Kleen Artist and Spiritual Seeker”, Approaching Religion Vol. 11, No 1, 2021, pp. 174–183.4 The exhibition Mystical Symbolism: The Salon de la Rose + Croix in Paris, 1892–1897, Solomon R. Guggenheim Museum, New York, 30 June – 4 October 2017, was the first ever museum presentation of the Salons de la Rose + Croix. Unfortunately, the exhibition and the essays in the accompanying catalogue reflect an outdated view of the relationship between esotericism and modern art, hence missing the opportunity for a truly critical reflection of Péladan’s role in this context. See Michel Ferut and Elizabeth Franzen, eds., Mystical Symbolism: The Salon de La Rose+Croix in Paris, 1892-1897, New York, Guggenheim, 2017; see also Chaitow’s criticism of the exhibition in Son of Prometheus: The Life and Work of Joséphin Péladan, Munich, Theion Publishing, 2023, pp. 60–64.5 Chaitow’s extensive book on Péladan’s life and work (2023) did not appear until after the publication of Bruchmüller’s thesis, but other contributions by her would have been available. See for example, Sasha Chaitow, “Return from Oblivion: Joséphin Péladan’s Literary Esotericism”, in The Occult in Modernist Art, Literature, and Cinema, ed. by Tessel M. Bauduin and Henrik Johnsson, New York, Palgrave Macmillan, 2018, pp. 113–136.6 Chaitow 2018; Chaitow 2023.7 See my analysis of Thesleff’s self-portrait in Marja Lahelma, Ideal and Disintegration: Dynamics of the Self and Art at the Fin-de-Siècle, PhD diss., Helsinki, University of Helsinki, 2014, pp. 148–179.8 See, for example, Michelle Facos, Symbolist Art in Context, Berkeley, University of California Press, 2009; Rodolphe Rapetti, Symbolism, transl. by Deke Dusinberre, Paris, Flammarion, 2005.
注1 Riikka Stewen，“爱的圈子:马格努斯·恩克尔的神话”，《马格努斯·恩克尔1870-1925》，由Jari Björklöv和Juha-Heikki Tihinen主编，翻译。托米·斯内尔曼，赫尔辛基，赫尔辛基市艺术博物馆，2000年，第40-65.2页。例如，“希尔玛·克林特:未来绘画”展览，所罗门·r·古根海姆博物馆，纽约，2018年10月12日至2019年4月23日;例如，参见Karin Ström Lehander，“Tyra Kleen艺术家和精神寻求者”，走近宗教Vol. 11, No . 1, 2021, pp. 174-183.4展览神秘的象征主义:巴黎玫瑰+十字架沙龙，1892-1897，所罗门R.古根海姆博物馆，纽约，2017年6月30日至10月4日，是玫瑰+十字架沙龙的第一次博物馆展示。不幸的是，展览和随附目录中的文章反映了一种过时的观点，即神秘主义和现代艺术之间的关系，因此错过了真正批判性地反思padjladan在这种背景下所扮演的角色的机会。参见米歇尔·费鲁特和伊丽莎白·弗兰岑主编。，神秘的象征主义:巴黎玫瑰与十字架沙龙，1892-1897，纽约，古根海姆，2017;另见Chaitow对展览的批评，见《普罗米修斯之子:乔斯·萨芬·帕姆拉西丹的生活和工作》，慕尼黑，Theion出版社，2023年，第60-64.5页。Chaitow关于帕姆拉西丹生活和工作的广泛著作(2023年)直到bruchm勒的论文发表后才出现，但她的其他贡献是可以得到的。参见Sasha Chaitow，“从遗忘中回归:jossamphin psamladan的文学神秘主义”，载于现代主义艺术，文学和电影中的神秘主义，由Tessel M. Bauduin和Henrik Johnsson主编，纽约，Palgrave Macmillan, 2018，第113-136.6页;参见我对塞尔夫自画像的分析，见Marja Lahelma，《理想与解体:自我与艺术的动态》，博士论文。参见米歇尔·法科斯，《语境中的象征主义艺术》，伯克利，加州大学出版社，2009年;鲁道夫·拉皮蒂，《象征主义》，译。Deke Dusinberre，巴黎，Flammarion, 2005。
{"title":"Spiritual transcendence and androgyny within Swedish and Finnish transnational SymbolismBirte Bruchmüller. <b>Spiritual transcendence and androgyny within Swedish and Finnish transnational Symbolism</b> , Möklinta, Gidlunds Förlag, 2022. 344 pp, ISBN 978 91 7844 495 3","authors":"Marja Lahelma","doi":"10.1080/00233609.2023.2277454","DOIUrl":"https://doi.org/10.1080/00233609.2023.2277454","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 Riikka Stewen, “Circles of Love: The mythologies of Magnus Enckell”, in Magnus Enckell 1870-1925, ed. by Jari Björklöv and Juha-Heikki Tihinen, transl. by Tomi Snellman, Helsinki, Helsinki City Art Museum, 2000, pp. 40–65.2 For example, the exhibitions Hilma af Klint: Paintings for the Future, Solomon R. Guggenheim Museum, New York, 12 October 2018–23 April 2019; and Hilma af Klint & Piet Mondrian: Forms of Life, Tate Modern, London, 20 April – 3 September 2023.3 See, for example, Karin Ström Lehander, “Tyra Kleen Artist and Spiritual Seeker”, Approaching Religion Vol. 11, No 1, 2021, pp. 174–183.4 The exhibition Mystical Symbolism: The Salon de la Rose + Croix in Paris, 1892–1897, Solomon R. Guggenheim Museum, New York, 30 June – 4 October 2017, was the first ever museum presentation of the Salons de la Rose + Croix. Unfortunately, the exhibition and the essays in the accompanying catalogue reflect an outdated view of the relationship between esotericism and modern art, hence missing the opportunity for a truly critical reflection of Péladan’s role in this context. See Michel Ferut and Elizabeth Franzen, eds., Mystical Symbolism: The Salon de La Rose+Croix in Paris, 1892-1897, New York, Guggenheim, 2017; see also Chaitow’s criticism of the exhibition in Son of Prometheus: The Life and Work of Joséphin Péladan, Munich, Theion Publishing, 2023, pp. 60–64.5 Chaitow’s extensive book on Péladan’s life and work (2023) did not appear until after the publication of Bruchmüller’s thesis, but other contributions by her would have been available. See for example, Sasha Chaitow, “Return from Oblivion: Joséphin Péladan’s Literary Esotericism”, in The Occult in Modernist Art, Literature, and Cinema, ed. by Tessel M. Bauduin and Henrik Johnsson, New York, Palgrave Macmillan, 2018, pp. 113–136.6 Chaitow 2018; Chaitow 2023.7 See my analysis of Thesleff’s self-portrait in Marja Lahelma, Ideal and Disintegration: Dynamics of the Self and Art at the Fin-de-Siècle, PhD diss., Helsinki, University of Helsinki, 2014, pp. 148–179.8 See, for example, Michelle Facos, Symbolist Art in Context, Berkeley, University of California Press, 2009; Rodolphe Rapetti, Symbolism, transl. by Deke Dusinberre, Paris, Flammarion, 2005.","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":"27 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135974527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00233609.2023.2216179
Siv Rasmussen
{"title":"Colonial Objects in Early Modern Sweden and Beyond. From the Kunstkammer to Current Museum Crisis","authors":"Siv Rasmussen","doi":"10.1080/00233609.2023.2216179","DOIUrl":"https://doi.org/10.1080/00233609.2023.2216179","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":"221 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135718356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-23DOI: 10.1080/00233609.2020.1848913
E. Stone
On May 15, 1897, the Stockholm Exhibition of Arts and Industry opened in conjunction with the silver jubilee celebration of King Oscar II (r. 1872-1907). The Hall of Arts, designed by Ferdinand Bob...
{"title":"American Art at the 1897 Stockholm Exhibition","authors":"E. Stone","doi":"10.1080/00233609.2020.1848913","DOIUrl":"https://doi.org/10.1080/00233609.2020.1848913","url":null,"abstract":"On May 15, 1897, the Stockholm Exhibition of Arts and Industry opened in conjunction with the silver jubilee celebration of King Oscar II (r. 1872-1907). The Hall of Arts, designed by Ferdinand Bob...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":"7 1","pages":"231-248"},"PeriodicalIF":0.3,"publicationDate":"2020-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75481896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-04-03DOI: 10.1080/00233609.2016.1231712
P. Meijden
SummaryTaking the difficulties involved in presenting Mail Art in a museum context as its point of departure, this article explores the conditions that Mail Art imposes on its own display. After a short introduction to the art form as a genre, two theoretical positions vis-a-vis Mail Art are analysed and shown to leave the matter of its communication with a secondary audience undiscussed. In order to arrive at a preliminary idea of the considerations involved, the discourse surrounding the new “relational” art of the 1990s (Nicolas Bourriaud, Claire Bishop, Jacques Ranciere) is drawn upon to explore the question of whether a Mail Art display can be seen as an illustration of a specific form of communication, as a suggestion to a secondary audience to communicate differently or as a model of communication. Each step is accompanied by an analysis of one or more works: Ken Friedman’s Omaha Flow Systems (1973), Niels Lomholt and Tom Elling’s Mr. Klein-project (1978–1981), Rod Summers’ VEC Secret Exchange and ...
本文以“邮件艺术”在博物馆语境中呈现的困难为出发点，探讨了“邮件艺术”在自身展示中所处的条件。在对作为一种流派的艺术形式进行简短的介绍之后，分析并展示了两种相对于邮件艺术的理论立场，从而使其与次要受众的交流问题不被讨论。为了对所涉及的考虑有一个初步的想法，围绕20世纪90年代的新“关系”艺术(Nicolas Bourriaud, Claire Bishop, Jacques Ranciere)的话语被吸引来探讨邮件艺术展示是否可以被视为一种特定形式的交流的说明，作为对次要观众的建议，以不同的方式进行交流，或者作为一种交流模式。每一步都伴随着对一部或多部作品的分析:肯·弗里德曼的《奥马哈流系统》(1973)，尼尔斯·隆霍尔特和汤姆·埃林的《克莱因计划》(1978-1981)，罗德·萨默斯的《VEC秘密交换》和……
{"title":"Cinderella and the Big Monster: Mail Art and the Museum","authors":"P. Meijden","doi":"10.1080/00233609.2016.1231712","DOIUrl":"https://doi.org/10.1080/00233609.2016.1231712","url":null,"abstract":"SummaryTaking the difficulties involved in presenting Mail Art in a museum context as its point of departure, this article explores the conditions that Mail Art imposes on its own display. After a short introduction to the art form as a genre, two theoretical positions vis-a-vis Mail Art are analysed and shown to leave the matter of its communication with a secondary audience undiscussed. In order to arrive at a preliminary idea of the considerations involved, the discourse surrounding the new “relational” art of the 1990s (Nicolas Bourriaud, Claire Bishop, Jacques Ranciere) is drawn upon to explore the question of whether a Mail Art display can be seen as an illustration of a specific form of communication, as a suggestion to a secondary audience to communicate differently or as a model of communication. Each step is accompanied by an analysis of one or more works: Ken Friedman’s Omaha Flow Systems (1973), Niels Lomholt and Tom Elling’s Mr. Klein-project (1978–1981), Rod Summers’ VEC Secret Exchange and ...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":"10 1","pages":"75-96"},"PeriodicalIF":0.3,"publicationDate":"2017-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81622440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-02DOI: 10.1080/00233609.2016.1237542
M. Santos
SummaryEduardo Batarda (b. 1943, Coimbra, Portugal) is a Portuguese painter, whose work has, by its particular characteristics, been questioning art history, as well as the relation between art and politics throughout the years, since 1964. I propose to focus particularly in some examples of his paintings from the 1970s when Batarda developed a watercolour technique of saturated colours and refined drawing to make an explicit cumulative figuration akin to underground comics. He used it not only to comment the changing in the art world but in the world itself, namely the political changes in Portugal and the colonial war, as well as foreign policies, mixing all up in layers of multiple readings, and intrinsically connecting art history and politics. The fact that he used comics to do it was a way of mocking the art world with a language that was considered “low”. He also used the watercolour technique consciously for its conventional relegation to a less prestigious realm, and both this technique along wit...
{"title":"Painting Comics as a “Permanent Commentary on the State of the Arts”*","authors":"M. Santos","doi":"10.1080/00233609.2016.1237542","DOIUrl":"https://doi.org/10.1080/00233609.2016.1237542","url":null,"abstract":"SummaryEduardo Batarda (b. 1943, Coimbra, Portugal) is a Portuguese painter, whose work has, by its particular characteristics, been questioning art history, as well as the relation between art and politics throughout the years, since 1964. I propose to focus particularly in some examples of his paintings from the 1970s when Batarda developed a watercolour technique of saturated colours and refined drawing to make an explicit cumulative figuration akin to underground comics. He used it not only to comment the changing in the art world but in the world itself, namely the political changes in Portugal and the colonial war, as well as foreign policies, mixing all up in layers of multiple readings, and intrinsically connecting art history and politics. The fact that he used comics to do it was a way of mocking the art world with a language that was considered “low”. He also used the watercolour technique consciously for its conventional relegation to a less prestigious realm, and both this technique along wit...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":"68 1","pages":"45-66"},"PeriodicalIF":0.3,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90366400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-02-17DOI: 10.1080/00233609.2015.1011689
Kalinca Costa Söderlund
The work of Brazilian artist Laura Lima offers the viewer parallel realities within which it is possible to live. Such realities often preclude the distinction between the ‘real world’ and the ‘art world’, as is apparent in Bar/Restaurant, The Naked Magician and Choice – exhibited from 10 September to 30 November 2014 at Bonniers Konsthall, in Stockholm. This exhibition – curated by Sara Arrhenius with the contribution of Caroline Elgh – shows that, instead of asking ourselves ‘what’ is art, we should ask ‘when’ is art. As Lima’s work suggests, the answer to the right question is: when objects operate aesthetically by establishing a referential connection with the body as cognitive apparatus and when such apparatus becomes part and parcel of that aesthetic system, it allowed to exist. Her work also proves that ‘how an object or event [, or person] functions as a work [of art] explains how, through certain modes of reference, what so functions may contribute to a vision of – and to the making of – a world’. Similar to Nelson Goodman in his writings, Lima presents us with a method of conceiving art where the meaning of the aesthetic experience depends on our relation to the artwork and the codes and knowledge it actualises, where visual elements and the images thereof may be distinguished from their referents and end up devising their very own meanings. It is thus possible to state that from Lima’s work, as from Goodman’s, springs a constructivist and relativist philosophy. Accordingly, it is fruitful to draw on Goodman’s ideas to interpret what has been seen at this exhibition, albeit Lima’s method was not immediately recognisable.
{"title":"Laura Lima at Bonniers Konsthall: Aesthetic Systems as ‘Ways of Worldmaking’","authors":"Kalinca Costa Söderlund","doi":"10.1080/00233609.2015.1011689","DOIUrl":"https://doi.org/10.1080/00233609.2015.1011689","url":null,"abstract":"The work of Brazilian artist Laura Lima offers the viewer parallel realities within which it is possible to live. Such realities often preclude the distinction between the ‘real world’ and the ‘art world’, as is apparent in Bar/Restaurant, The Naked Magician and Choice – exhibited from 10 September to 30 November 2014 at Bonniers Konsthall, in Stockholm. This exhibition – curated by Sara Arrhenius with the contribution of Caroline Elgh – shows that, instead of asking ourselves ‘what’ is art, we should ask ‘when’ is art. As Lima’s work suggests, the answer to the right question is: when objects operate aesthetically by establishing a referential connection with the body as cognitive apparatus and when such apparatus becomes part and parcel of that aesthetic system, it allowed to exist. Her work also proves that ‘how an object or event [, or person] functions as a work [of art] explains how, through certain modes of reference, what so functions may contribute to a vision of – and to the making of – a world’. Similar to Nelson Goodman in his writings, Lima presents us with a method of conceiving art where the meaning of the aesthetic experience depends on our relation to the artwork and the codes and knowledge it actualises, where visual elements and the images thereof may be distinguished from their referents and end up devising their very own meanings. It is thus possible to state that from Lima’s work, as from Goodman’s, springs a constructivist and relativist philosophy. Accordingly, it is fruitful to draw on Goodman’s ideas to interpret what has been seen at this exhibition, albeit Lima’s method was not immediately recognisable.","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":"42 1","pages":"192-199"},"PeriodicalIF":0.3,"publicationDate":"2015-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79397565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2013-03-21DOI: 10.1080/00233609.2012.713392
Margaretha Rossholm Lagerlöf
{"title":"Un Pien Teatro di Meraviglie Gian Lorenzo Bernini vor dem Hintergrund konzeptischer Emblematik","authors":"Margaretha Rossholm Lagerlöf","doi":"10.1080/00233609.2012.713392","DOIUrl":"https://doi.org/10.1080/00233609.2012.713392","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":"11 1","pages":"52-55"},"PeriodicalIF":0.3,"publicationDate":"2013-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75240592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2011-03-22DOI: 10.1080/00233609.2010.531892
Maria Ma
I N C O N N E C T I O N W I T H the recent interest in the early modern cult image within the discipline of art history there have been considerable debates and confusion on how to treat the image, which was, or still is, honored as miraculous. Several cult images that have captured the interest of art historians because they were venerated during the Renaissance are still the subject of religious devotion today. The fact that the images have not been made accessible for the art viewer but remain closed off by a wall of devotional tokens within its traditional ecclesiastic context has often been treated as a problem by art historians who seek to grasp the underlying meaning of these images as cult images. The special attentiveness of art historians to the dating and attribution of their objects of research has further complicated the situation. In the case of the cult images that are still venerated it is often impossible to inspect them closely and, in the end, these examinations would seldom offer any information on the cult image as such. One of the main reasons for this is that the prevalent conception of origin within the historical devotional contexts of the cult images was completely different from our idea of the origin of an artifact today. In the present article, I will propose an alternative approach to the study of early modern cult images, in particular regarding concepts such as origin and authenticity, which will be treated as fundamental for an understanding of the significance of these images as well as the underlying pictorial conception of their beholders in the Renaissance. This article is therefore about the cult image in the »Era of Art«, to quote Hans Belting, when devotional practices as well as pictorial practices were undergoing change. The article focuses in particular on the Annunciation fresco in the Servite church, SS. Annunziata, in Florence. This was a miraculous image that enjoyed great popularity between the fourteenth and sixteenth centuries and, to a certain extent, still does today. The fresco and its cult have received some attention from art historians during the last decade, and many aspects of the cult and its significance in Florentine society have come to light. However, interest in the image has mainly concerned its origin and the early development of the cult, and attempts to identify its painter and the moment of its production have been made without consideration of the beliefs reflected in the legends of those who venerated the fresco. Here I propose that the actual production of the image was treated as accidental within its
{"title":"The Origins of a Miraculous Image: Notes on the Annunciation Fresco in SS. Annunziata in Florence","authors":"Maria Ma","doi":"10.1080/00233609.2010.531892","DOIUrl":"https://doi.org/10.1080/00233609.2010.531892","url":null,"abstract":"I N C O N N E C T I O N W I T H the recent interest in the early modern cult image within the discipline of art history there have been considerable debates and confusion on how to treat the image, which was, or still is, honored as miraculous. Several cult images that have captured the interest of art historians because they were venerated during the Renaissance are still the subject of religious devotion today. The fact that the images have not been made accessible for the art viewer but remain closed off by a wall of devotional tokens within its traditional ecclesiastic context has often been treated as a problem by art historians who seek to grasp the underlying meaning of these images as cult images. The special attentiveness of art historians to the dating and attribution of their objects of research has further complicated the situation. In the case of the cult images that are still venerated it is often impossible to inspect them closely and, in the end, these examinations would seldom offer any information on the cult image as such. One of the main reasons for this is that the prevalent conception of origin within the historical devotional contexts of the cult images was completely different from our idea of the origin of an artifact today. In the present article, I will propose an alternative approach to the study of early modern cult images, in particular regarding concepts such as origin and authenticity, which will be treated as fundamental for an understanding of the significance of these images as well as the underlying pictorial conception of their beholders in the Renaissance. This article is therefore about the cult image in the »Era of Art«, to quote Hans Belting, when devotional practices as well as pictorial practices were undergoing change. The article focuses in particular on the Annunciation fresco in the Servite church, SS. Annunziata, in Florence. This was a miraculous image that enjoyed great popularity between the fourteenth and sixteenth centuries and, to a certain extent, still does today. The fresco and its cult have received some attention from art historians during the last decade, and many aspects of the cult and its significance in Florentine society have come to light. However, interest in the image has mainly concerned its origin and the early development of the cult, and attempts to identify its painter and the moment of its production have been made without consideration of the beliefs reflected in the legends of those who venerated the fresco. Here I propose that the actual production of the image was treated as accidental within its","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":"39 1","pages":"1-22"},"PeriodicalIF":0.3,"publicationDate":"2011-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86424753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2008-01-01DOI: 10.1080/00233600701430080
Bengt Lärkner
Christina G. Wistman. Manifestation och avancemang : Eugen: konstnar, konstsamlare, mecenat och prins
{"title":"Christina G. Wistman. Manifestation och avancemang : Eugen: konstnär, konstsamlare, mecenat och prins","authors":"Bengt Lärkner","doi":"10.1080/00233600701430080","DOIUrl":"https://doi.org/10.1080/00233600701430080","url":null,"abstract":"Christina G. Wistman. Manifestation och avancemang : Eugen: konstnar, konstsamlare, mecenat och prins","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":"36 1","pages":"247-252"},"PeriodicalIF":0.3,"publicationDate":"2008-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77214195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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：