Pub Date : 2019-02-11DOI: 10.1080/01973762.2019.1553444
K. Brosens, J. Aerts, K. Alen, Rudy Jos Beerens, Bruno Cardoso, Inez De Prekel, A. Ivanova, Houda Lamqaddam, G. Molenberghs, Astrid Slegten, Frederik Truyen, Katlijne Van der Stighelen, K. Verbert
This paper presents the rationale, genesis, and applications of Project Cornelia, an ongoing computational art history project developed by a cross-disciplinary team at the KU Leuven (University of Leuven). It shares practical perspectives acquired while conceptualizing and unfolding the project and discusses successes as well as challenges and setbacks. In doing so, this paper is a cautionary tale for art historians entering the digital arena. However, it is also an invitation to connect to Project Cornelia. Art historians seeking to avoid heavy start-up costs and willing to embed their research in a larger empirical and theoretical framework can easily share their data and use Cornelia’s data and tools to further their and our understanding of the genesis and governance of early modern creative communities and industries.
{"title":"Slow Digital Art History in Action: Project Cornelia’s Computational Approach to Seventeenth-century Flemish Creative Communities","authors":"K. Brosens, J. Aerts, K. Alen, Rudy Jos Beerens, Bruno Cardoso, Inez De Prekel, A. Ivanova, Houda Lamqaddam, G. Molenberghs, Astrid Slegten, Frederik Truyen, Katlijne Van der Stighelen, K. Verbert","doi":"10.1080/01973762.2019.1553444","DOIUrl":"https://doi.org/10.1080/01973762.2019.1553444","url":null,"abstract":"This paper presents the rationale, genesis, and applications of Project Cornelia, an ongoing computational art history project developed by a cross-disciplinary team at the KU Leuven (University of Leuven). It shares practical perspectives acquired while conceptualizing and unfolding the project and discusses successes as well as challenges and setbacks. In doing so, this paper is a cautionary tale for art historians entering the digital arena. However, it is also an invitation to connect to Project Cornelia. Art historians seeking to avoid heavy start-up costs and willing to embed their research in a larger empirical and theoretical framework can easily share their data and use Cornelia’s data and tools to further their and our understanding of the genesis and governance of early modern creative communities and industries.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2019.1553444","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44424185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-11DOI: 10.1080/01973762.2018.1553443
E. Kłoda, Ksenia Stanicka-Brzezicka
The project “Monuments and Artworks in East Central Europe Research Infrastructure” exemplifies introducing methods and tools of digital humanities to art-historical problems in multilingual and culturally diverse milieu. East Central Europe is a region with historically changing borders and different national cultures of knowledge. For such a region, a proper transnational scientific infrastructure is vital for the adequate description and classification of art-historical monuments, and dynamic networks of actors and cultural phenomena. Drawing on our project experience, we argue that the model of knowledge created through the process of data modelling and setting standards for digital images can be seen as an interpretative and epistemological frame for research. This paper analyses the transnational integration of catalogued data into the infrastructure through a semantic data model. We tackle the question of implementation of multilingual external vocabularies and authority control in the database. The method of indexing photos in the context of the material turn is another crucial issue in the infrastructure. In addition, this paper underlines practical challenges of the project such as: involvement in an international network of collaborators, legal requirements, and copyright.
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Pub Date : 2019-02-11DOI: 10.1080/01973762.2019.1555351
M. Cardinali
Digital art history is currently moving into a new phase. As a result of the ongoing digitization of artifacts and the creation of large digital repositories that bring together literary sources, images, as well as historical and technical data, new perspectives point to data mining and data/image processing. This article reviews some of the main data and image bases that deal with technical and material studies on works of art. The work-in-progress, Technical Data/Image Base on Caravaggio and His Followers, of the Max Planck Institut für Kunstgeschichte/Bibliotheca Hertziana (Rome, Italy) is presented within a historical and theoretical framework, describing the establishment of technical research in art history and the role played as early as 1930 by the International Conference for the Study of Scientific Methods in the Examination and Conservation of Artworks (Rome). The state of the art of technical research on the Italian painter Michelangelo Merisi, Il Caravaggio (1571–1610) and its critical issues are also sketched out, and the nature of the scientific information provided by digital multispectral imaging is considered within a brief review of the history of technical images.
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Pub Date : 2019-02-11DOI: 10.1080/01973762.2018.1553445
Genevieve Westerby, K. Keegan
This article considers the various ways that the Art Institute of Chicago’s digital scholarly collection catalogues engage with art history in the digital realm. Since 2009, when the Art Institute of Chicago (AIC) was invited by the Getty Foundation to participate with a group of other museums to create a platform for museum collection catalogues online, the AIC has been a leader in this growing field. The digital platform we designed has proven to be the ideal vehicle to present our research in a dynamic manner. Through several case studies, we will demonstrate how these publications have not only made contributions to the field of digital art history through the presentation of primary archival source material online, but have also facilitated the incorporation of digital art history into our methodological toolbox. This paper also discusses the challenges of digital publishing as compared to more traditional, print-based workflows.
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Pub Date : 2018-10-08DOI: 10.1080/01973762.2018.1493560
Joana Cunha Leal
This article analyses the spatial practices of a collective art project developed by Corporation Nouvelle, a group of modernist artists working in Portugal during the First World War. It investigates its formation and activities, while discussing the relationship between the ultra-peripheral places where these activities were designed, and the transnational-cosmopolitan profile that the group developed. The article revisits some well-known data on Robert Delaunay (1885–1941) and Sonia Delaunay (1885–1979), Amadeo de Souza Cardoso (1887–1918) and Corporation Nouvelle’s operations, resting on two interlocked theoretical determinants: the first questions the way we tend to think about space and place as objectified categories; and the second discusses how in art history the notions of center and periphery tend to operate as geographical locations and to function as discrete categories. The case study of Corporation Nouvelle helps to show that such binary opposition is far from exhausting the ways in which peripheral places are perceived and lived. It is also utilized to argue that geography matters: places of production are not mere locations but social constructs that entail a dialectical relationship between the perceived, the conceived, and the lived.
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Pub Date : 2018-10-02DOI: 10.1080/01973762.2018.1524218
Felicity C. L. Allen
The Disoeuvre: an Argument in 4 Voices (WASL Table); version 4:27 contributes to Felicity Allen’s long-term project, The Disoeuvre. Allen first invented, named and explored the concept of The Disoeuvre in her PhD, “Creating the Disoeuvre: Interpreting Feminist Interventions as an Expanded Artistic Practice in Negotiation with Art’s Institutions”. The four voices of The Disoeuvre: an Argument in 4 Voices (WASL Table); version 4:27 work across and down each page in four strands: (1) photograph, (2) diaristic/album note, (3) didactic argument shifting through multiple pronoun positions from pronounced objectivity to pronounced subjectivity, and (4) quotations from texts read by the artist who has given herself permission to make no more than 27 variations of this work. In 1978, Allen was a founder member of the Women Artists Slide Library (WASL) in London, and decades later her Middlesex University supervisors suggested that her WASL work might be presented in her PhD (completed in 2016). However, she and the other early founders of the library had preserved hardly any documentation of their activism. The table on which she continues to work, originally passed on to her for WASL in 1978 but too big for WASL’s first public office in 1982, is perhaps an equivalent to documentation; staying with her throughout her career, the table also suggests undercurrents in her own Disoeuvre.
The Disoeuve:a Argument in 4 Voices（WASL表）；版本4:27有助于费利西蒂·艾伦的长期项目，Disoeuvre。艾伦在她的博士学位中首次发明、命名并探索了“创造作品：将女权主义干预解释为与艺术机构谈判中的扩展艺术实践”这一概念。《杂烩四声：四声之辩》（WASL表）；版本4:27将每页分为四个部分：（1）照片，（2）日记/相册笔记，（3）通过多个代词位置从发音的客观性转变为发音的主观性的说教性论点，以及（4）艺术家阅读的文本中的引文，她允许自己对这幅作品进行不超过27种变体。1978年，艾伦是伦敦女艺术家幻灯片图书馆（WASL）的创始人，几十年后，她的米德尔塞克斯大学导师建议，她的WASL作品可能会在她的博士学位上发表（2016年完成）。然而，她和图书馆的其他早期创始人几乎没有保存任何关于他们行动主义的文件。她继续工作的桌子，最初于1978年在WASL传给她，但对于1982年WASL的第一个公职来说太大了，可能相当于文件；在她的整个职业生涯中，这张表也暗示了她自己作品中的暗流。
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Pub Date : 2018-10-02DOI: 10.1080/01973762.2018.1524042
Barbara Pezzini
In 2005, biologist Phil Clapham warned of the perils of not publishing one’s work. Failure to publish by scientists who work for years on a subject, he wrote, “is a scientific crime.” Speaking in 2018 from the arts and humanities field, I hold a different viewpoint. I find excessive publishing equally damaging to the discipline as not publishing at all. The well-known academic motto “publish or perish,” combined with an expanding press and the rise of digital publishing, is creating vast, fast-expanding and unmanageable bibliographies. According to JSTOR in 2010 alone there were 799 articles published on “Picasso,” 10,250 on “Art Market” and 12,143 on “Medieval.” Undoubtedly there will be some overlap in these results, and not all will be relevant to one’s research – I admit the term “Medieval” is particularly vague – but these numbers highlight the large amount of published work in a single year. It is becoming increasingly difficult to keep abreast of new publications, even if one’s research subject is relatively niche. As a result, many of us are unable to read either widely or thoroughly and we circumscribe our specialism to smaller and smaller areas. We may suffer from reading fatigue or from feelings of inadequacy and anxiety. In addition, the requirement to publish is so ruthless that, combined with professional uncertainty, it is driving colleagues away from academia. The phenomenon of quitting – which has even created its own academic genre, “Quit Lit” – has been recently investigated by sociologist Francesca Coin. Her paper was downloaded more than 3,000 times in the few weeks since its publication on the repository website Academia.edu, a rate that shows its topicality for the academic community. Coin speaks of a career academic who “works an unrealistic, 24/7 schedule chronicled by constant overload and frequent burnout. It acts as an individual enterprise whose desire for self-realization translates into being constantly frustrated by feelings of dissatisfaction and an unmanageable workload.” A possible answer to this professional fatigue is quitting, following the rebellious creed of French philosopher Albert Camus (1913–1960). In the words of Coin:
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Pub Date : 2018-09-17DOI: 10.1080/01973762.2018.1507475
Rodney T. Swan
Henri Matisse (1869–1954) adopted medievalism, a motif of cultural resistance in Occupied France, as a symbol of national unity through his appropriation of the fifteenth-century poems of Charles de Valois, duc d’Orléans (1394–1465). Matisse saw parallels between the plight of the medieval poet, held captive in England, and his own circumstances in France during the Second World War. Begun in 1942, while recovering from his near-fatal illness, aided by his friend André Rouveyre (1879–1962), encouraged by the fugitive poet Louis Aragon (1897–1982), Matisse introduced covert symbols and coded messages of hope and rebirth into his book to highlight his nation’s heritage as he silently participated in the cultural battle that was being fought in France. This article analyses the aesthetic evolution of his wartime illustrated book Poèmes de Charles d’Orléans (1950), and examines his choice of poems, the handwritten text, his decorative illuminations, the images, d’Orléans’s portrait and the frontispiece within the context of the disruption to the French nation and his own personal circumstances.
亨利·马蒂斯（1869–1954）采用中世纪主义，这是被占领法国文化抵抗的主题，通过他对十五世纪奥尔良公爵查尔斯·德瓦卢瓦（1394–1465）诗歌的挪用，将其作为民族团结的象征。马蒂斯看到了这位被囚禁在英国的中世纪诗人的困境与第二次世界大战期间他在法国的处境之间的相似之处。始于1942年，在他的朋友安德烈·鲁维尔（1879–1962）的帮助下，在逃亡诗人路易斯·阿拉贡（1897–1982）的鼓励下，马蒂斯从近乎致命的疾病中康复，他在书中引入了希望和重生的秘密符号和编码信息，以突出他的国家遗产，因为他默默地参与了法国正在进行的文化斗争。本文分析了他的战时插图书《巴黎人》（Poèmes de Charles d'Orléans，1950）的美学演变，并在法国国家和他自己的个人环境受到破坏的背景下，考察了他对诗歌、手写文本、装饰性装饰、图像、d'Oréans的肖像和正面作品的选择。
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Pub Date : 2018-09-03DOI: 10.1080/01973762.2018.1493559
I. Trowell
This article gives a historical account of the intricate crossover between pop music and the British fairground, focusing on the evolving visual resources of pop music and how these came to be utilised on the fairground. The visual identity of the fairground – expressed predominantly through painted work – reflects the fairground as a subcultural space for music, and draws from the iconography of pop music and subcultural strands. This gives British fairground art a unique character and vibrant, expressive essence. A start point is taken as the formative music styles and associated imagery in the period 1950–1980, proposing a parallel to the Pop Art movement arising through the 1960s. The 1980s are examined through the lens of transmediality, i.e. a non-media specific interpretation, and the crossover between music and horror exemplified by Michael Jackson’s song “Thriller”. Finally, the 1990s to the present are documented as a new mode of image production and representation, with iconography from the Rave movement in dance music and subculture becoming the ubiquitous visual syntax of the fairground. The article considers the process of translation between the visual resources of two realms of popular culture with particular regard to the challenge presented by popular music to be translated into fairground art and the evolving structure of fairground machinery and its affordance of fairground art.
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Pub Date : 2018-09-03DOI: 10.1080/01973762.2018.1499472
Colleen O'Reilly
In 1958, graphic designer Will Burtin’s (1908–1972) large-scale model of a basic cell, made of plastic and flashing lights, opened at the annual convention of the American Medical Association. It had been commissioned by Upjohn Pharmaceuticals, and was received with great enthusiasm. It subsequently traveled internationally, appearing widely in print and on television, and then settling for permanent exhibit at the Chicago Museum of Science and Industry. This interactive, multimedia exhibition was an example of a specific approach to scientific visualization that manifested new attitudes toward the power of visual material for American social progress. In the context of the Cold War, certain ways of employing “the visual” were deemed to be conducive to securing individual agency and human mental freedom. In the realm of mid-century corporate science and technology display, where designers and businessmen worked closely together, these new design techniques helped to make corporate activity appear coherent with these democratic ideals. An analysis of the sensory experience of the Upjohn cell model and its circulation demonstrates the key role that visual technology played in defining American citizenship as a practice of viewing visual media. Burtin’s design projects helped to affirm relationships between progress, democracy, and Western capitalism during the Cold War period.
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