Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0128
C. Kang
Bonnard’s folding screens are generally understood as part of the phenomenon of japonisme, a widespread fascination with Japanese culture in Europe that emerged during the second half of the nineteenth century. When they begin to appear and then alter the representation of space in Bonnard’s painting, however, japonisme no longer provides an adequate framework for understanding their role in his art. I endeavor to account for the continued life of the non-Western object in the Western context by highlighting the folding screen’s capacity to disrupt and engender change even as it disappears from Bonnard’s late paintings. After an overview of the artist’s folding screens and their relation to japonisme, I trace their migration into Bonnard’s paintings, where the limits of this Western construct become more apparent. I propose an alternate framework—ornamentalism—within which to interpret their integration into the compositional structure of the late paintings. Ornamentalism views the ornamental object as a subject whose power to act is tied to its own degradation under imperialist and colonialist practices. Through it, I consider how the evolution of the folding screen in Bonnard’s art can help us think differently about the dynamics between Western artists and non-Western objects.
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0113
Margaret Iacono Wertz
Charles Stewart Carstairs (1865–1928) was a world-renowned art dealer and adviser to eminent collectors like Henry Clay Frick (1849–1919) and Andrew W. Mellon (1855–1937). As a principal member of M. Knoedler and Company—an art-dealing firm founded in about 1848 as the New York branch of the French Goupil and Company that remained active until its closure in 2011—and the director of its London headquarters for more than two decades, Carstairs was a key figure in the art market of the late nineteenth century and the early twentieth. Although his fundamental role in creating a market for Old Master paintings in the United States is now being acknowledged, his advocacy of modern and contemporary art and especially modern French painting remains largely unexplored. This article discusses his personal art collection and shows how the promotional methods he employed—including displaying Old Masters and modern and contemporary works together, a strategy being increasingly adopted by museums, galleries, and auction houses today—encouraged collector and public appreciation of modern painting.
查尔斯·斯图尔特·卡斯泰尔斯(Charles Stewart Carstairs, 1865-1928)是世界知名的艺术品经销商，也是亨利·克莱·弗里克(Henry Clay Frick, 1849-1919)和安德鲁·w·梅隆(Andrew W. Mellon, 1855-1937)等著名收藏家的顾问。作为M. Knoedler and Company的主要成员，卡斯泰尔斯是19世纪末20世纪初艺术市场的关键人物。M. Knoedler and Company是一家艺术品交易公司，成立于1848年左右，是法国古皮尔公司(Goupil and Company)在纽约的分支机构，一直活跃到2011年倒闭。尽管他在创造美国古典大师绘画市场方面的重要作用现在得到了承认，但他对现当代艺术，尤其是法国现代绘画的倡导在很大程度上仍未被发掘。这篇文章讨论了他的个人艺术收藏，并展示了他所采用的推广方法——包括将古代大师和现当代作品放在一起展示，这一策略如今越来越多地被博物馆、画廊和拍卖行采用——是如何鼓励收藏家和公众欣赏现代绘画的。
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0001
Elissa Myers
This essay performs a queer reading of Helen Burns’s untidiness in Jane Eyre. While that untidiness is a facet of Helen’s character that has been ignored in recent criticism, attending to this aspect of her character also enables a theorization of the possible forms of children’s resistance within nineteenth-century educational settings. Lowood School aims to control girls’ outer and inner lives by forcing them to attend to their bodies at the expense of their minds, inculcating what I call the time of the body. In order to make this argument, I draw on Kathryn Bond Stockton’s idea that, for children, temporality involves “growing sideways” rather than “up,” that is, finding generative pockets of time that do not lead to a linear or reproductive (adult) narrative. Helen’s untidiness and the desire between Helen and Jane are queer in that they coexist with but are somewhat set apart from the novel’s marriage plot. In addition, both Helen and Jane’s relationship and Helen’s untidy embodiment are queer because they defy Lowood’s insistence on the gendered temporalities of self-sacrifice in favor of an embrace of unruly materiality and contemplation in atemporal and nonphysical spaces.
本文对《简·爱》中海伦·彭斯的不整洁进行了奇怪的解读。虽然海伦性格中不整洁的一面在最近的批评中被忽视了，但关注她性格中的这一面也使19世纪教育环境中儿童抵抗的可能形式理论化。洛伍德学校的目的是控制女孩的外在和内在生活，强迫她们以牺牲思想为代价关注自己的身体，灌输我所说的身体时间。为了证明这一点，我引用了凯瑟琳·邦德·斯托克顿(Kathryn Bond Stockton)的观点，即对于孩子来说，时间性涉及“横向成长”而不是“向上成长”，也就是说，寻找不导致线性或再生(成人)叙事的生产性时间片段。海伦的不整洁和海伦与简之间的欲望是奇怪的，因为它们与小说的婚姻情节共存，但又有些分开。此外，海伦和简的关系以及海伦不整洁的化身都是酷儿的，因为它们违背了罗伍德对自我牺牲的性别暂时性的坚持，赞成对不受约束的物质性的拥抱，以及对非时间和非物质空间的沉思。
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0019
Matthew Pethers
Textual serialization was a pervasive practice in the United States in the nineteenth century but also—as the century came to an end—an increasingly contentious one, with emergent academic-disciplinary conceptions of literature starting to define the field in terms of notions of textual integrity antithetical to the part-publication techniques of mass periodical culture. Expanding on emergent media studies–influenced approaches to serialization and their debt to Latourian theories of culture as network in particular, this essay seeks to understand the development of modern intellectual specialization by considering the nineteenth-century magazine as a complex web of different modes of writing whose engagements with and adaptations of each other both resisted and were resisted by the process of disciplinary differentiation that Niklas Luhmann sees as integral to contemporary societies. Taking a particular issue of the quality magazine the Atlantic Monthly from 1872 as its case study, this essay comprehensively maps the intersection between different serialized genres during the nineteenth century, in the process pushing accounts of serialization beyond the dominant emphasis on the novel to consider serialized biographies, essays, poems, and short stories while also delineating the shifting cultural prestige of these literary forms.
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0173
P. d’Ors
The present essay focuses on the portrait gallery housed in the sala de cabildos of Old San Juan’s city hall during the nineteenth century. Because this was the room in which the city council met, it became a symbolically charged space that acted as a locus of local civic pride. Two impressive full-length portraits of governors of the island stood out within the gallery: the Portrait of Ramón de Castro by local painter José Campeche (1751–1809) and the Portrait of Miguel de la Torre by Eliab Metcalf (1785–1834), a painter born in Massachusetts who sojourned in the island. Both are unusual in that they celebrate Puerto Ricanness and present the viewer with a particular vision of local identity within the context of the Spanish colonial empire. Besides commissioning these portraits, the city council orchestrated social events during which San Juan citizens could view the sala de cabildos and become actors in the performance of social identity.
目前的文章集中在肖像画廊安置在老圣胡安市政厅的sala de cabildos在19世纪。因为这是市议会开会的地方，它成为了一个具有象征意义的空间，是当地公民自豪感的所在地。两幅令人印象深刻的岛上总督的全身肖像在画廊中脱颖而出:当地画家joss Campeche(1751-1809)的Ramón de Castro肖像和Eliab Metcalf(1785-1834)的Miguel de la Torre肖像，Eliab Metcalf出生于马萨诸塞州，曾在岛上居住。这两部作品的不同之处在于，它们颂扬波多黎各人的特性，并在西班牙殖民帝国的背景下，向观众呈现一种特殊的地方身份。除了委托这些肖像外，市议会还策划了一些社会活动，在这些活动中，圣胡安市民可以观看sala de cabildos，并成为社会身份表演的演员。
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0092
Margot Bernstein
Louis Carrogis called Carmontelle was a French amateur draftsman whose association with the royal Orléans court in the final decades of the ancien régime afforded him direct access to Enlightenment luminaries, celebrities, and elites. Carmontelle created a well-known triple-portrait drawing of Leopold, Maria Anna, and Wolfgang Amadeus Mozart during the family’s 1763–64 stay in France. Four museums—two in France and two in the United Kingdom—claim to count autograph versions of this triple portrait (in other words, in Carmontelle’s own hand) among their collections. Close examination of these triple portraits—in the collections of the Musée Carnavalet in Paris, the Musée Condé in Chantilly, the British Museum in London, and Castle Howard in Yorkshire—reveals, however, that three of these four works are not autograph drawings by Carmontelle. In fact, one of these three sheets is not a drawing at all. This essay examines the origins of these misattributions and some of the reasons for their perpetuation. More broadly, it cautions against accepting prestigious provenances at face value and demonstrates the value of close, prolonged looking and careful comparative analysis.
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0186
D. Pullins
On the basis of precious few facts from the artist’s lifetime, nineteenth-century authors with varying agendas wove stories around Juan de Pareja, the seventeenth-century Afro-Hispanic painter who was enslaved by Diego Velázquez for some two decades. Before the opening of Paris’s Galerie espagnole in 1838, writers hewed closely to Pareja’s first biography, published in Antonio Palomino’s El museo pictórico y escala óptica (1715–24). Thereafter, however, fanciful plot twists and cameo appearances by other historical characters, notably Peter Paul Rubens, became part of tales relayed in the popular press, from newspapers and magazines to children’s books, language primers, and plays. This essay focuses on the origins of particularly persistent threads in this extensive body of previously unexamined narratives and considers how such dynamic fabulation intersected with abolitionist agendas, popular illustrations of Pareja’s life, and seventeenth-century works of art.
19世纪的作家们以艺术家一生中为数不多的珍贵事实为基础，怀着不同的目的，围绕胡安·德·帕雷哈(Juan de Pareja)编织故事，这位17世纪的非裔西班牙裔画家被迭戈·Velázquez奴役了大约20年。在1838年巴黎espagnole画廊开幕之前，作家们密切关注着安东尼奥·帕洛米诺(Antonio Palomino)的El museo pictórico y escala óptica(1715-24)出版的帕雷哈的第一部传记。然而，此后，离奇的情节转折和其他历史人物的客串，尤其是彼得·保罗·鲁本斯，成为大众媒体从报纸、杂志到儿童书籍、语言入门和戏剧的故事的一部分。这篇文章的重点是在这个广泛的先前未经研究的叙述体中特别持久的线索的起源，并考虑这种动态的虚构是如何与废奴主义议程、流行的帕雷贾生活插图和17世纪的艺术作品相交叉的。
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0217
Iraida Rodríguez-Negrón
The art collection of William H. Stewart (1820–97), an American expatriate who lived in Paris during the second half of the nineteenth century, comprised more than two hundred paintings by contemporary American and European artists and was lauded as the most outstanding compilation of works by artists of the modern Spanish school. Following the collection’s dispersal at auction in 1898, Stewart’s reputation as a patron began to diminish. This essay aims to rehabilitate Stewart, further the appreciation of his contributions, and shed light on the connections he established with some of the most popular artists of the period, especially those of Spanish origin living in Paris. These relationships are highlighted in “The Stewart Album,” now in the collection of the Meadows Museum in Dallas, Texas. This extraordinary compendium of primary sources is a testament to Stewart’s connoisseurship and taste and the important place he occupied in the international art scene during the last four decades of the nineteenth century. By considering the material within the album together with other contemporary sources, a clearer picture of a formidable artistic patron emerges, one who not only developed personal relationships with artists but also promoted Spanish art and culture among his American friends.
19世纪下半叶旅居巴黎的美国人威廉·h·斯图尔特(William H. Stewart, 1820 - 1897)的艺术收藏包括了200多幅当代美国和欧洲艺术家的作品，被誉为现代西班牙学派艺术家作品的最杰出的汇编。随着这些藏品在1898年的拍卖会上散去，斯图尔特作为赞助人的声誉开始下降。本文旨在为斯图尔特平反，进一步欣赏他的贡献，并阐明他与当时一些最受欢迎的艺术家，特别是那些居住在巴黎的西班牙裔艺术家建立的联系。这些关系在《斯图尔特专辑》(The Stewart Album)中得到了强调，该专辑目前在德克萨斯州达拉斯的梅多斯博物馆(Meadows Museum)收藏。这本非凡的原始资料汇编证明了斯图尔特的鉴赏力和品味，以及他在19世纪最后四十年在国际艺术界所占据的重要地位。通过将专辑中的材料与其他当代资料一起考虑，可以更清楚地看到这位强大的艺术赞助人的形象，他不仅与艺术家建立了私人关系，而且还在他的美国朋友中推广西班牙艺术和文化。
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0256
Naina Saligram
ABSRACT Neural network ensemble is a collaborative learning paradigm that utilizes multiple neural networks to solve a complex learning problem. Constructing predictive models with high generalization performance is an important and yet most challenging goal for robust intelligence systems in the presence of dirty data. Given a target learning task, popular approaches have been dedicated to find the top performing model. However, it is difficult in general to estimate the best model when available data is finite, possibly dirty, and insufficient for the problem. In this talk, I will give an overview of a diversity-centric ensemble learning framework developed at Georgia Tech, including methodologies and algorithms for measuring, enforcing, and combining multiple neural networks by improving generalization performance of the overall system and maximizing ensemble utility and resilience to dirty data. I will also discuss experiences and lessons learned throughout my academic journey and the importance of open-ended learning, lifelong learning, and learning from interactions with diverse scholars. BIOGRAPHY Ling Liu is a Professor in the School of Computer Science at Georgia Institute of Technology. She directs the research programs in the Distributed Data Intensive Systems Lab (DiSL), examining various aspects of big data powered artificial intelligence (AI) systems, and machine learning (ML) algorithms and analytics, including performance, availability, privacy, security and trust. Prof. Liu is an elected IEEE Fellow, a recipient of IEEE Computer Society Technical Achievement Award (2012), and a recipient of the best paper award from numerous top venues, including IEEE ICDCS, WWW, ACM/IEEE CCGrid, IEEE Cloud, IEEE ICWS. Prof. Liu served on editorial board of over a dozen international journals and served as the editor in chief of IEEE Transactions on Service Computing (2013-2016), and currently is the editor in chief of ACM Transactions on Internet Computing (since 2019). Prof. Liu is a frequent keynote speaker in top-tier venues in Big Data, AI and ML systems and applications, Cloud Computing, Services Computing, Privacy, Security and Trust. Her current research is primarily supported by USA National Science Foundation under CISE programs, IBM and CISCO. DAT E: Tuesday January 31, 2023 TIME: 7p 8p LOCATION: Virtual on MS Teams
摘要神经网络集成是一种利用多个神经网络解决复杂学习问题的协同学习范式。构建具有高泛化性能的预测模型是存在脏数据的鲁棒智能系统的一个重要且最具挑战性的目标。给定一个目标学习任务，流行的方法一直致力于找到表现最好的模型。然而，当可用数据有限、可能很脏且不足以解决问题时，通常很难估计最佳模型。在这次演讲中，我将概述佐治亚理工学院开发的以多样性为中心的集成学习框架，包括通过提高整个系统的泛化性能和最大化集成效用和对脏数据的弹性来测量、执行和组合多个神经网络的方法和算法。我还将讨论在我的学术生涯中所学到的经验和教训，以及开放式学习、终身学习和从与不同学者的互动中学习的重要性。刘玲，美国佐治亚理工学院计算机科学学院教授。她指导分布式数据密集型系统实验室(DiSL)的研究项目，研究大数据驱动的人工智能(AI)系统的各个方面，以及机器学习(ML)算法和分析，包括性能，可用性，隐私，安全性和信任。刘教授是IEEE院士，IEEE计算机学会技术成就奖(2012)获得者，并获得IEEE ICDCS、WWW、ACM/IEEE CCGrid、IEEE Cloud、IEEE ICWS等众多顶级论坛的最佳论文奖。刘教授曾在十余家国际期刊编委任职，曾担任IEEE Transactions on Service Computing(2013-2016)主编，现任ACM Transactions on Internet Computing(2019年至今)主编。刘教授经常在大数据、人工智能和机器学习系统与应用、云计算、服务计算、隐私、安全与信任等领域的顶级会议上发表主题演讲。她目前的研究主要由美国国家科学基金会CISE项目，IBM和思科支持。日期E: 2023年1月31日星期二时间:下午7点8点地点:微软团队虚拟
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Pub Date : 2021-12-01DOI: 10.5325/ninecentstud.33.0078
C. Bailey
This essay focuses on the Morgan Library and Museum’s recently acquired drawing Bathers (1886–87), made in preparation for Pierre-Auguste Renoir’s painting The Great Bathers (1885–87; Philadelphia Museum of Art). It is the first in-depth study of the drawing and also reexamines the artist’s process in developing and refining his celebrated painting. Considering the visual and written sources of Renoir’s creative processes as well as the artist’s intellectual concerns during the mid-1880s, I discuss Bathers together with Renoir’s other large-scale preparatory figure drawings, which adopted similar graphic techniques. I hope not only to clarify the chronology of Renoir’s production of The Great Bathers but also to offer a fresh appraisal of the role drawing played in Renoir’s working practice in the decade following his emergence as one of the leading figures in the Impressionist movement.
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