Pub Date : 2023-09-26DOI: 10.1080/02666286.2023.2195960
Aida Yuen Wong
This article examines cross-national, geographical analogizing through the under-theorized example of an artist colony in Japan nicknamed the “Ikebukuro Montparnasse” (a title coined by the poet Hi...
本文以日本一个被戏称为“Ikebukuro Montparnasse”（诗人Hi。。。
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Pub Date : 2023-09-26DOI: 10.1080/02666286.2023.2195820
Keith Bresnahan
This article examines two instances of an analogical construction by which architects living and working outside of Western metropoles are identified as “the Le Corbusier of …”: Shiv Nath Prasad (1...
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Pub Date : 2023-07-03DOI: 10.1080/02666286.2023.2195839
Lana Tran
Abstract After a fortuitous encounter with a reproduction of Vincent van Gogh’s Six Sunflowers in 1920s Japan, then teenager Shikō Munakata (1903–75) famously pledged to become “Japan’s Van Gogh.” Instead, Munakata would become a woodblock printmaker celebrated in a purposely non-analogical manner not only as “the world’s Munakata” but also, later, as “Japan’s Munakata,” amongst numerous other variations. Conveyed through successive (dis)analogies, the story of Munakata’s artistic development makes clear certain national paradigms entangled in the historization of Japanese modern art. In this case study, I trace the varied ways in which Munakata and others construct, propagate, and modify analogy in an active and, at times, unwitting process of historicization across several contexts, including Munakata’s own visual and textual legacy, the writings of his contemporaries and art historians, and the interpretive approaches of museums. This article focuses on key insights from historiographical research and a site visit to the Munakata Shiko Memorial Museum of Art in Aomori, Japan. This example is unusual and significant in that an analogy proposed by the artist himself (Japan’s Van Gogh) is adopted and modified by others in a way to which Munakata responds in different ways throughout his life. In comparing the intentions and contexts that underlie each instance, I discuss ruptures in how Munakata’s life and work are interpreted in writings about the artist. I emphasize that analogies need not be static; they are also strategically inconsistent, malleable, and thus revelatory of their underlying conventions.
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Pub Date : 2023-07-03DOI: 10.1080/02666286.2023.2195888
Yi Gu
Abstract Ever since Jean-François Millet (1814–75) was introduced to China in the 1920s through translations, Chinese artists’ fascination with him has resulted more from his life story than from the poor reproductions of his artworks. Millet’s focus on the imagery of the peasantry and his purported identification with the peasant made him a unique figure in the rise of a discourse on native soil, which conflates peasants, the land, the Communist revolution, and a distinctive Chineseness in art. This discourse first took form during the War of Resistance against Japan (1937–45) and continues to thrive in China today. This article examines the growing list of artists—from the well-known masters Gu Yuan (1919–96) and Luo Zhongli (1948–) to lesser-known artists whose professional work was supported by state painting academies and teaching institutions—who have been named the “Chinese Millets.” I propose that “Millet” continues to be effective as a trope in the discussion and imagination of art in China today because his life story provides multiple thrusts—the rapport with peasants, the simplicity and nobility of an artist’s character, an unflinching insistence on one’s own style in opposition to more fashionable trends—in support of a vague conviction of the vitalist force of the native soil. This simultaneously eases Chinese artists’ anxiety over their distinction in the international contemporary art world and echoes the civilizational nationalism increasingly promoted by the party state. Foregrounding the persistent phenomenon of likening to Millet in art discourse in China, this study reveals the challenges and dilemmas of an art world that simultaneously strives to rise in the global order and manages to work with an authoritarian state that both promises generous patronage and demands cooperation.
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Pub Date : 2023-07-03DOI: 10.1080/02666286.2023.2195808
M. Cheetham, Hana Nikčević
Abstract The special issue Analogical Practices in the Global Art World systematically examines for the first time the widespread practice of constructing global art and architectural histories through analogy. In addition to summarizing the essays presented and the pertinent literature on analogy across several fields, this Introduction marshals primary research alongside scholarship and observations from diverse disciplines to advance two overarching arguments. First, we claim that art world analogies both disclose and influence the axes along which art-historical and museological thinking is habitually oriented: national groupings or “schools” above all, but also chronology, gender, race, cultural identification, art media, and style. Second, we argue that the art world analogy paradigmatically involves collaborations of textual iteration with works of visual art. Proposing, ultimately, that visual analogy is never just visual, we build a theory of analogy-as-discourse for the visual arts.
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Pub Date : 2023-04-26DOI: 10.1080/02666286.2023.2168466
Allegra Iafrate
Abstract
This article explores some of the dynamics related to ekphrasis between Late Antiquity and the Middle Ages, focusing particularly on the often problematic, but always fruitful, interplay between the object and its description. My interest lies, more specifically, in what has often been called ‘reverse ekphrasis’, that is, the process through which the figurative arts engage in producing an equivalent of the verbal text, instead of the other way around. The analysis is structured around a series of case studies related to King Solomon and to the rich artistic patronage attributed to him by the Bible—a patronage that not only was exploited for centuries to create a powerful imagery around kingship, but also had a fruitful effect on the creation of artefacts.
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Pub Date : 2023-04-03DOI: 10.1080/02666286.2022.2160194
Barbara E. Mundy
Abstract Pliny the Elder’s Natural History, which contains an account of the origins of painting, offered sixteenth-century European artists a gift as they struggled to advance the status of painting as an intellectual rather than a mechanical art. The Roman authority was also read by Indigenous intellectuals in New Spain; they described their autochthonous painting practice in an account written in the Nahuatl language to respond to Pliny. This article offers a new translation of their account and a careful analysis that draws on recent work by material scientists to construct an Indigenous ontology of the image, and gives a comparison to the Plinian ideal. Crucial to both accounts is the role of the shadow as it relates to the nature of representation.
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Pub Date : 2023-04-03DOI: 10.1080/02666286.2022.2160188
James O'Neill
Abstract This article focuses on the botanical specimens and their symbolic purpose in the narrative of the Hypnerotomachia Poliphili (1499). It examines the questions as to why certain plants are positioned at certain narrative stages, and how the relationship between their aesthetic, medical, literary, and symbolic purpose fits with the narrative. It also examines how this ratiocination of reflecting a developing topography with the interior development of the soul is handled in a wholly humanist–Renaissance manner over earlier treatments of botany in the medieval philosophical dream allegories such as Guillaume de Lorris and Jean de Meun’s Roman de la rose and Brunetto Latini’s Il Tesoretto, or the pre-medieval Prudentius’s Psychomachia. 1
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Pub Date : 2023-04-03DOI: 10.1080/02666286.2022.2069955
Kristoffer Neville
Abstract The Entwurff einer historischen Architectur (Outline of an Historical Architecture, 1721), by Johann Bernhard Fischer von Erlach, architect to the Austrian imperial court, is often seen as a milestone in the literature of architecture, and as the first comparative and universal history of architecture. In part because it has been studied primarily as a work of architectural history, rather than imperial history, it has become relatively unmoored from a large body of earlier and contemporary histories of the Habsburgs and the imperial house. These works cumulatively established a distinct historiographical tradition that informs the content and narrative of Fischer’s book and aligns it closely with a deeply ideological narrative in which a historical line leads directly from the Old Testament patriarchs through Greco-Roman rulers to the Holy Roman Emperors, and from Jerusalem and Rome to modern Vienna. To a substantial degree, this historiography, rather than a nascent architectural canon, determined the contents and presentation of the Entwurff.
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Pub Date : 2023-04-03DOI: 10.1080/02666286.2022.2072109
P. Sohm
Abstract Agnolo Bronzino performs a visual experiment in Anton Francesco Doni’s I Marmi (Venice, 1552). “Do you see these pigments?” he asks as he shows his palette to a group of Florentine artisans. Bronzino had mentally dismantled a painting by Andrea del Sarto and loaded his palette with those pigments that Sarto would have used. With them, he painted a copy of the Sarto. How was this strange mind game rendered as a form of art criticism, as a demonstration of craft and technique, and as a visual exercise for a lay audience who could not paint? Doni’s Bronzino invited viewers and readers to think and see with the imagination and eyes of painters, a strategy adopted by painters of self-portraits, notably Anguissola Sofonisba’s Self-Portrait (Łańcut), c.1555.
Agnolo Bronzino在Anton Francesco Doni的I Marmi(威尼斯，1552)中进行视觉实验。“你看到这些颜料了吗?”他一边向一群佛罗伦萨工匠展示他的调色板，一边问道。布龙奇诺在心里拆解了安德里亚·德尔·萨托的一幅画，并在调色板上加入了萨托会使用的颜料。用它们，他画了一幅《萨托》的复制品。这种奇怪的心理游戏是如何作为一种艺术批评形式，作为一种工艺和技术的展示，作为一种视觉练习，为一个不会画画的外行观众呈现的?多尼的《布龙齐诺》邀请观众和读者用画家的想象力和眼睛去思考和观看，这是自画像画家采用的一种策略，特别是安圭索拉·索福尼斯巴的自画像(Łańcut)， c.1555。
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