Pub Date : 2023-04-03DOI: 10.1080/02666286.2022.2113732
Graylin Harrison
Abstract This article demonstrates the role of the visual arts, alongside literature, in mythologizing Masaniello (d. 1647) as hero and martyr, despite the limited role he played in the so-called “Revolt of Masaniello” (1647–1648). In addition to printed accounts of the revolt in a variety of languages, Masaniello imagery circulated on paper and canvas, in marble and wax. His likeness was illustrated in chronicles of the uprising, but he also appeared in the “fine” and performing arts, where artists of varied media continuously refashioned his persona, from 1647 well into the nineteenth century. Comparisons are made between a red chalk portrait of Masaniello by Aniello Falcone and several “Old Master” predecessors, such as Leonardo da Vinci and Michelangelo Buonarotti, to reveal how Neapolitan artists consciously inserted the rebel into a visual vernacular that transcended his historical specificity. This, combined with the international circulation of Masaniello print imagery, helped to consolidate the iconography of the Neapolitan peasant, the lazzaro, during and after the Grand Tour. The birth of Masaniello brings to light the quintessential elements of Neapolitan culture: its artistic heritage and political instability, its poverty and popular culture, its spiritual fervor and alleged danger.
本文展示了视觉艺术和文学在将马萨涅洛(1647年)神话化为英雄和烈士的过程中所起的作用，尽管他在所谓的“马萨涅洛起义”(1647 - 1648)中所起的作用有限。除了以各种语言印刷的起义记录外，马萨涅洛的图像还在纸上、帆布上、大理石和蜡上流传。他的肖像在起义编年史中得到了说明，但他也出现在“美术”和表演艺术中，从1647年到19世纪，各种媒体的艺术家不断地重塑他的形象。将Aniello Falcone的红色粉笔画的Masaniello肖像与几位“老大师”前辈，如Leonardo da Vinci和Michelangelo Buonarotti进行比较，以揭示那不勒斯艺术家如何有意识地将反叛插入超越其历史特殊性的视觉白话中。这与马萨涅洛版画图像的国际流通相结合，有助于巩固那不勒斯农民的形象，拉扎罗，在大旅行期间和之后。Masaniello的诞生揭示了那不勒斯文化的精髓:它的艺术遗产和政治不稳定，它的贫穷和流行文化，它的精神热情和所谓的危险。
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Pub Date : 2023-04-03DOI: 10.1080/02666286.2022.2118491
G. Parkinson
Abstract Robert Rauschenberg is not usually thought to have had much contact with Surrealism and even spoke openly about his disdain for the movement on some occasions. However, through the period 1958–69, the Surrealists showed great enthusiasm for the ‘poetic’, ‘metaphorical’ resonance of Rauschenberg’s work, a positive response that has since largely been lost. In place of that history, the interpretation of Rauschenberg by John Cage as a ‘literalist’ or ‘factualist’ gained ground and even came to define the artist’s œuvre in some quarters, a reading that Rauschenberg himself approved. Caught in the middle of these two versions of Rauschenberg are the largely untranslated texts of French poet, critic, and ex-Surrealist Alain Jouffroy (1928–2015), which form the substance of this article. Jouffroy pioneered the positive critical reception of Rauschenberg in France from 1961 while he continued to be influenced by his Surrealist past, to the point that his writings on Rauschenberg reveal consistent contradiction under close reading. The highest point of tension was reached across 1963–64 when Jouffroy wrote eulogistic poems devoted to Rauschenberg’s massive silkscreen painting Barge (1962–63) and to Surrealism in L’Antichambre de la nature (1966, written in 1964), alongside key texts of art criticism on Rauschenberg. Culminating in an analysis of the silkscreen and poems, this article argues that while Jouffroy’s writings seem ostensibly to further the Cagean interpretation of the artist, they are riven by an awkward dual loyalty that can be read in support of a ‘poetic’ ‘Surrealist Rauschenberg’.
罗伯特·劳森伯格(Robert Rauschenberg)通常被认为与超现实主义没有多少联系，甚至在某些场合公开表示他对超现实主义运动的蔑视。然而，在1958年至1969年期间，超现实主义者对劳森伯格作品的“诗意”、“隐喻”共鸣表现出极大的热情，这种积极的回应在很大程度上已经消失了。取而代之的是，约翰·凯奇(John Cage)将劳森伯格解释为“字面主义者”或“事实主义者”，这一解释获得了认可，甚至在某些方面定义了这位艺术家的œuvre，劳森伯格本人也认可这种解读。在这两个版本的劳森伯格之间，是法国诗人、评论家、前超现实主义者阿兰·茹弗罗伊(1928-2015)大部分未翻译的文本，这构成了本文的内容。自1961年以来，Jouffroy在法国率先对劳森伯格进行了积极的批评，同时他继续受到他超现实主义过去的影响，以至于他关于劳森伯格的作品在仔细阅读时显示出始终如一的矛盾。在1963年至1964年期间，Jouffroy为劳森伯格的大型丝网画《驳船》(1962年至1963年)和《自然antichambre de la nature》(1966年，写于1964年)中的超现实主义写了赞美诗，以及对劳森伯格的艺术批评的关键文本，达到了紧张的最高点。在对丝网印刷和诗歌的分析中达到高潮，本文认为，虽然Jouffroy的作品表面上似乎进一步推动了对艺术家的凯根解释，但它们被一种尴尬的双重忠诚所撕裂，这种忠诚可以被解读为支持“诗意”的“超现实主义劳森伯格”。
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Pub Date : 2023-04-03DOI: 10.1080/02666286.2023.2166319
E. Barker
Abstract The heroine of Germaine de Staël’s Corinne, or Italy (1807) makes her first appearance in the novel ‘dressed like Domenichino’s Sibyl’, wearing an Indian shawl wound into a turban. The aim of this essay is to highlight the contribution that the tradition of Sibylline iconography made to the characterization of the heroine of Corinne by locating Staël in a long line of artists, writers, and patrons, particularly female ones, who adapted and appropriated this iconography for their own purposes over the previous two centuries. A crucial breakthrough was made in the early seventeenth century by Domenichino, who provided the prototype for later generations of artists by painting a freestanding picture of a generic (not, as often said, the Cumaean) Sibyl wearing a turban. Domenichino’s composition nevertheless remained exceptional in its insistence on the primacy of Sibylline inspiration, which helps to account for its role in Corinne as well as for its appeal to other early nineteenth-century writers. Staël’s direct predecessors included the artists Angelica Kauffman and Élisabeth-Louise Vigée Le Brun, both of whom portrayed female sitters in more or less Sibylline guise, but the most important was Emma Hamilton, from whose famous Attitudes Staël almost certainly derived the motif of the turban fashioned out of an Indian shawl. Staël herself adopted the turban as her characteristic headdress, as did other literary and artistic women after her; its great advantage lay in the way it enabled them to lay claim to Sibylline authority whilst also disavowing any such intent.
杰曼•德•Staël的《科琳娜或意大利》(Corinne, or Italy, 1807)的女主人公首次出现在小说中，“打扮得像多梅尼奇诺笔下的西比尔”，披着一条缠在头巾上的印度披肩。这篇文章的目的是强调西比林肖像学的传统对科琳女主人公性格的贡献，通过在一长串艺术家，作家和赞助人，特别是女性中找到Staël，他们在过去的两个世纪里为自己的目的改编和挪用了这种肖像学。17世纪初，多梅尼奇诺(Domenichino)取得了重大突破，他画了一幅戴着头巾的普通(不是人们常说的库马亚)女祭司的独立画像，为后世的艺术家提供了原型。尽管如此，多梅尼基诺的作品仍然坚持西比林灵感的首要地位，这有助于解释它在《科琳》中的作用，以及它对其他19世纪早期作家的吸引力。Staël的直接前辈包括艺术家安吉丽卡·考夫曼(Angelica Kauffman)和Élisabeth-Louise维格姆·勒·布伦(vig Le Brun)，他们都或多或少以西比林的形象描绘女性模特，但最重要的是艾玛·汉密尔顿(Emma Hamilton)，她著名的《态度》Staël几乎可以肯定是从她的作品中衍生出了用印度披肩制成的头巾的主题。Staël她自己采用头巾作为她的特色头饰，就像她之后的其他文艺女性一样;它的巨大优势在于，它使他们能够声称拥有西比林的权威，同时又否认任何这样的意图。
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Pub Date : 2023-01-02DOI: 10.1080/02666286.2023.2168474
Ivan Foletti
Abstract This article investigates how one of the most eminent Byzantinists of the twentieth century, André Grabar (1896–1990), constructed his own methodology in a balanced dialogue between texts and images. At the very core of this study is his monograph L’empereur dans l’art byzantin (1936), which can be seen as emblematic of Grabar’s approach. However, this article investigates not only Grabar’s methodology but also his personal cultural background. I believe that this approach is necessary in the context of the epistemology of art history, since, as has been proven in other important studies, the interplay between history, social situations, and scholarship is crucial.
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Pub Date : 2023-01-02DOI: 10.1080/02666286.2023.2168471
F. Dell’Acqua
Abstract This article focuses on pectoral crosses, which functioned as relic containers and amulets and were characterized by a blend of figural imagery and inscriptions. Arguably produced between the late eighth and the early ninth centuries, the geographical origins of the crosses are still contested between Byzantium and Rome, while other alternatives have yet to be fully considered. Some of these pectoral crosses bear inscriptions in Greek which have been interpreted as ‘incorrect’, but may reflect the conventions of spoken language in an evolving hellenophone Mediterranean. It is possible that their owners read the text during private prayer and meditation while holding the pendant. In particular, this paper considers a now lost enkolpion, the inscriptions of which, in Latin and Greek, reveal that it was intended for an audience familiar with both languages, at least in religious practices. One of its inscriptions quotes a well-known liturgical hymn sung at Mass before the celebration of the Eucharist. Thus, there is scope for a wider investigation into the function as well as cultural origins of pectoral crosses. The combination of figural illustrations and inscriptions and the variety of precious materials and relics on such pectoral crosses may have been intended to elicit a sort of ‘tactile prayer’, suggesting the use of synesthetic ways to apprehend the Incarnate Logos.
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Pub Date : 2023-01-02DOI: 10.1080/02666286.2023.2168117
Vincent Debiais
Abstract This article focuses on one of the most intensely ‘graphic’ artefacts produced during the Middle Ages in Western Europe: the so-called Bury St Edmunds Cross or Cloisters Cross. As this fascinating object has been thoroughly studied in many aspects, especially epigraphically, it can seem presumptuous to go back to one of the best-known artefacts of medieval art and epigraphy. This article, however, does not pretend to discuss the content of the texts or the exceptional nature of the object, but rather the graphic and pragmatic means used to compose a discourse of great theological richness around it. In essence, it returns to the degré zéro of the analysis of the cross, to address what it materially means ‘to combine’ writing and image. Starting from the example of the Cloisters Cross, the article applies this kind of ‘low-regime’ analysis to painting, sculpture, stained glass, mosaic, and any artform where the encounter of texts and images is the result of planning, adapting, and composing gestures that reflect the semiotic and aesthetic ambitions of visual creation during the Middle Ages.
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Pub Date : 2023-01-02DOI: 10.1080/02666286.2023.2168116
D. Ganz
Abstract Writing in gold has almost completely escaped the attention of art historical manuscript studies. Whereas the semantics and the materiality of gold used in works of goldsmithery as well as in illuminations and panel paintings have been frequently discussed, the fact that gold has been also applied to embellish texts, be they single initials and titles or entire chapters and volumes, has drawn relatively sparse comment. This article is part of a larger research project on Western chrysography. Its scope is to investigate the specific reasons for the use of gold as writing material in the Western Middle Ages. This implies a critical re-evaluation of the standard explanations of the phenomenon in previous research. To approach the issue, it is fruitful to look at single manuscripts and analyse their specific places and ways of application of chrysography. One case that plays a prominent role in this paper is the Golden Psalter from St Gall: an illuminated manuscript that was begun at the court of Charles the Bald and later completed at the monastery of St Gall. In studying this and other examples, the particular and somehow contradictory colour and light effects of chrysography will be emphasized. On the one hand, gold script has the potential to attract visual attention at a long range, especially under the artificial illumination of candlelight; and, on the other, pages with gold script resist a fast, transparent reading of written notation. They draw the reader’s attention to the forms and arrangement of the letters, to the weave of the lines, to the oscillation between emphasis and fade-out on the page, and to reflections that dissociate the graphemes from their material carrier, provoking an optical state of suspense. In short, writing in gold constitutes a specific model of ‘Schriftbildlichkeit’ or ‘Iconographia’, defying the disappearance of the single graphemes behind the text which for a long time has been considered the most characteristic feature of writing.
{"title":"Writing in gold: on the aesthetics and ideology of Carolingian chrysography","authors":"D. Ganz","doi":"10.1080/02666286.2023.2168116","DOIUrl":"https://doi.org/10.1080/02666286.2023.2168116","url":null,"abstract":"Abstract Writing in gold has almost completely escaped the attention of art historical manuscript studies. Whereas the semantics and the materiality of gold used in works of goldsmithery as well as in illuminations and panel paintings have been frequently discussed, the fact that gold has been also applied to embellish texts, be they single initials and titles or entire chapters and volumes, has drawn relatively sparse comment. This article is part of a larger research project on Western chrysography. Its scope is to investigate the specific reasons for the use of gold as writing material in the Western Middle Ages. This implies a critical re-evaluation of the standard explanations of the phenomenon in previous research. To approach the issue, it is fruitful to look at single manuscripts and analyse their specific places and ways of application of chrysography. One case that plays a prominent role in this paper is the Golden Psalter from St Gall: an illuminated manuscript that was begun at the court of Charles the Bald and later completed at the monastery of St Gall. In studying this and other examples, the particular and somehow contradictory colour and light effects of chrysography will be emphasized. On the one hand, gold script has the potential to attract visual attention at a long range, especially under the artificial illumination of candlelight; and, on the other, pages with gold script resist a fast, transparent reading of written notation. They draw the reader’s attention to the forms and arrangement of the letters, to the weave of the lines, to the oscillation between emphasis and fade-out on the page, and to reflections that dissociate the graphemes from their material carrier, provoking an optical state of suspense. In short, writing in gold constitutes a specific model of ‘Schriftbildlichkeit’ or ‘Iconographia’, defying the disappearance of the single graphemes behind the text which for a long time has been considered the most characteristic feature of writing.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"72 1","pages":"19 - 32"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76304949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/02666286.2023.2168467
Beatrice Daskas
Abstract Besides their undoubted aesthetic value, monuments possess an ideological function. They are meaningful forms built to commemorate significant deeds or events or to celebrate individuals who are prominent within a community. Monuments become essential for the articulation of cultural identity and memory, through which political powers and intellectual élites seek legitimation and support. As historical objects operating in fluid and transformative cultural environments, their significance is constantly renegotiated to suit new ideological agendas. Rhetoric, and in particular rhetorical descriptions or ekphraseis, may offer insights into the way in which monuments have been seen and communicated over the course of time. While representing selective verbal–visual narratives, these texts can convey specific conceptions of the monuments and encourage interpretations that are distant from the original intentions of those who had them installed. On this premise, this paper proposes a more comprehensive interpretive framework for the analysis of Hagia Sophia in Istanbul, a Byzantine monument recently brought to international attention by the Turkish government’s decision to change back its status from museum to mosque. This framework resorts to rhetoric and its unique capacity to unveil, across time and space, how the monument has been perceived, expressed, appropriated, reframed, and negotiated by people as an indivisible component of their culture.
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Pub Date : 2023-01-02DOI: 10.1080/02666286.2023.2168118
Fabio Guidetti
Abstract This paper engages with MS Harley 647 in the British Library, London, a manuscript produced probably at the imperial court in Aachen during the reign of Louis the Pious (814–40 CE), which contains the surviving portion (about four hundred and eighty lines) of Cicero’s Latin translation of the Greek poem Phaenomena, written by Aratus of Soli between 275 and 250 BCE. The poem is a description of the night sky based on the earliest celestial globe, manufactured by the astronomer Eudoxus of Cnidus in the first half of the fourth century BCE. The text itself, however, is not the most important element of the manuscript: in fact, its dominant feature are the full-page images of constellations, to which Cicero’s text, at the bottom of each page, functions as a caption. This article examines the interaction between words and images in the astronomical illustrations of the manuscript, showing how their scientific content is conveyed to the user (at the same time viewer and reader) through the unity of the verbal and the visual. The long-debated question of the originality of their peculiar layout is also addressed, with conclusive evidence supporting the theory of a late Roman model. Finally, the insertion of the text within the illustrations will be interpreted as an allusion to the idea, presented in the proem of the Phaenomena, that the constellations are God’s message ‘written’ in the sky to help humans in their basic activities, above all agriculture: a key concept in Stoic theology that could also appeal to a Christian audience.
{"title":"Writing in the sky: the late antique astronomical illustrations of MS Harley 647","authors":"Fabio Guidetti","doi":"10.1080/02666286.2023.2168118","DOIUrl":"https://doi.org/10.1080/02666286.2023.2168118","url":null,"abstract":"Abstract This paper engages with MS Harley 647 in the British Library, London, a manuscript produced probably at the imperial court in Aachen during the reign of Louis the Pious (814–40 CE), which contains the surviving portion (about four hundred and eighty lines) of Cicero’s Latin translation of the Greek poem Phaenomena, written by Aratus of Soli between 275 and 250 BCE. The poem is a description of the night sky based on the earliest celestial globe, manufactured by the astronomer Eudoxus of Cnidus in the first half of the fourth century BCE. The text itself, however, is not the most important element of the manuscript: in fact, its dominant feature are the full-page images of constellations, to which Cicero’s text, at the bottom of each page, functions as a caption. This article examines the interaction between words and images in the astronomical illustrations of the manuscript, showing how their scientific content is conveyed to the user (at the same time viewer and reader) through the unity of the verbal and the visual. The long-debated question of the originality of their peculiar layout is also addressed, with conclusive evidence supporting the theory of a late Roman model. Finally, the insertion of the text within the illustrations will be interpreted as an allusion to the idea, presented in the proem of the Phaenomena, that the constellations are God’s message ‘written’ in the sky to help humans in their basic activities, above all agriculture: a key concept in Stoic theology that could also appeal to a Christian audience.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"37 1","pages":"43 - 54"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77886983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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