Pub Date : 2023-11-15DOI: 10.1080/02666286.2023.2193960
Nina Elisabeth Cook
Framed by Guillermo del Toro as “a love letter to the cinema,” the academy award-winning feature The Shape of Water (2017) speaks to one of the core debates in film studies: film’s status as a “uni...
被吉列尔莫·德尔·托罗(Guillermo del Toro)称为“给电影的情书”的奥斯卡获奖影片《水形物语》(2017)讲述了电影研究中的一个核心争论:电影作为“单一……
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Pub Date : 2023-11-15DOI: 10.1080/02666286.2021.1931753
Freya Gowrley
This article uses eighteenth-century correspondence and daily writing to unpack the complex networks of emotional, artistic, and poetic exchange that surrounded Plas Newydd, the home of the so-call...
本文用18世纪的信件和日常写作来揭示围绕着纽伊德广场(Plas Newydd)——所谓的……
{"title":"Plas Newydd’s poetics of exchange: portraiture, poetry, and the intermediality of eighteenth-century gift culture","authors":"Freya Gowrley","doi":"10.1080/02666286.2021.1931753","DOIUrl":"https://doi.org/10.1080/02666286.2021.1931753","url":null,"abstract":"This article uses eighteenth-century correspondence and daily writing to unpack the complex networks of emotional, artistic, and poetic exchange that surrounded Plas Newydd, the home of the so-call...","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"135 45","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138085925","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 : 2023-11-15DOI: 10.1080/02666286.2023.2180931
Franco Mormando
The Ecstasy of St. Teresa is arguably the most controversial work created by the Roman Baroque artist Gian Lorenzo Bernini (1598–1680). The debate surrounding the statue centers on the question: di...
《圣特蕾莎的狂喜》可以说是罗马巴洛克艺术家Gian Lorenzo Bernini(1598-1680)创作的最具争议的作品。围绕雕像的争论集中在这样一个问题上:
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Pub Date : 2023-10-02DOI: 10.1080/02666286.2023.2182585
Anna Welch
Abstract Of the small corpus of works on vellum and paper attributed to the Tuscan Dominican friar and artist Fra Angelico (c.1400–55) and his circle, one drawing has been repeatedly singled out as widely accepted to be by his hand: King David Playing a Psaltery (c.1430) (now British Museum, London). The vellum leaf on which Fra Angelico drew features text on its verso that has until now been misunderstood as a fragment of a fifteenth-century breviary, leading it to be positioned simply as an example of his work as an illuminator. This article demonstrates that despite this misunderstanding, there is indeed an important relationship between the text and image on this sheet. The text is a fragment of a twelfth-century choir psalter and is significant as perhaps the oldest surviving evidence of the liturgy of the Papal Curia. Through a combination of palaeographical, liturgical, and art-historical analysis, I identify the leaf as a central Italian fragment dating to c.1150–80, which Fra Angelico encountered as a result of the presence of the Papal Curia in Florence during the papacy of Eugene IV, from 1434 to 1436 and again from 1439 to 1443. Stylistic and iconographic analysis demonstrates that Fra Angelico deliberately evoked the antique mode of the prefatory miniature in response to the age of the leaf, making the drawing an early example of the Renaissance desire to emulate classical models, received through a Carolingian filter. The close relationship between the David drawing and Fra Angelico’s work for Cosimo de’ Medici’s cell in San Marco—after the latter’s return to Florence from exile in 1434, supported by Eugene IV—is identified for the first time. The date of the drawing is refined from c.1430 to c.1435, the year Fra Angelico and his community moved from Fiesole to San Marco in Florence.
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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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