Pub Date : 2022-10-02DOI: 10.1080/00043079.2022.2070395
Jennifer L. Nelson
Abstract The Boxer Codex is a ca. 1591 compilation of accounts, written in or translated into Spanish, of the peoples of Southeast Asia alongside illustrations made by a Christian Sangley (Manila Chinese) artist. Scholars should understand this work not as hybrid but as a collaboration between imperial cultures. Evidence of the self-portrait of the artist as a Christianized Sangley and the earliest-known image of a bayoguin, a Tagalog man operating as a female spiritual, medical, and community leader, suggests the rewards of attending to the visual rhetorics of colonization alongside current scholarly emphases on materiality and trade.
{"title":"A Ming Chinese and Spanish Imperial Collaboration in Southeast Asia: The Boxer Codex","authors":"Jennifer L. Nelson","doi":"10.1080/00043079.2022.2070395","DOIUrl":"https://doi.org/10.1080/00043079.2022.2070395","url":null,"abstract":"Abstract The Boxer Codex is a ca. 1591 compilation of accounts, written in or translated into Spanish, of the peoples of Southeast Asia alongside illustrations made by a Christian Sangley (Manila Chinese) artist. Scholars should understand this work not as hybrid but as a collaboration between imperial cultures. Evidence of the self-portrait of the artist as a Christianized Sangley and the earliest-known image of a bayoguin, a Tagalog man operating as a female spiritual, medical, and community leader, suggests the rewards of attending to the visual rhetorics of colonization alongside current scholarly emphases on materiality and trade.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"20 - 45"},"PeriodicalIF":0.7,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42914983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/00043079.2022.2104105
Amanda Lahikainen
6. Jeltje Dijkstra, Origineel en kopie: een onderzoek naar de navolging van de Meester van Flémalle en Rogier van der Weyden (PhD diss., University of Amsterdam, 1990), 24. Molly Faries sketches the centrality of the study of copies and contracts to this field. She cites in particular Johannes Taubert’s 1956 dissertation, “Zur kunstwissenschaftlichen Auswertung von naturwissenschaftlichen Gemäldeuntersuchungen” (Toward an Aesthetic Analysis of the Scientific Examination of Paintings) along with Dijkstra’s 1990 dissertation; Faries, “Reshaping the Field: The Contribution of Technical Studies,” in Early Netherlandish Painting at the Crossroads: A Critical Look at Current Methodologies, ed. Maryan W. Ainsworth (New York: Metropolitan Museum of Art, 2001), 89–91. See Peter Lukehart, introduction to Bellavitis, Making Copies in European Art, 13, which brings this bibliography up to date.
6.Jeltje Dijkstra，Origineel en kopie:een onderzoek naar de navolging van de Meester van Flémalle en Rogier van der Weyden（阿姆斯特丹大学博士，1990年），24。Molly Faries概述了复印件和合同研究在该领域的中心地位。她特别引用了约翰内斯·陶伯特1956年的论文“Zur kunstwissenschaftlichen Auswertung von naturwissenschavtlichen Gemäldeuntersuchungen”（走向绘画科学检验的美学分析），以及Dijkstra 1990年的论文；Faries，“重塑领域：技术研究的贡献”，载于《十字路口的早期荷兰绘画：对当前方法的批判性审视》，Maryan W.Ainsworth主编（纽约：大都会艺术博物馆，2001年），89–91。参见Peter Lukehart，Bellavitis导论，《在欧洲艺术中复制》，13，该书使本参考书目与时俱进。
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Pub Date : 2022-07-03DOI: 10.1080/00043079.2022.2036026
Tomasz Grusiecki
Abstract A group of carpets termed tapis polonais (French for “Polish carpets”) were mistakenly given this name in the nineteenth century, despite their Persian provenience. Today, these artifacts are often described as “so-called Polish carpets,” emphasizing the historical confusion which led to coining the phrase. Evidence from both early modern and modern archival and literary sources suggests, however, that to fully understand the significance of tapis polonais we must embrace their transcultural contexts. Embedded in ongoing cycles of recontextualization and reappropriation, tapis polonais effectively challenge outdated assumptions that cultural forms can be simply assigned to a single cultural region and its historical traditions.
{"title":"Doublethink: Polish Carpets in Transcultural Contexts","authors":"Tomasz Grusiecki","doi":"10.1080/00043079.2022.2036026","DOIUrl":"https://doi.org/10.1080/00043079.2022.2036026","url":null,"abstract":"Abstract A group of carpets termed tapis polonais (French for “Polish carpets”) were mistakenly given this name in the nineteenth century, despite their Persian provenience. Today, these artifacts are often described as “so-called Polish carpets,” emphasizing the historical confusion which led to coining the phrase. Evidence from both early modern and modern archival and literary sources suggests, however, that to fully understand the significance of tapis polonais we must embrace their transcultural contexts. Embedded in ongoing cycles of recontextualization and reappropriation, tapis polonais effectively challenge outdated assumptions that cultural forms can be simply assigned to a single cultural region and its historical traditions.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"29 - 54"},"PeriodicalIF":0.7,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45739630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/00043079.2022.2036029
Susan M. Wager
Abstract Deemed “ridiculous dolls” by Johann Joachim Winckelmann, porcelain figurines have long resided on the outskirts of art history. The exceptional case of biscuit porcelain figurines, invented in France in the 1750s, has been folded into an anachronistic story of stylistic change. This essay disentangles the history of porcelain figurines from the history of Neoclassicism. Through a close reading of the abbé Jean-Bernard Le Blanc’s (1707–1781) art criticism and analysis of a 1761 set of reproductive prints, it shows that biscuit figurines designed by the quintessentially rococo painter François Boucher defied assumptions about porcelain’s irreducible materiality, complicating fundamental eighteenth-century ideas about authorship.
摘要被Johann Joachim Winckelmann认为是“荒谬的玩偶”，瓷雕像长期以来一直处于艺术史的边缘。17世纪50年代在法国发明的饼干瓷雕像已经被折叠成一个风格变化的不合时宜的故事。本文将瓷人的历史与新古典主义的历史割裂开来。通过仔细阅读勒布朗克（Jean-Bernard Le Blanc）神父（1707-1781）对1761年一套复制版画的艺术批评和分析，它表明，由典型的洛可可派画家弗朗索瓦·布彻（François Boucher）设计的饼干雕像违背了关于瓷器不可简化的物质性的假设，使八世纪关于作者的基本思想复杂化。
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Pub Date : 2022-07-03DOI: 10.1080/00043079.2022.2036016
Niamh Bhalla
Abstract A box has the potential to be opened and closed and to contain something; as such, it is a form uniquely suited to conveying ideas of concealment, revelation, and the containment of the sacred in matter. This was especially true of a small, fifth-century ivory box in the form of a casket, carved in relief with scenes of Christ’s passion, death, and resurrection. As an object, it incorporated kinaesthetic analogies—through the way it was moved and manipulated and through the agency of its material—in order to convey the mystery of the Incarnation.
{"title":"Containing the Uncontainable: Kinaesthetic Analogies and an Early Christian Box","authors":"Niamh Bhalla","doi":"10.1080/00043079.2022.2036016","DOIUrl":"https://doi.org/10.1080/00043079.2022.2036016","url":null,"abstract":"Abstract A box has the potential to be opened and closed and to contain something; as such, it is a form uniquely suited to conveying ideas of concealment, revelation, and the containment of the sacred in matter. This was especially true of a small, fifth-century ivory box in the form of a casket, carved in relief with scenes of Christ’s passion, death, and resurrection. As an object, it incorporated kinaesthetic analogies—through the way it was moved and manipulated and through the agency of its material—in order to convey the mystery of the Incarnation.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"6 - 28"},"PeriodicalIF":0.7,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41611405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/00043079.2022.2066920
Manuela Well-Off-Man
Indigenous women were the creators of most of the historic Native art on view in museums, yet hardly any of the artists� names are documented. Philip Deloria�s Becoming Mary Sully: Toward an American Indian Abstract introduces readers to one of these overlooked, early twentieth-century Indigenous female artists. Susan “Susie” Mabel Deloria (Yankton Dakota), who signed her works as Mary Sully, was born on Standing Rock Indian Reservation in 1896. She was the greatgranddaughter of nineteenth-century American portrait artist Thomas Sully, from whom she acquired her name and with whom she shared a fascination for celebrities. Her works, color pencil triptychs on paper, were stored in a suitcase and nearly forgotten, until her great-nephew, historian Philip J. Deloria, reclaimed the works from obscurity. His book chronicles and analyzes Mary Sully�s journey as a Yankton Dakota woman who was passionate about being an artist in the era of American modernism. The biography�s subtitle, Toward an American Indian Abstract, hints at Sully�s creative blending of both influences. The artworks themselves are mysterious and fascinating. Mary Sully was largely a self-trained artist but came from an artistic family: besides her famous great-grandfather, Thomas Sully, her grandfather Alfred Sully was also a painter and her grandmother Pehánlútawiƞ (Susan Pehandutawin) was a skilled quillworker. Interestingly, Mary Sully was not influenced by Native art groups, such as the Kiowa Six, the Bacone School in Oklahoma, or the Studio at Santa Fe Indian School, who were active at the time and created romanticized images of past Native life that appealed to non-Native audiences. Instead, Mary Sully�s works were mainly inspired by her immediate surroundings: several of her drawings include patterns from textile prints, including calico flour sacks or wallpaper designs. To further her skills, she largely resorted to selfhelp books and correspondence courses and enrolled in a few art courses at the University of Kansas and the Art Institute of Chicago. Magazines, radio, and newspapers provided access to the world of art and entertainment. Her main works are what she called “personality prints.” These are 134 sets of three-panel portraits rendered in color pencil, representing famous actors, celebrities, and musicians (Fred Astaire, Amelia Earhart, Charles Lindbergh, Babe Ruth) she read about in Time magazine and Ladies� Home Journal; others were classes of people (Children of Divorce, Titled Husbands in the USA) or events (Easter, Highway Rudeness). The triptychs consist of three stacked pieces of paper of different sizes that are taped or hooked together. The top panel usually depicts abstractions of elements Mary Sully associated with a person—for example, an object or characteristic forms, composed as an individual design or as a pattern. The large center piece is usually a very complex geometric grid-like pattern, which is related to the first panel through color and forms
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Pub Date : 2022-07-03DOI: 10.1080/00043079.2022.2066931
{"title":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043079.2022.2066931","DOIUrl":"https://doi.org/10.1080/00043079.2022.2066931","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":" ","pages":"2 - 2"},"PeriodicalIF":0.7,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44466591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/00043079.2022.2036021
D. Getsy
Abstract Geoffrey Hendricks’s 1971 Ring Piece was among the earliest works of performance art in New York City to respond to the movements sparked by the Stonewall uprising. The boldest of a series of performances in which Hendricks allegorized personal transformation and the disclosure of his sexuality, Ring Piece weighed the political urgency of a visible queer identity against its costs. Its public spectacle of privacy provides an opportunity to question the politics of visibility that defined the early lesbian and gay rights movement. It also challenges the protocols for recognizing differences in art history and, more directly, the presumption that queer lives must be visible to be viable.
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Pub Date : 2022-07-03DOI: 10.1080/00043079.2022.2036030
Jessica L. Horton
Abstract From 1966 to 1968 the United States government commissioned Diné artist Fred Stevens to demonstrate sandpainting across Eurasia and Latin America, in accordance with a prevailing logic of a “balance of power” in international relations. Stevens’s translations of ephemeral ceremonies worked against the grain, palpably connecting Diné efforts to protect Navajo Nation lands from military-industrial incursions to the acceleration of sand mining to feed a global building boom. Stevens’s demonstrations and gifts serve as exemplars of earth diplomacy, a practice of engendering sensuous material exchanges to facilitate reciprocity among disparate human communities and the lands that sustain them.
{"title":"Rebalancing the Cold War: Diné Sandpainting and Earth Diplomacy","authors":"Jessica L. Horton","doi":"10.1080/00043079.2022.2036030","DOIUrl":"https://doi.org/10.1080/00043079.2022.2036030","url":null,"abstract":"Abstract From 1966 to 1968 the United States government commissioned Diné artist Fred Stevens to demonstrate sandpainting across Eurasia and Latin America, in accordance with a prevailing logic of a “balance of power” in international relations. Stevens’s translations of ephemeral ceremonies worked against the grain, palpably connecting Diné efforts to protect Navajo Nation lands from military-industrial incursions to the acceleration of sand mining to feed a global building boom. Stevens’s demonstrations and gifts serve as exemplars of earth diplomacy, a practice of engendering sensuous material exchanges to facilitate reciprocity among disparate human communities and the lands that sustain them.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"84 - 116"},"PeriodicalIF":0.7,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46700289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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