Pub Date : 2022-01-02DOI: 10.1080/00043079.2021.1964823
S. Beckmann
Abstract This article examines late antique marble portraits from three Roman villas in Aquitania (southwestern France). These objects are striking evidence for a vibrant, Theodosian-era (r. 379–95 CE) portrait tradition, which contrasts with the absence of contemporary portraiture elsewhere in the western provinces. This raises questions about the motivations and identities of the patrons, which I investigate by approaching the portrait as a tool for the construction and navigation of “elite” and “Roman” identities. Such claims were politically charged in the late fourth and early fifth centuries, which witnessed the admission of outsiders (the nouveaux riches and “barbarians” like the Visigoths) into high society.
{"title":"Portraits and Identity: “Roman” and “Elite” in the Late Antique Villas of Aquitania","authors":"S. Beckmann","doi":"10.1080/00043079.2021.1964823","DOIUrl":"https://doi.org/10.1080/00043079.2021.1964823","url":null,"abstract":"Abstract This article examines late antique marble portraits from three Roman villas in Aquitania (southwestern France). These objects are striking evidence for a vibrant, Theodosian-era (r. 379–95 CE) portrait tradition, which contrasts with the absence of contemporary portraiture elsewhere in the western provinces. This raises questions about the motivations and identities of the patrons, which I investigate by approaching the portrait as a tool for the construction and navigation of “elite” and “Roman” identities. Such claims were politically charged in the late fourth and early fifth centuries, which witnessed the admission of outsiders (the nouveaux riches and “barbarians” like the Visigoths) into high society.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"21 - 47"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47539333","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 : 2022-01-02DOI: 10.1080/00043079.2021.1964832
E. Pernoud
Abstract The last quarter of the nineteenth century witnessed a surge of interest in prints among Parisian art enthusiasts. The taste and the knowledge of the distinct stages of each print’s evolution, known as states, were developed. One aspect of this creative process was of particular interest to collectors: the parts of the print left blank in the process of its creation. Some printmakers were particularly admired and their work prized for those states in which the emerging composition was broken up by the white of the paper. This was especially the case with Claude-Ferdinand Gaillard (1834–1887). His work and its reception by collectors are central to this article.
{"title":"Blanks in the Figure: A Fin-de-Siècle Enthusiasm in France","authors":"E. Pernoud","doi":"10.1080/00043079.2021.1964832","DOIUrl":"https://doi.org/10.1080/00043079.2021.1964832","url":null,"abstract":"Abstract The last quarter of the nineteenth century witnessed a surge of interest in prints among Parisian art enthusiasts. The taste and the knowledge of the distinct stages of each print’s evolution, known as states, were developed. One aspect of this creative process was of particular interest to collectors: the parts of the print left blank in the process of its creation. Some printmakers were particularly admired and their work prized for those states in which the emerging composition was broken up by the white of the paper. This was especially the case with Claude-Ferdinand Gaillard (1834–1887). His work and its reception by collectors are central to this article.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"98 - 117"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45779628","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 : 2022-01-02DOI: 10.1080/00043079.2022.1991768
{"title":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043079.2022.1991768","DOIUrl":"https://doi.org/10.1080/00043079.2022.1991768","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":" ","pages":"2 - 2"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49536794","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 : 2022-01-02DOI: 10.1080/00043079.2022.1991764
Mia Yinxing Liu
Chinese Ways of Seeing and Open-Air Painting is a tremendous undertaking, not only as a much-needed scholarly study on a key concept and practice in modern Chinese art but also as a timely contribution to the ongoing reckoning and rethinking of global modern art and multiple modernisms. As the refreshingly unadorned title indicates, the book is a critical account of the history of open-air painting in China and its role in the construction of “Chinese ways of seeing.” What is “open-air painting” in China? How did this understudied genre, not usually associated with traditional Chinese image making, give shape to “Chinese ways of seeing”? And what are “Chinese ways of seeing”? In addressing these questions, Yi Gu carefully traces the history of “open-air painting” in China from its promotion in the early years of the twentieth century to its continuous propagation and practice in the ensuing eras under different political circumstances, from the Second Sino-Japanese War, known as the war against Japanese invasion in China (1937–45), to the decades under the Maoist regime (1949–76). Gu also clearly centers this study on openair painting’s dynamic and transformative intervention in the discourses and practice of guohua, brush-and-ink painting, in modern China. She argues that open-air painting should be treated not merely as a type or a method of representation but as a paradigm change for Chinese visual culture. Chinese Ways of Seeing is also lucidly written, enriched by deep historical research and insightful case studies. It is surely an essential reference for scholars working on the history of modern Chinese art and visual culture, and will also be very helpful for those interested in modern art more globally, as it illuminates how ideas traveled across and between visual cultures in the modern era, the generative contact zones and creative negotiations that emerged where “traditions” and “alien” ideas met. Open-air painting was certainly an alien idea for Chinese painters, especially those educated in traditional guohua methods, when it was introduced and promoted by modern reformers in the early twentieth century. Gu provides a brief explanation of the nomenclature, which in itself involved a complex and multidirectional practice of translation. Open air, or plein air, was introduced as a foundational principle of Western art history, but its association with Impressionism was not of great concern to contemporary Chinese artists and art educators. Nevertheless, some of the term’s associated values, such as spontaneity and individual genius, were well received. The Chinese phrases chosen as translations of “open-air painting,” including shiwai xiesheng and yewai xiesheng (both literally mean “sketching from life outdoors”), or fengjing xiesheng (landscape sketching from life), all highlighted the location of the act of painting outdoors or in nature. But eventually these variations became consolidated in the abbreviated form xiesheng, which Gu
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Pub Date : 2022-01-02DOI: 10.1080/00043079.2021.1964821
Amy R. Bloch
In fifteenth-century Florence, many artists, whatever their eventual specialty, trained in goldsmiths’ shops. Throughout Europe, moreover, the goldsmith’s art, which was practiced publicly, engendered widespread awareness of processes such as casting and plating metal. Among Florentine sculptors, goldsmithing nurtured an experimental approach, an attention to surface, and the adoption of novel media deriving from work with precious metals. After 1400, regulations circumscribing the art were reinterpreted and applied to large-scale sculptures made of copper alloys. In Donatello’s works, expansive creativity collided with strict regulation, revealing the complexities associated with the re-emergence of bronze and brass sculpture in quattrocento Florence.
{"title":"Sculpture, Donatello, and the Goldsmith’s Art in Fifteenth-Century Florence","authors":"Amy R. Bloch","doi":"10.1080/00043079.2021.1964821","DOIUrl":"https://doi.org/10.1080/00043079.2021.1964821","url":null,"abstract":"In fifteenth-century Florence, many artists, whatever their eventual specialty, trained in goldsmiths’ shops. Throughout Europe, moreover, the goldsmith’s art, which was practiced publicly, engendered widespread awareness of processes such as casting and plating metal. Among Florentine sculptors, goldsmithing nurtured an experimental approach, an attention to surface, and the adoption of novel media deriving from work with precious metals. After 1400, regulations circumscribing the art were reinterpreted and applied to large-scale sculptures made of copper alloys. In Donatello’s works, expansive creativity collided with strict regulation, revealing the complexities associated with the re-emergence of bronze and brass sculpture in quattrocento Florence.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"48 - 77"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47120074","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 : 2021-10-02DOI: 10.1080/00043079.2021.1957375
Douglas R. Nickel
{"title":"Walker Evans: Starting from Scratch, by Svetlana Alpers","authors":"Douglas R. Nickel","doi":"10.1080/00043079.2021.1957375","DOIUrl":"https://doi.org/10.1080/00043079.2021.1957375","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"141 - 144"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42636150","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 : 2021-10-02DOI: 10.1080/00043079.2021.1957387
M. Olin
This book about humor is not funny. But its account of cruel, dehumanizing caricatures sheds light on the infiltration of racism into some of the most basic and mundane sectors of the history of—mainly—the United States. Moreover, the reproduction of these caricatures in the context of literature about photography or in photographs gives them an insidious power with consequences for the myth of photographic truth. Study in Black and White ranges widely over plays, books, and illustrations of photographic practices as well as photographs themselves, but it begins with humor that draws from the technology of the medium. Perhaps it was inevitable, in a race-conscious society, that photography’s positive-negative process, visible even in a daguerreotype but most prominent in glass-plate photography, would lead to derisive jokes about racial transformation. The book soon arrives, however, at its central theme. While the author cites a number of ancient and modern theories of humor, and of photographic humor in particular, most of the book’s underlying assumptions about racist humor in photography stem primarily from the work of Eric Lott and others on blackface minstrelsy, the explicit focus of the second chapter. Black photographic practices were subjected to a litany of pictorial mockery in such plays as The Octoroon (1859), a tragic love story complete with family ruin and a murder. In the play, the humor arises from the supposed ignorance of an enslaved boy trying to make a self-portrait with a camera that he has no notion how to operate, and the preposterous idea of a photographic plate that develops itself. Since photographic plates cannot develop themselves, the fact that the plot depends on this impossibility (the murderer is discovered by means of it) might suggest that the playwright was equally ignorant of photography, or expected his audience to be. In Tanya Sheehan’s telling, the professional photographic community accepted the ignorance of the enslaved boy as part of the humor, but thought that the absurd plot device of a self-developing plate insulted the intelligence of the (white) audience, which apparently projected its own technological confusion onto the minority characters on stage. Grotesque caricatures of Black photographers are a measure of the obstacles they must have faced in their work. Indeed, white professional photographers may have been anxious to protect their reputations and that of the new medium from association with minorities and the lower classes. An account of the historical development of the photographic studio might have been a helpful addition to Sheehan’s book. Black Americans, along with women and lower classes in general, tried to take advantage of the new medium as a source of social mobility. Studios could be established to produce likenesses of clients for relatively small outlays of money and time. One reaction to this social mobility was to mock those who were using it to rise above their station in l
{"title":"Study in Black and White: Photography, Race, Humor, by Tanya Sheehan","authors":"M. Olin","doi":"10.1080/00043079.2021.1957387","DOIUrl":"https://doi.org/10.1080/00043079.2021.1957387","url":null,"abstract":"This book about humor is not funny. But its account of cruel, dehumanizing caricatures sheds light on the infiltration of racism into some of the most basic and mundane sectors of the history of—mainly—the United States. Moreover, the reproduction of these caricatures in the context of literature about photography or in photographs gives them an insidious power with consequences for the myth of photographic truth. Study in Black and White ranges widely over plays, books, and illustrations of photographic practices as well as photographs themselves, but it begins with humor that draws from the technology of the medium. Perhaps it was inevitable, in a race-conscious society, that photography’s positive-negative process, visible even in a daguerreotype but most prominent in glass-plate photography, would lead to derisive jokes about racial transformation. The book soon arrives, however, at its central theme. While the author cites a number of ancient and modern theories of humor, and of photographic humor in particular, most of the book’s underlying assumptions about racist humor in photography stem primarily from the work of Eric Lott and others on blackface minstrelsy, the explicit focus of the second chapter. Black photographic practices were subjected to a litany of pictorial mockery in such plays as The Octoroon (1859), a tragic love story complete with family ruin and a murder. In the play, the humor arises from the supposed ignorance of an enslaved boy trying to make a self-portrait with a camera that he has no notion how to operate, and the preposterous idea of a photographic plate that develops itself. Since photographic plates cannot develop themselves, the fact that the plot depends on this impossibility (the murderer is discovered by means of it) might suggest that the playwright was equally ignorant of photography, or expected his audience to be. In Tanya Sheehan’s telling, the professional photographic community accepted the ignorance of the enslaved boy as part of the humor, but thought that the absurd plot device of a self-developing plate insulted the intelligence of the (white) audience, which apparently projected its own technological confusion onto the minority characters on stage. Grotesque caricatures of Black photographers are a measure of the obstacles they must have faced in their work. Indeed, white professional photographers may have been anxious to protect their reputations and that of the new medium from association with minorities and the lower classes. An account of the historical development of the photographic studio might have been a helpful addition to Sheehan’s book. Black Americans, along with women and lower classes in general, tried to take advantage of the new medium as a source of social mobility. Studios could be established to produce likenesses of clients for relatively small outlays of money and time. One reaction to this social mobility was to mock those who were using it to rise above their station in l","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"138 - 140"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48229142","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 : 2021-10-02DOI: 10.1080/00043079.2021.1925013
Andrea Guerra
Abstract In 1914, three years after his visit to the Acropolis in Athens during his travels through the East, Le Corbusier wrote “Le Parthénon,” the penultimate chapter in the diary published posthumously in 1966 under the title Voyage d’Orient. The text, studied here from the original 1914 manuscript, is distinctive in that it attenuates the journalistic style prevalent in other chapters of Voyage to express considerations on artistic creation and the meaning of making architecture. The analysis reveals a powerful visionary component, inspired by images borrowed from painting and literature that would leave indelible traces in Le Corbusier’s poetics.
{"title":"“At the Threshold of Silence”: Le Corbusier, “Le Parthénon,” and the Vision of Antiquity","authors":"Andrea Guerra","doi":"10.1080/00043079.2021.1925013","DOIUrl":"https://doi.org/10.1080/00043079.2021.1925013","url":null,"abstract":"Abstract In 1914, three years after his visit to the Acropolis in Athens during his travels through the East, Le Corbusier wrote “Le Parthénon,” the penultimate chapter in the diary published posthumously in 1966 under the title Voyage d’Orient. The text, studied here from the original 1914 manuscript, is distinctive in that it attenuates the journalistic style prevalent in other chapters of Voyage to express considerations on artistic creation and the meaning of making architecture. The analysis reveals a powerful visionary component, inspired by images borrowed from painting and literature that would leave indelible traces in Le Corbusier’s poetics.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"85 - 110"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48444014","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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