Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1917279
Angélica J. Afanador-Pujol
The sixteenth-century conquest of Mexico brought into contact European and Indigenous ways of understanding and recording the world. In Descendants of Aztec Pictography: The Cultural Encyclopedias ...
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Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1882797
Alex Brey
Abstract Diverse plants, animals, humans, and supernatural hybrids decorate the paving stones of an early Islamic reservoir platform in the Azraq oasis, Jordan. Built for an unknown Umayyad-era patron in the late seventh or early eighth century, the platform is typically eclectic in its iconography but features an unusual composition adapted from Roman-Byzantine zodiac diagrams and unprecedented “jigsaw-puzzle” interlocking masonry. The stone pieces of this Umayyad puzzle echo the rhetoric of political and cosmic fragmentation and reassembly that appears in early Arabic poetry and chronicles, suggesting that Umayyad patrons and builders articulated meaning through technique as well as composition and content.
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Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1882811
A. Vanhaelen
Abstract In early modern Amsterdam, inns and taverns were used as innovative exhibition spaces for unusual inventions, including automata. Very few of the artifacts survive, but publicity materials and evidence from travel accounts indicate their renown in the seventeenth century. Often advertised as particularly worthwhile for strangers and foreign visitors to the mercantile city, these attractions mediated cultural diversity and knowledge exchange through pleasure and entertainment. Bringing together locals, travelers, and moving artworks, the mobile dynamics of these sites fostered new ways of interacting in an increasingly interconnected world.
{"title":"Strange Things for Strangers: Transcultural Automata in Early Modern Amsterdam","authors":"A. Vanhaelen","doi":"10.1080/00043079.2021.1882811","DOIUrl":"https://doi.org/10.1080/00043079.2021.1882811","url":null,"abstract":"Abstract In early modern Amsterdam, inns and taverns were used as innovative exhibition spaces for unusual inventions, including automata. Very few of the artifacts survive, but publicity materials and evidence from travel accounts indicate their renown in the seventeenth century. Often advertised as particularly worthwhile for strangers and foreign visitors to the mercantile city, these attractions mediated cultural diversity and knowledge exchange through pleasure and entertainment. Bringing together locals, travelers, and moving artworks, the mobile dynamics of these sites fostered new ways of interacting in an increasingly interconnected world.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"42 - 68"},"PeriodicalIF":0.7,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47821836","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 : 2021-07-03DOI: 10.1080/00043079.2021.1882798
M. Cao
Abstract American trompe l’oeil still life is full of global goods. Attending to this genre within a nexus of trade and colonialism in the Gilded Age can correct for an absence of empire in transnational scholarship on nineteenth-century American art. This context informs De Scott Evans’s trompe l’oeil painting of a parrot, an animal that by virtue of its mimicry could be imprinted with the history of its own colonial circulation. I argue that Evans and other painters deployed the logic of trompe l’oeil—a hyperillusionistic style often belittled by critics as mere parroting—to expose the politics of colonial goods.
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Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1882799
L. Phillips
Abstract Adolph Menzel (1815–1905), the renowned realist and painter of Prussian history, had a surprising penchant for rebus puzzles. Relatively unknown and unstudied, Menzel’s rebuses open the door to a radical reevaluation of his realism. Analysis of these puzzles and their historical affiliation with the concepts of Phantasie (imagination) and Bildung (self-cultivation), establishes them as a valuable heuristic for understanding Menzel’s various processes of “work,” and their significance for the viewer. Aligning realism with the concept of Bildung, Menzel’s rebuses reveal his realism to be a program of aesthetic education with formidable cultural and political implications.
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Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1882819
Jorge Sebastián Lozano
Just as for the rest of the humanities, a roadmap for the discipline of art history in the past few decades would show a tangle of unexpected turns. Art history has undergone the linguistic turn, the material turn, the pictorial turn, the global turn, and, of course, the spatial turn, to name a few; what is more, there is the discipline’s recent convergence with digital technologies. Already in 2004, while reviewing two recent contributions to the field, Larry Silver could assert in The Art Bulletin that “art is created as much in place as in time, making some self-aware form of artistic geography essential to the future of the discipline.”1 Much more recently, Paul Jaskot hailed spatial analysis as “the most productive point of intersection [of art history] with digital methods.”2 Such claims attest to an important change in the discipline of art history, countering its long-standing lack of attention to the use of geographical tools. Our traditional hesitation to adopt such instruments is often supported by Fernand Braudel’s famous assertion about the preference for museum catalogs over artistic atlases.3 Could Google Earth’s satellite views, while jumping from one location on the globe to another, ever be put to a rigorous art historical use? Are digital maps really causing a turn in our practices? Or will they be just one more step in that long tradition of neglect, precisely at a time when this kind of electronic information is ubiquitous in ordinary life and for many other scientific disciplines? What follows is an attempt to raise these and some other useful questions; while not all of them will be answered, we can gain some leads from the available experiences.
正如人文学科的其他学科一样，过去几十年艺术史学科的路线图将显示出一系列意想不到的转折。艺术史经历了语言转向、物质转向、绘画转向、全球转向，当然还有空间转向，仅举几例；更重要的是，该学科最近与数字技术融合。早在2004年，拉里·西尔弗（Larry Silver）在回顾该领域最近的两项贡献时，就可以在《艺术简报》（the Art Bulletin）中断言，“艺术是在原地和时间上创造的，这使得某种自我意识的艺术地理形式对该学科的未来至关重要。”，Paul Jaskot称赞空间分析是“（艺术史）与数字方法最有效的交叉点。”2这些说法证明了艺术史学科的一个重要变化，弥补了其长期缺乏对地理工具使用的关注。费尔南德·布劳德尔（Fernand Braudel）的著名论断支持了我们对采用这种仪器的传统犹豫，即人们更喜欢博物馆目录，而不是艺术地图集。3谷歌地球（Google Earth）的卫星视图在从地球上的一个位置跳到另一个位置时，会被严格用于艺术历史吗？数字地图真的会改变我们的做法吗？或者，正是在这种电子信息在日常生活和许多其他科学学科中无处不在的时候，它们只是长期忽视传统的又一步吗？以下是提出这些问题和其他一些有用问题的尝试；虽然不是所有的答案都会得到回答，但我们可以从现有的经验中获得一些线索。
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Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1917280
S. A. Casale
sixteenth century. They represent a scholarly innovation as they reveal the continuation of Indigenous genres, knowledge, and pictographic traditions as they were adapted to encyclopedic European works. Artists often continued to use pictographic techniques when the genres were familiar to them but simultaneously innovated and adapted to the new ethnographic demands of their European patrons. By the end of the sixteenth century, text had come to convey much of the information, even though Indigenous genres and content contributed valuable information. While more research is needed on the roles of Indigenous contributors and the repercussions of their colonial experience on these manuscripts, Boone’s book presents a model for the investigative power of close observation to decipher the impact of Indigenous forms of knowledge in colonial works. Boone’s clear writing and use of numerous examples make the volume accessible not only to specialists in Mexican manuscripts but also to a broader audience interested in Indigenous traditions, European epistemological projects, and colonial encounters.
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Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1917277
M. Pavlou
The experience of the COVID-19 pandemic has been an unprecedented one, with severe repercussions in each and every aspect of our lives, not least within academia. One of the things that has struck me during this period is the astonishing, generous outpouring of assistance and collaboration among classicists via the ClassicistsList forum, which has allowed the exchange of books and articles at a time when there has been limited or no access to libraries and other such resources.1 Even though solidarity and constructive dialogue are a given among classicists, paradoxically, this kind of collaboration seldom materializes in the form of coauthored books and articles. Whereas collaboration in research writing is a well-established practice in other disciplines, in classics (not to mention in the humanities as a whole), soleauthored books and articles continue to prevail, and research remains a mostly solitary pursuit. In light of this, the recently published book by Richard Neer, professor of art history, cinema, and media studies at the College at the University of Chicago, and Leslie Kurke, professor of classics and comparative literature at the University of California, Berkeley, is both a welcome addition and a meritorious initiative. Although it would be a serious omission not to acknowledge the long history of interdisciplinary approaches within classics, interdisciplinary collaborations are de facto more likely to pave wider intellectual pathways and break new ground. The book, entitled Pindar, Song, and Space: Towards a Lyric Archaeology, comprises an introduction; three parts subdivided into a total of eight chapters; a succinct coda; an appendix; an index locorum; and a general index. Prima facie, the title gives the impression that this is a book about Pindar, or more precisely, a book that seeks either to explore how Pindar thematizes and integrates the built environment into his song or to identify the multifarious ways in which the Theban poet uses the language and imagery of material culture to define and aggrandize his poetry. Yet, while Pindar is featured prominently throughout the book and serves as its unifying thread, the book is not, in fact, primarily about him. As Neer and Kurke clarify from the outset, the scope of the book is much broader and more ambitious: to study “the concept and experience of space in Classical Greece” (1) by mapping “the dialectical interaction of song, artifacts, and spatiality” (3). In expounding the rationale of their interdisciplinary approach in the short but informative introduction, the authors make clear that their aim is not merely to set art history, philology, and archaeology side by side but rather to suggest a radically new way of approaching and com-
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