{"title":"Collecting, Sketching, Printing and Painting: Mark Catesby's Observations of the Natural World","authors":"Arlene Leis","doi":"10.1111/1467-8365.12674","DOIUrl":"10.1111/1467-8365.12674","url":null,"abstract":"","PeriodicalId":8456,"journal":{"name":"Art History","volume":"45 4","pages":"890-894"},"PeriodicalIF":0.5,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88654922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Aesthetics of Revolution’ and Generative Spaces","authors":"Anne Marie E. Butler","doi":"10.1111/1467-8365.12669","DOIUrl":"10.1111/1467-8365.12669","url":null,"abstract":"","PeriodicalId":8456,"journal":{"name":"Art History","volume":"45 4","pages":"918-922"},"PeriodicalIF":0.5,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81075149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay uses the art and travels of Mexican artist David Alfaro Siqueiros to analyse the transnational antifascist artistic culture of the 1930s. Siqueiros was one of many artists who joined antifascist (and later Popular Front) organizations, and circulated their art beyond the traditional spaces of localized art worlds – into the streets and across national boundaries – to animate a global artistic network. The process of making the period transnational – artists and journal editors' work of clipping, replicating, and reusing images, texts, and ideas in new contexts, with new meanings – created chains of transnational iconography, and rendered montage as the period's central aesthetic. Period debates and polemics, waged at conferences and in journals, weaponized this culture. Siqueiros and Josep Renau's 1939–40 mural for the Mexican Electricians' Syndicate began as a final homage to the fallen Spanish Republic; the transformation of the mural, however, ultimately marked the end of Popular Front art.
{"title":"Animating Internationalism: David Alfaro Siqueiros and Antifascist Art in the 1930s","authors":"Jennifer Jolly","doi":"10.1111/1467-8365.12677","DOIUrl":"10.1111/1467-8365.12677","url":null,"abstract":"<p>This essay uses the art and travels of Mexican artist David Alfaro Siqueiros to analyse the transnational antifascist artistic culture of the 1930s. Siqueiros was one of many artists who joined antifascist (and later Popular Front) organizations, and circulated their art beyond the traditional spaces of localized art worlds – into the streets and across national boundaries – to animate a global artistic network. The process of making the period transnational – artists and journal editors' work of clipping, replicating, and reusing images, texts, and ideas in new contexts, with new meanings – created chains of transnational iconography, and rendered montage as the period's central aesthetic. Period debates and polemics, waged at conferences and in journals, weaponized this culture. Siqueiros and Josep Renau's 1939–40 mural for the Mexican Electricians' Syndicate began as a final homage to the fallen Spanish Republic; the transformation of the mural, however, ultimately marked the end of Popular Front art.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":"45 4","pages":"798-831"},"PeriodicalIF":0.5,"publicationDate":"2022-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86259007","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Scholars have for decades challenged the popular belief that Islam is intrinsically and implacably hostile to anthropomorphic art. Rooted in this literature, this essay argues that Islam was responsible for popularizing portraiture in Senegal, which previously featured none. With the founding of local Sufi brotherhoods such as the Mouridiyya in the 1880s, the eminence of religious leaders led to an unprecedented demand for their portraits. Glass painting became the privileged medium for reproducing images that appeared in other media, such as lithographs or photographs. Inspired by the respect for Muslim saints inherent in Sufi practices, the widespread desire to display portraits in one's home and for one's personal devotional practices made this genre indispensable. Rather than concentrating on any one medium, this essay focuses on the theoretical and formal interaction among chromolithographs, photographs, and glass paintings, and the migration of images across the three between the 1910s and the 1950s.
{"title":"On Islam and Portraiture: Lithography, Glass Painting, and Photography in Senegal","authors":"Giulia Paoletti","doi":"10.1111/1467-8365.12681","DOIUrl":"10.1111/1467-8365.12681","url":null,"abstract":"<p>Scholars have for decades challenged the popular belief that Islam is intrinsically and implacably hostile to anthropomorphic art. Rooted in this literature, this essay argues that Islam was responsible for popularizing portraiture in Senegal, which previously featured none. With the founding of local Sufi brotherhoods such as the Mouridiyya in the 1880s, the eminence of religious leaders led to an unprecedented demand for their portraits. Glass painting became the privileged medium for reproducing images that appeared in other media, such as lithographs or photographs. Inspired by the respect for Muslim saints inherent in Sufi practices, the widespread desire to display portraits in one's home and for one's personal devotional practices made this genre indispensable. Rather than concentrating on any one medium, this essay focuses on the theoretical and formal interaction among chromolithographs, photographs, and glass paintings, and the migration of images across the three between the 1910s and the 1950s.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":"45 4","pages":"774-797"},"PeriodicalIF":0.5,"publicationDate":"2022-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12681","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90942624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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