‘[It] transported me a thousand miles from London, to a thousand years from the age of Mr. Gladstone’, recalled Robert de la Sizeranne of Edward Burne-Jones's Briar Rose series (1884–90). This essay argues, on the contrary, that the paintings were closer to contemporary concerns than Sizeranne allowed. In Burne-Jones's briar, we find a remarkable example of one of the late nineteenth century's most promiscuous and ambiguous motifs: the tendril. Perhaps unexpectedly, this ornamental motif was at the centre of fin-de-siècle debates about time, capitalist expansion, and imperialism. In visual art, philosophy, and art history, the tendril figured anxieties about where Europe was heading. Tracing its movement through Burne-Jones's canvases into texts by Henri Bergson and Alois Riegl, and decorative art by Victor Horta and William Morris, this essay contends that the tendril traverses a shared, but fragile, trans-European imperial landscape at the end of the nineteenth century.
爱德华·伯恩·琼斯（Edward Burne Jones）的《玫瑰》（Briar Rose）系列（1884–90）中的罗伯特·德拉西泽兰（Robert de la Sizeranne）回忆道：“（它）把我从伦敦带了一千英里，从格莱斯顿先生的年龄带了一千年。”。相反，这篇文章认为，这些画比Sizeranne所允许的更接近当代关注。在伯恩·琼斯的《荆棘》中，我们发现了19世纪末最混乱、最模糊的主题之一的一个显著例子：卷须。也许出乎意料的是，这个装饰性的主题成为了关于时间、资本主义扩张和帝国主义的最后辩论的中心。在视觉艺术、哲学和艺术史上，卷须描绘了对欧洲走向的焦虑。本文通过伯恩·琼斯的画布，将其运动追溯到亨利·伯格森和阿洛伊斯·里格尔的文本中，以及维克托·奥尔塔和威廉·莫里斯的装饰艺术中，认为卷须在19世纪末穿越了一个共同但脆弱的跨欧帝国景观。
{"title":"‘About the Tangle of the Rose’: Thinking with the Fin-de-Siècle Tendril","authors":"Emily Cox","doi":"10.1111/1467-8365.12734","DOIUrl":"https://doi.org/10.1111/1467-8365.12734","url":null,"abstract":"<p>‘[It] transported me a thousand miles from London, to a thousand years from the age of Mr. Gladstone’, recalled Robert de la Sizeranne of Edward Burne-Jones's <i>Briar Rose</i> series (1884–90). This essay argues, on the contrary, that the paintings were closer to contemporary concerns than Sizeranne allowed. In Burne-Jones's briar, we find a remarkable example of one of the late nineteenth century's most promiscuous and ambiguous motifs: the tendril. Perhaps unexpectedly, this ornamental motif was at the centre of <i>fin-de-siècle</i> debates about time, capitalist expansion, and imperialism. In visual art, philosophy, and art history, the tendril figured anxieties about where Europe was heading. Tracing its movement through Burne-Jones's canvases into texts by Henri Bergson and Alois Riegl, and decorative art by Victor Horta and William Morris, this essay contends that the tendril traverses a shared, but fragile, trans-European imperial landscape at the end of the nineteenth century.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":"46 3","pages":"512-538"},"PeriodicalIF":0.5,"publicationDate":"2023-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50155801","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 addresses an understudied drawing of a fictional coat of arms by the Swiss artist Niklaus Manuel, called Deutsch, suggesting that it gently subverts heraldic conventions, reflecting contemporaneous concerns about the instability of earthly insignia. By evoking iconographies of Fortuna and the homo viator, the drawing challenges the security of armorial prestige. Manuel – like Albrecht Dürer and Martin Schongauer before him – used the heraldic framework to probe pictorial conventions and to signal their artistic authority as arbiters of ornamental meaning. Produced on the eve of the Reformation, the drawing prefigures the intensified scrutiny of earthly and spiritual sign systems that would occur just a few years later. Art historians have tended to dismiss heraldry as a distinctly medieval and utilitarian category of image, too rule-governed to nourish the imaginations of Renaissance artists. However, Manuel's drawing unlocks a window onto a world in which the heraldic provided a common point of reference for thinking about signification and identity during a period of transformative cultural change.
{"title":"Thinking with Heraldry on the Eve of the Reformation: A Drawing by Niklaus Manuel Deutsch","authors":"Frances Rothwell Hughes","doi":"10.1111/1467-8365.12733","DOIUrl":"https://doi.org/10.1111/1467-8365.12733","url":null,"abstract":"<p>This essay addresses an understudied drawing of a fictional coat of arms by the Swiss artist Niklaus Manuel, called Deutsch, suggesting that it gently subverts heraldic conventions, reflecting contemporaneous concerns about the instability of earthly <i>insignia</i>. By evoking iconographies of <i>Fortuna</i> and the <i>homo viator</i>, the drawing challenges the security of armorial prestige. Manuel – like Albrecht Dürer and Martin Schongauer before him – used the heraldic framework to probe pictorial conventions and to signal their artistic authority as arbiters of ornamental meaning. Produced on the eve of the Reformation, the drawing prefigures the intensified scrutiny of earthly and spiritual sign systems that would occur just a few years later. Art historians have tended to dismiss heraldry as a distinctly medieval and utilitarian category of image, too rule-governed to nourish the imaginations of Renaissance artists. However, Manuel's drawing unlocks a window onto a world in which the heraldic provided a common point of reference for thinking about signification and identity during a period of transformative cultural change.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":"46 3","pages":"484-511"},"PeriodicalIF":0.5,"publicationDate":"2023-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50142879","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 examines spiritualist artist Evelyn De Morgan's representation of the self in several paintings c. 1900, including never before discussed portraits. Starting with the portraits' unusual treatment of the face as deflecting psychological legibility, it argues that the ‘self’ that they figure aligns with that described in contemporary scientific writings, notably by experimental psychologist and psychical researcher Frederic W. H. Myers and physicist Oliver Lodge. Writing from perspectives sympathetic to spiritualism, Myers and Lodge described the self as immortal, composite and mutable, invisible yet physical, exceeding the confines of the material body, and related somehow to ether. This essay draws on the entangled fin-de-siècle histories of science and spiritualism (and activates some of Gilles Deleuze's later theories) to argue that De Morgan summoned this self into a form at least contingently visible by exploiting the representational potential of the mutable, imponderable ether and its widely assumed properties: energic, (hyper-)spatial, temporal, and spiritual.
{"title":"Physics, Psychical Research, and the Self: Evelyn De Morgan's Spiritualist Portraits","authors":"Emma Merkling","doi":"10.1111/1467-8365.12726","DOIUrl":"https://doi.org/10.1111/1467-8365.12726","url":null,"abstract":"<p>This essay examines spiritualist artist Evelyn De Morgan's representation of the self in several paintings <i>c</i>. 1900, including never before discussed portraits. Starting with the portraits' unusual treatment of the face as deflecting psychological legibility, it argues that the ‘self’ that they figure aligns with that described in contemporary scientific writings, notably by experimental psychologist and psychical researcher Frederic W. H. Myers and physicist Oliver Lodge. Writing from perspectives sympathetic to spiritualism, Myers and Lodge described the self as immortal, composite and mutable, invisible yet physical, exceeding the confines of the material body, and related somehow to ether. This essay draws on the entangled fin-de-siècle histories of science and spiritualism (and activates some of Gilles Deleuze's later theories) to argue that De Morgan summoned this self into a form at least contingently visible by exploiting the representational potential of the mutable, imponderable ether and its widely assumed properties: energic, (hyper-)spatial, temporal, and spiritual.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":"46 3","pages":"458-483"},"PeriodicalIF":0.5,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50146876","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":"Portrait of a Collector","authors":"Christina M. Anderson","doi":"10.1111/1467-8365.12723","DOIUrl":"https://doi.org/10.1111/1467-8365.12723","url":null,"abstract":"","PeriodicalId":8456,"journal":{"name":"Art History","volume":"46 2","pages":"417-420"},"PeriodicalIF":0.5,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50123886","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":"New Light on Seventeenth-Century Woodcarving: A Resurrection for the Carved Arts","authors":"Charlotte Davis","doi":"10.1111/1467-8365.12721","DOIUrl":"https://doi.org/10.1111/1467-8365.12721","url":null,"abstract":"","PeriodicalId":8456,"journal":{"name":"Art History","volume":"46 2","pages":"408-411"},"PeriodicalIF":0.5,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50123890","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":"Reckoning with Empire in French Modern Visual Culture","authors":"Alexis Clark","doi":"10.1111/1467-8365.12722","DOIUrl":"https://doi.org/10.1111/1467-8365.12722","url":null,"abstract":"","PeriodicalId":8456,"journal":{"name":"Art History","volume":"46 2","pages":"411-416"},"PeriodicalIF":0.5,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50123891","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":"A Special Kind of Hell: On the Embodied and Emotional Experience of Byzantine Images of the Last Judgement","authors":"Lara Frentrop","doi":"10.1111/1467-8365.12720","DOIUrl":"https://doi.org/10.1111/1467-8365.12720","url":null,"abstract":"","PeriodicalId":8456,"journal":{"name":"Art History","volume":"46 2","pages":"405-408"},"PeriodicalIF":0.5,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50123889","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}
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