Konsthistorisk tidskrift/Journal of Art History最新文献

{"title":"Stumme Boten. Jacques de Gheyns schriftliche und zeichnerische Geste","authors":"Yannis Hadjinicolaou","doi":"10.1080/00233609.2023.2166985","DOIUrl":"https://doi.org/10.1080/00233609.2023.2166985","url":null,"abstract":"Abstract This paper analyses a pen and brown ink drawing by Jacques de Gheyn II (circa 1565-1629), which is preserved in the Kupferstichkabinett in Berlin, in relation both to written and drawn gestures, explicating the connection between image and word. Through the bodily articulation of the artist as well as through the gestural presence of the figure (“Handeling” meaning manner and action) the sheet addresses a co-productive act of making by various forces. The boy in the drawing salutes the beholder, simultaneously gesturing toward himself: he is a delegate in an act of communication between the artist (De Gheyn) and his patron-friend (Willemsen). The mute messenger is identified via his own portrait on the letter to Willemsen. He is hence a part of what he delivers. In de Gheyn’s work, both the sensibility and materiality of the media (drawing, letter) as well as their tensions and interdependencies, are illuminated and placed within a specific sociohistorical context of human communication, namely the Netherlands in the late sixteenth century.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132183241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Singapore Art History as a History of Mobilities","authors":"Wei Hao Goh","doi":"10.1080/00233609.2022.2145351","DOIUrl":"https://doi.org/10.1080/00233609.2022.2145351","url":null,"abstract":"ABSTRACT Moving away from the study of the history of art using place-bound and ‘rational' terms, this article examines how the different forms of mobilities practiced by Singaporean artists have shaped their artworks, practices and identities. This is achieved through a study of artists who practiced ‘unconventional’ forms of mobilities: Suzann Victor, an ‘unofficial exile’ who moved to Sydney due to the fallout from the Brother Cane incident, which made it difficult for her to continue to practice in Singapore; Jimmy Ong, who shifted his practice to the United States to lead a “domestic life” with his former husband and Gilles Massot, a French-born artist who moved to Singapore to become an “Other.” Specifically, the paper seeks to answer: What are the different types of mobilities practiced by the artists? How do these mobilities impact their practice? How are these mobilities and their impacts perceptible in the artworks? What are the ways that these mobilities differ from the ones that are typically studied in canonical art history? In this paper, the artworks are studied as ‘fluid spaces' that are shaped by the myriad forms of mobilities practiced by the artists – many of which cannot be described as completely ‘rational – rather than the product of a single form of mobility. The aim is to shift our study of art away from place-bound and ‘rational’ concepts towards the transience of the artists and the borderless nature of artistic influences and ideologies.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134391931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The condottiere prince – A visual rhetoric. Leonello d'Este, Sigismondo Malatesta, Alessandro Sforza, Federico da Montefeltro","authors":"Per Sigurd Tveitevåg Styve","doi":"10.1080/00233609.2022.2134448","DOIUrl":"https://doi.org/10.1080/00233609.2022.2134448","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134628064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Nell Walden, Der Sturm, and the Collaborative Cultures of Modern Art","authors":"Sophie Doutreligne","doi":"10.1080/00233609.2022.2101514","DOIUrl":"https://doi.org/10.1080/00233609.2022.2101514","url":null,"abstract":"Although her name might not immediately ring a bell, artist and art collector Nell Walden (born Nelly Roslund) can be considered a key figure in the German Expressionist movement and most notably in and around Der Sturm. Together with Herwarth Walden – whom she married in  – she played a crucial role in building an international reputation for Der Sturm. Still, she was repeatedly pushed to the margins of traditional art history, which has resulted in the fact that most of us have no actual recollection of her today. The unfair fate that befell her was shared by many other female artists of the historical avant-gardes of the first half of the twentieth century. It is only recently that artists such as Hannah Höch, Emmy Hennings, and Claude Cahun were taken seriously as professional artists and consequently were accepted as pioneers. Before this crucial change of perception, these and many other artists were at best seen as talented amateurs or sexually available muses to their male avant-garde colleagues. They were driven to the periphery of their respective movements, silenced, and eventually forgotten. Associate Professor in Art history at Stockholm University Jessica Sjöholm Skrubbe is the very first to expose but also to denounce the problematic reception of Nell Walden through art history. She points out that Nell Walden was largely overshadowed by the achievements of male genius Herwarth Walden, who founded Der Sturm in . Indeed, Nell Walden called him a “forerunner and pioneer of the new art” while others, for example the Expressionist poet August Stramm went even further and considered him as the true personification of Der Sturm (“Der Sturm is Herwarth Walden”). However, heroizing Herwarth Walden highly contributed to the undervaluation of his partner’s visionary role as an art collector, artist, manager, and (later) archivist of the Der Sturm. Surviving promotional pictures of the Walden couple – surrounded by an impressive art collection – demonstrate that Nell Walden played at least an equally important role. Moreover, often-overlooked source material of this kind exposes the many cracks in the existing Sturm historiographies: an undervaluation of aspects as collaboration and supportive labour as well as a neglect of the effective practice of self-presentation (and hence self-promotion) through photographs. Practices in which Nell Walden certainly had excelled. Skrubbe’s feminist reading finally re-positions, or rather re-centers Nell Walden as one of the driving forces behind Der Sturm. She presents to the reader an exhaustive study of the life and work of Nell Walden that is in line with ongoing feminist practices of denouncing the silence around many female pioneers of the historical avantgardes. In this field of research, it is agreed upon today that rewriting these pioneers back into art history by means of biographies and historical revisions simply does not suffice. As such, a growing attention for","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"2015 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127733471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Die Kilianslegende des Veit Stoß in der Kirche der hl. Maria Magdalena in Münnerstadt","authors":"J. Bremer, Paweł Taranczewski, K. Mann","doi":"10.1080/00233609.2022.2147994","DOIUrl":"https://doi.org/10.1080/00233609.2022.2147994","url":null,"abstract":"Summary Veit Stoß (1445/50 – 1533) ist bekannt für seine Stein- und Holzskulpturen sowie für die Bemalung der Holzfiguren, von denen die des Krakauer Marienaltars (1476 – 1489) ein beson- ders eindrucksvolles Beispiel darstellen. Weniger bekannt sind hingegen seine Kupferstiche und Gemälde. Aus diesem Grund werden hier die einzigen erhaltenen Gemälde von Veit Stoß’ Hand ausführlich besprochen und im Zusammenhang mit dem ursprünglichen Präsentationskonzept analysiert. Seine Tafelbilder zum Martyrium des heiligen Kilian und seiner beiden Gefährten, die sich in St. Maria Magdalena in Münnerstadt befinden, werden angesichts der Popularität der Legende in dieser Region mit anderen Darstellungen verglichen.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130362777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Saintly Shrines to Cabinets of Curiosity – The Fate of Medieval Altarpieces in Post-Reformation Norway","authors":"Kristin Kausland","doi":"10.1080/00233609.2022.2066172","DOIUrl":"https://doi.org/10.1080/00233609.2022.2066172","url":null,"abstract":"Summary This article follows the afterlife of two fragmented late medieval altarpieces in Norway, whose original function was for a long time obscured after years of private ownership. The study takes an object biography approach, where sections of documentary evidence are pieced together with technical findings and historical context to explore the altarpieces’ shifting functions during long, eventful lifespans. The Reformation and shift to Lutheran Protestantism did not pose any immediate threat to the Catholic objects, despite featuring non-biblical imagery. Instead, church renovation and subsequent transferals from ecclesiastic to profane locations became critical factors in decisions to alter their original appearances. The Fjell altarpiece was first transformed into a Lutheran altarpiece in the nineteenth century, before ending up as a piece of utilitarian furniture in a private house. Gløshaug was transposed from its life as an altarpiece in a modest village church to an object of art and curiosa in a rich art collection housed in an upper-class mansion in England. This article shows how serendipity not only plays a role in the re-emergence of repurposed medieval liturgical art but also in their conservation treatments. Pages from the objects’ chronologies stand unfilled, only to be revealed after treatment has begun and decisions cannot be reversed. From this, we might deduce that reaching the state of original appearance may not always be the best objective during a restoration, and that perhaps chance will never cease to play a role, regardless of how comprehensively we think we have documented an object’s life.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129508572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"La Manfrediana Methodus en Allemagne, au Danemark et en Bohême: réminiscences au-delà des confins caravagesques connus","authors":"Kitsirin Kitisakon","doi":"10.1080/00233609.2022.2124306","DOIUrl":"https://doi.org/10.1080/00233609.2022.2124306","url":null,"abstract":"Summary Cet article est une mise au point des études sur la Manfrediana methodus. Populaire dans les années 1610 et 1620, la ‘méthode’ de Manfredi est surtout employée par les artistes étrangers, principalement néerlandais, venus à Rome, séduits par le caravagisme. Elle s’exportera ensuite vers d’autres pays, notamment aux Pays-Bas du Nord et du Sud et il est généralement considéré qu’elle s’éteint vers 1630. Cependant, notre recherche, bien qu’axée principalement sur des considérations stylistiques, cherchera à montrer que certaines œuvres font preuve de sa survivance au-delà de ses frontières géographique et chronologique connues. Ainsi à Brême, Simon Peter Tilmann signe, au début des années 1630, deux Diseuses de bonne aventure dont l’artiste aurait pu prendre connaissance de ce sujet lors de ses voyages italiens. Puis entre 1650 et 1660, Wolfgang Heimbach, qui a notamment visité Rome, réalise deux œuvres, la première en Bohême ou à Oldenbourg et la seconde à Copenhague, rappelant le manfrédisme. Enfin, en Bohême au début du XVIIIe siècle, quelques toiles de Petr Brandl présentent des traces picturales tardives de la ‘méthode’ dont il aurait pris connaissance à travers la collection royale de la cour praguoise.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"150 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127222060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Monument, Memory, Museum. The Royal Palace of Stockholm in the Long Twentieth Century","authors":"M. Olausson","doi":"10.1080/00233609.2022.2125068","DOIUrl":"https://doi.org/10.1080/00233609.2022.2125068","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132776384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cover-title page","authors":"","doi":"10.1080/00233609.2022.2082214","DOIUrl":"https://doi.org/10.1080/00233609.2022.2082214","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124493758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Estetisk ingenjörskonst och konstens ekologisering: Richard Bergh, Människan och nutiden och Öyvind Fahlström","authors":"Erik Erlanson, Peter Henning","doi":"10.1080/00233609.2022.2056634","DOIUrl":"https://doi.org/10.1080/00233609.2022.2056634","url":null,"abstract":"Summary The following article seeks to analyze the biopolitical interconnections between cultural policy and the arts during the Swedish 1900s. Of special relevance is the concept of “aesthetic engineering”, denoting the attempt to vitalise and activate the population through manipulation of the sensuous environment. In this context, the significance of the individual artwork can only be understood in relation to the larger media ecology of which it forms a part. The study analyzes three heterogenous examples of aesthetic engineering, juxtaposing a Social-Democratic report on cultural policy, Människan och nutiden (1952), with the essays of painter and museum director Richard Bergh (1858–1919), and the utopian visions of neo-avant-gardist Öyvind Fahlström (1928–1976). The different examples all provide theories on the purported necessity of art's “ecologization”: i.e. of the integration of the artwork in the environment. By recognising this shared ground, we suggest that a novel context for the understanding of art and welfare politics in twentieth-century Sweden can be established.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"291 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122473465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}