Konsthistorisk tidskrift/Journal of Art History最新文献

{"title":"The Sámi in Two Nordic Art Projects: Mattias Olofsson’s Stor-Stina and Jorma Puranen’s Imaginary Homecoming","authors":"Kristin Nielsen","doi":"10.1080/00233609.2022.2037702","DOIUrl":"https://doi.org/10.1080/00233609.2022.2037702","url":null,"abstract":"Summary This paper examines how representations of the Sámi emerge in the art of two contemporary Nordic artists, Mattias Olofsson and Jorma Puranen. It compares Olofsson’s performances of Stor-Stina (1999-present) with Puranen’s Imaginary Homecoming (1991-97), showing how their projects convey and simultaneously attempt to dismantle a settler mentality. Through the comparison, the paper argues for the critical discernment of how art may reproduce a colonial framework so that we may break our habitual ways of imagining the world.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129383272","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":"‘Try it with the Tip of a Knife’: Looking Out for Fake Antiquities in Sixteenth-Century Italy","authors":"Barbara Furlotti","doi":"10.1080/00233609.2021.1875041","DOIUrl":"https://doi.org/10.1080/00233609.2021.1875041","url":null,"abstract":"Summary In 1565, the collector and art adviser Girolamo Garimberto congratulated Cesare Gonzaga on the recent acquisition of a series of ancient heads. In Garimberto’s words, what made this purchase so extraordinary was the “presence of an emperor [Geta] so rare, with his wife and two children, that, to tell the truth, this is an extremely rare and impossible occurrence, difficult to be arranged in any century, if not by sculpting them ex novo.” While approving the acquisition, Garimberto was voicing a deep concern: collectors’ high demand for “rare and impossible” works was encouraging the creation of forgeries. During the sixteenth century, for instance, the growing request for ancient coins with unusual reverses fostered a flourishing production of skilfully made fakes, which dealers were not ashamed to bring to the market that were still scorching hot. In such a competitive context, it was crucial to learn how to recognise an original coin from a fake, for instance by scratching the metal with the tip of a knife or hitting it to check its sound. As the market for antiquities boomed, so did the production of fake coins, sculptures, gems, inscriptions. This article highlights some of the problems scholars face when investigating the topic of fake antiquities produced in Italy during the early modern period. Through the discussion of some sixteenth-century forgeries, it also considers by whom and for whom fake antiquities were created, and what kind of expertise was required to identify them.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"332 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115976170","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":"Striving for Close Resemblance or Creative Improvements: On Painted Copies and Workshop Replicas from the Sixteenth and Seventeenth Century in Swedish Art History","authors":"Charlotta Krispinsson","doi":"10.1080/00233609.2021.2024593","DOIUrl":"https://doi.org/10.1080/00233609.2021.2024593","url":null,"abstract":"Summary This study examines painted copies from the sixteenth and seventeenth centuries to gain a richer understanding of the phenomenon of copies and of copying as a common artistic practice. The study findings suggest that copies painted in Sweden in the seventeenth century were, in general, free copies. In that century, the Swedish economy was booming, and a semi-regulated art market had developed, and many of the paintings commissioned by the monarchy and nobility were copies of portraits. This phenomenon is analysed here in light of the new iconology and its focus on image circulation and transformation in and between different media, as well as regarding the increasing interest in the last decades in pre-modern copies within art history and visual studies. Special attention is given to the portraits of Margareta Eriksdotter (Vasa) from 1528, the free copies of her portrait made in the seventeenth century and the copy of The Sun Dog Painting from 1636. Three known portrait multiples are known of Margareta Eriksdotter, and they are thought likely to represent part of the same commission and to have been painted in Lübeck in 1528 by Hans Kemmer, a student of Lucas Cranach the Elder. The phenomenon of free copies painted in the seventeenth century is interpreted as combining artistic alterations and improvements, while the visual content that was considered significant for preservation from the previous image had to be copied faithfully.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"34 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132081956","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":"Fakes matter – as a matter of fakes","authors":"Alexandra Herlitz, Alexandra Fried","doi":"10.1080/00233609.2022.2043934","DOIUrl":"https://doi.org/10.1080/00233609.2022.2043934","url":null,"abstract":"This special issue of the Konsthistorisk Tidskrift/Journal of Art History is dedicated to research on fakes and forgeries in the early modern period. However, this topic does not only apply to what is considered true or fake, real or unreal, original or copy, but goes hand in hand with a more complex discussion on perception, history and visual identity. The definition of fake is according to The Concise Dictionary of Art Terms, “a work of art or artefact that is not genuine and is intended to deceive”. However, as the words ‘fakes and forgeries’ are often associated with crime, deceit, theft and so forth, it may come as a surprise how widely these terms are applied in the selected articles for this special issue. But why pay attention to artefacts that are not authentic and that may even have been produced for the sole purpose of deceiving an art market based on art historic expertise dealing with hugely profitable bona fide works? In , the art historian Mark Jones curated the acclaimed exhibition “FAKE?” at the British Museum. Jones edited and wrote the introduction to the groundbreaking anthology of research that was presented at the associated symposium in June , and put into words at that time why fakes do matter. The key work published within the field Why fakes matter: essays on problems of authenticity published in , discussed in a convincing way why fakes and forgeries should be of significance to art historians amongst others. The exhibition and subsequent publication created a new field of research where fakes were considered as objects that were legitimate to be studied in their own right and important for science and research. As art historians of our time, we are well aware that changes in appreciation occur, and that perspectives on originality and authenticity can change over the course of time: today’s fakes can be tomorrow’s authentic pieces. A simple example for these kinds of shifts are artefacts like coins or medals that originally were commodities for their owners which, even in a faked form, eventually would increase in value by mere aging, while they lose or at least change their original function. A more complex phenomenon that was adduced by Jones are the changes in attitude toward qualities such as authenticity and originality: while the portrait market of the sixteenth and seventeenth centuries was based on the main quality of a portrait being close to its subject, this quality lost relevance during the nineteenth century, when the portrait market’s prime demand implied original pieces expressing a custommade creation that could be ascribed to an individual artist. With our current understanding of changes like these, we can again appreciate the value","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132063750","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":"10.1080/00233609.2022.2051961","DOIUrl":"https://doi.org/10.1080/00233609.2022.2051961","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125518770","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":"Forging a Language of Lies: Truth, Falsehood and Making in Early Modern England","authors":"Simen K. Nielsen","doi":"10.1080/00233609.2021.1918761","DOIUrl":"https://doi.org/10.1080/00233609.2021.1918761","url":null,"abstract":"Summary The English language contains a plethora of words denoting and connoting material production – designations of Man as maker: Making, creating, fashioning, forging, fabricating, producing, generating, manufacturing, and so on. This catalogue of relative synonyms has, however, radical historical and internal differences of valence and meaning and surrounds the Early Modern nomenclature of “making” with unstable and ambiguous significations. As a phenomenon too frequently taken for granted in narratives of material and visual culture, “making” makes up a nexus of multiple and polysemous tensions in Early Modern language and thought. I intend in this paper to engage with the construction of “making” as a category embedded within theological discourses of “real” and “fake”, “truth” and “falsehood”, in the Calvinist environment of Early Modern England. Using the Reformation disputes on religious imagery and representation, and how these make use of the Old Testament imagery of Creation as a case in question – personified in discourse by figures such as William Perkins and John Jewel which will be at centre of this paper – I will especially seek to elucidate how the religious visual topography became a space for contention and negotiation, of anxieties related to fact and fiction, truth and falsehood.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128865959","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 Portrait and the Colonial Imaginary. Photography between France and Africa, 1900–1939","authors":"Åsa Bharathi Larsson","doi":"10.1080/00233609.2021.2016946","DOIUrl":"https://doi.org/10.1080/00233609.2021.2016946","url":null,"abstract":"Simon Dell has published extensively in the fields of twentieth-century art history the history of photography and design history. His main research is concentrated to aspects of visual culture in France during the s and s, ranging from the avant-garde to anonymous photojournalism. In his latest book, Portrait and the Colonial Imaginary. Photography between France and Africa, – () Dell is moving beyond traditional European art history trajectories. Instead, he investigates the various roles portraiture played in colonial Africa. French colonizers of the Third republic (French government from  to ) asserted that it was not oppression, but liberation that was the aim of the colonial project in Africa. Dell examines the structure of French colonialism and the challenges created by it through three events in which photography played an important role in the relations between France and Africa. The perspectives move from that of French in Africa to that of Africans in France and finally to that of Africans as they met the French in Africa. The book is divided into four parts followed by an epilogue. In the first chapter “Making Men: Citizens and Subjects” Dell argues that the French colonizers attempted to create a new humanity departing from the formula of liberté, égalité, fraternité and these ideas became deeply entangled with a French mission to civilize the colonial subjects. This was clear under the ministries of Jules Ferry in the s but could be detected later. According to Dell, the ideology of liberation was a Republican imaginary which was going to be complete with its creation of colonial imaginary. Dell explores how the portraiture functioned in the colonial project. The French missionaries Élie Allégret and Charles Maître saw it as their duty to act as models of this kind. The pastors Kuo, Ekollo and Modi Din in Cameroon also acted as models, however, they also realized the problematic relationship with this kind of representations. Dell asserts that these portraits were to take their place in a long tradition of representing the self. This was, according to Dell, a European tradition which had formulated a particular set of subjectivity and pictorial practices. In the following three chapters, the different effects of the European portraiture tradition are analysed. The second chapter “Perception, apperception and disavowal: André Gide and Marc Allégret in Congo” Dell analyses the journey by Gide and Allégret (Élie’s son) through central Africa from July  to May . Gide’s account of the journey was published in the two-volume book Voyage au Congo and Retour du Tchad, and Allégret produced a -minute film during the journey and took over  photographs.  of these photos were reproduced in an illustrated edition of Gide’s journal. Dell argues that these publications and media practices were important in reworking European exploration","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"149 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120873923","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":"Framträdanden: performativitetsteoretiska tolkningar av Tadeusz Kantors konstnärskap","authors":"Magdalena Holdar","doi":"10.1080/00233609.2021.2007166","DOIUrl":"https://doi.org/10.1080/00233609.2021.2007166","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131802873","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":"Prince and Pretender: Marian Iconography and Devotion as Political Rhetoric in the Magnificat Window in Great Malvern Priory Church","authors":"John-Wilhelm Flattun","doi":"10.1080/00233609.2021.1987318","DOIUrl":"https://doi.org/10.1080/00233609.2021.1987318","url":null,"abstract":"Summary This article argues that Tudor politics influenced the devotional iconography on display in the Magnificat window in Great Malvern Priory church in Worcestershire, England from 1501. The window proclaims Henry VII’s final victory over Yorkist pretenders to the throne in the years after Bosworth and communicates its position through images of the Virgin Mary. The article discusses how collective memory and visual migration function to bridge the rhetorical and devotional visual language which associated Marian devotion with Tudor politics in the Magnificat window. The rise of Lady Chapels and Marian images in England during the late Middle Ages was accompanied by new additions of Marian devotion and ritual interaction. The combination of Marian iconography and Prince Arthur’s popularity made it possible to present political rhetoric in the visual language of devotion. Persuasive rhetoric and visual devotion function together to incorporate the social role of visual language, late medieval prayer, and public liturgy. The didactic and devotional function of stained-glass windows allows them to become interactive devotional art in sacred spaces, they change with time and sentiment of the people who use the space. In the rhetoric of faith and truth, suggestions, or persuasion via visual rhetoric in the context of churches, emphasise the idea of a force of truth created by their divine context.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114496749","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":"A Matter of Amusement. The Material Culture of Philipp Hainhofeŕs Games in Early Princely Collections","authors":"Lars Ljungström","doi":"10.1080/00233609.2021.1980433","DOIUrl":"https://doi.org/10.1080/00233609.2021.1980433","url":null,"abstract":"Entreprenoren och mangsysslaren Philipp Hainhofer (1578-1647) tillhor den begransade skara, vars insatser i trettioariga krigets Tyskland gatt till eftervarlden som hojdpunkter i 1600-talets hovkul...","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130270452","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}