Konsthistorisk tidskrift/Journal of Art History最新文献_第5页

Itinerant Matters: Rubens and the Itineraries of Painting 流动事项:鲁本斯和绘画的行程

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2021-10-02 DOI: 10.1080/00233609.2021.1983650

Mattia Biffis

{"title":"Itinerant Matters: Rubens and the Itineraries of Painting","authors":"Mattia Biffis","doi":"10.1080/00233609.2021.1983650","DOIUrl":"https://doi.org/10.1080/00233609.2021.1983650","url":null,"abstract":"Summary The history of art has been engaged with mobility for centuries. The study of movement, its limits and potential, is a fundamental principle of the discipline. A fascination with, and rejection of movement lies at the core of much of its narrative. However, recent art historical analysis, which is concerned primarily with the travels of artists (as described, for example, in biographical accounts), overlooks both the intrinsic itinerancy of their objects and the intricacies of their transference. This paper aims to fill this scholarly lacuna by focusing on the case of the Flemish painter Peter Paul Rubens (1577–1640), one of the most eminent artists of his generation to fully exploit the new technologies of transportation on a pan-European scale. His abundant correspondence, which counts over 250 letters, reveals precious details about packing and unveiling procedures, strategies for speeding up cargoes, careful assessments of the quickest and more secure roads, names and functions of custom agents, packers, drivers, couriers, and postmen—in other words, all the details concerning the mechanics of mobility in an increasingly itinerant world. This article analyzes this logistics concoction in order to better understand the impact of distance on itinerant matter in the Early Modern period.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124218452","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}

引用次数: 0

Cover-title page 标题页

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2021-10-02 DOI: 10.1080/00233609.2021.2019424

A. Wasielewski

引用次数: 0

Art in Tights: Tableaux Vivants as Commercial Entertainment in Sweden and Finland, 1840–1860 穿着紧身衣的艺术:1840-1860年瑞典和芬兰的商业娱乐场景

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2021-10-02 DOI: 10.1080/00233609.2021.1987317

Leif Runefelt

{"title":"Art in Tights: Tableaux Vivants as Commercial Entertainment in Sweden and Finland, 1840–1860","authors":"Leif Runefelt","doi":"10.1080/00233609.2021.1987317","DOIUrl":"https://doi.org/10.1080/00233609.2021.1987317","url":null,"abstract":"Summary In the 1840s, Sweden and Finland were hit by a minor craze for living pictures or tableaux vivants as commercial entertainment. For the price of a ticket, the public could experience the staging, by live actors, of work of arts from antiquity and contemporary sculptors such as Canova and Thorvaldsen. Making strong claims of artistic value, based on the aesthetic theory of Winckelmann and the artistic practice of artists such as Canova, the performances raise interesting questions of how aesthetics worked when set in a commercial framework. The article discusses the problem of beauty faced by entertainers and spectators when art was reenacted for money. The experience of beauty was central to aesthetic theory and to living pictures. However, it remains unclear whether commercial living pictures was about beauty in art or about good-looking women. A possible conclusion is that it was about both, and that the aesthetic theory behind the tableaux was a theory created for a male visual culture, in which the male gaze’s consumption of female bodies was self-evident while dressed in arguments of truth and beauty, confirming a social order in which a certain right look was ascribed to men.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129270604","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}

引用次数: 0

The Digital U-Turn in Art History 艺术史上的数字u型转变

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2021-10-02 DOI: 10.1080/00233609.2021.2006774

A. Dahlgren, A. Wasielewski

{"title":"The Digital U-Turn in Art History","authors":"A. Dahlgren, A. Wasielewski","doi":"10.1080/00233609.2021.2006774","DOIUrl":"https://doi.org/10.1080/00233609.2021.2006774","url":null,"abstract":"Summary Over the past decade humanities researchers have increasingly come to embrace digital methods. Art historians, however, have often resisted engaging with these developments. In this article, we explore the driving factors behind art history's reticence toward the digital turn in the humanities. Reflecting on the historiographic trajectory of the emerging field of digital art history (DAH) versus art history more generally, we selected a sample of recent articles published between 2010-2019. We used a mixture of methods, both digital and non-digital, to uncover the prevalence for different art-historical theories in DAH versus mainstream art history. We began our study by performing a text mining analysis on the references and bibliography of articles published in DAH, Art Journal, and Art History. Once we had determined a list of frequently-cited authors, we dug deeper to see how they were discussed in the body of individual texts. In other words, we employed traditional humanities methods: close reading and interpretation. DAH is typically positioned as something completely new to the discipline. However, as this study shows, DAH is closely tied to particular pre-digital methods and theories of art history, namely formalist and iconographic methods prevalent during the late nineteenth and early twentieth-century, rather than critical theory methods commonly found in more recent art-historical scholarship. Based on our analysis, we argue that DAH methods have not been embraced by art historians more generally because of fundamental differences in the theoretical underpinnings of DAH versus the broader field of art history.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134172047","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}

引用次数: 3

Cover-title page 标题页

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2021-07-03 DOI: 10.1080/00233609.2021.1992918

引用次数: 0

The Kings’ Lines and Lies: Genealogical Rolls in Mythmaking and Political Rhetoric in the Reign of Henry VII 《国王的台词与谎言:亨利七世统治时期神话制造与政治修辞中的系谱卷宗》

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2021-07-03 DOI: 10.1080/00233609.2021.1950831

John-Wilhelm Flattun

引用次数: 0

A Large, Finite Permutation of Specific, Discrete Variants: Dan Graham’s Children’s Pavilion at Chambres d’Amis (1986) 特定的、离散的变体的一个大的、有限的排列:丹·格雷厄姆在阿美斯房间的儿童馆(1986)

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2021-06-24 DOI: 10.1080/00233609.2021.1942978

Christophe Van Gerrewey

{"title":"A Large, Finite Permutation of Specific, Discrete Variants: Dan Graham’s Children’s Pavilion at Chambres d’Amis (1986)","authors":"Christophe Van Gerrewey","doi":"10.1080/00233609.2021.1942978","DOIUrl":"https://doi.org/10.1080/00233609.2021.1942978","url":null,"abstract":"Summary In 1986, Dan Graham participated in Chambres d’Amis in Ghent, Belgium, curated by Jan Hoet as an art exhibition outside of the museum, in individual houses. With the help of a local architect, Graham constructed a glass and steel pavilion in a private garden. The resulting work, Children’s Pavilion, is largely forgotten, but it is a pivotal work within the evolution of his oeuvre. Many of Graham’s concerns and topics – such as the relationship between public and private, the nature of a garden, and the possibility of site-specific art works, closer to architecture than to the fine arts, outside of the museum – were also an important part of the exhibition concept of Jan Hoet. Moreover, Children’s Pavilion is not a ‘unique’ work: it is closely related to previous works (both pavilions and spatial proposals), while it has also spawned – and continues to spawn – new projects, collaborations (with Jeff Wall) and pavilions that are often seemingly identical. This double proliferation – both topological and permutational in nature – is typical for his oeuvre, but it also creates very specific problems. Everything within his body of work seems connected, and although these connections are necessary to fully understand each individual pavilion or proposal, they are in many cases still waiting to be revealed.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124917438","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}

引用次数: 0

The Second World War and the Protection of Saint George and the Dragon in Storkyrkan, Stockholm 第二次世界大战和保护圣乔治和龙在斯德哥尔摩的Storkyrkan

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2021-05-24 DOI: 10.1080/00233609.2021.1931435

M. Legnér

{"title":"The Second World War and the Protection of Saint George and the Dragon in Storkyrkan, Stockholm","authors":"M. Legnér","doi":"10.1080/00233609.2021.1931435","DOIUrl":"https://doi.org/10.1080/00233609.2021.1931435","url":null,"abstract":"Summary When the Second World War broke out states, even neutral ones such as Sweden, sought to protect parts of their cultural property from destruction. This article deals with why and how some treasures belonging to the Church of Sweden were identified and selected for protection against air raids in the Second World War. On his own suggestion the art historian Johnny Roosval was given the task by the National Heritage Board (Riksantikvarieämbetet) to coordinate protective measures on churches by giving advice to dioceses and parishes. Soon he also became attached to the military headquarters, which made it possible for him to provide the armed forces with information about cultural property to be protected, and to forward requests for assistance. Measures taken in Storkyrkan in Stockholm following Roosval’s initiative are studied. The evacuation of the fifteenth-century sculpture Saint George and the Dragon was unique in the sense that the resources allocated did not match the protection of any other cultural object in Sweden during the war years or later. The actions taken reflect an authoritative view on cultural heritage shaped by ideas of national identity and Swedish culture. The sculpture, then, signified the association between ecclesiastical heritage and Swedish national identity that the National Heritage Board was making. From having been largely forgotten, Saint George and the Dragon became – at least in the eyes of Roosval and the National Heritage Board – a symbol of national unity and sovereignty threatened by the war in Europe.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132617676","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}

引用次数: 1

Installation Art and the Issue of Gentrification: Exploring the Expanded Scenography of Zelige Door on Golborne Road 装置艺术与士绅化问题——探索戈尔本路泽格门的扩展场景

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2021-04-03 DOI: 10.1080/00233609.2020.1808698

A. Terracciano

引用次数: 1

Scented Scenographics and Olfactory Art: Making Sense of Scent in the Museum 气味艺术与嗅觉艺术:博物馆里的气味

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2021-04-03 DOI: 10.1080/00233609.2020.1775696

Viveka Kjellmer

{"title":"Scented Scenographics and Olfactory Art: Making Sense of Scent in the Museum","authors":"Viveka Kjellmer","doi":"10.1080/00233609.2020.1775696","DOIUrl":"https://doi.org/10.1080/00233609.2020.1775696","url":null,"abstract":"In this article, I look at the meaning of scent as art, as exhibited artefact, and as an experience-heightening scenographic agent to create a multisensory whole in the museum. I discuss olfactory art, perfume exhibitions, and scented scenographics using fragrance as communication tools and highlighting the sense of smell as a key factor in the sensory and bodily communication of scented events. In the exhibition Art of Scent 1889–2012 (New York 2013), perfume was exhibited as artwork, stylistically compared to art history. The exhibition Perfume (London 2017) visualized the fragrances in scented scenographies where the stories conveyed by the perfumes where conceptualized. Belle Haleine. The Scent of Art (Basel 2015) exhibited olfactory artworks, among them the smell of fear. This is compared to scented scenographics at play in contemporary visual art at the Göteborg International Biennial for Contemporary Art (GIBCA) 2019. Scent as a bearer of meaning in the museum is fundamentally about communicating through multiple senses – and creating interesting exhibitions. It also conveys, however, new aspects of culture and transforms our understanding of the meaning of scent.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"130 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124954523","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}

引用次数: 3