Material InspirationsPub Date : 2020-10-13DOI: 10.7326/0003-4819-122-10-199505150-00013
Jonah Siegel
{"title":"Transfiguration","authors":"Jonah Siegel","doi":"10.7326/0003-4819-122-10-199505150-00013","DOIUrl":"https://doi.org/10.7326/0003-4819-122-10-199505150-00013","url":null,"abstract":"This chapter introduces two topics that will run throughout the book: the importance of the reproductive print in the period, and of Raphael’s Transfiguration. Reproductive prints were prized objects in the nineteenth century that inevitably shaped the reception of art works in the period. As more accurate, but far less labor-intensive, forms of reproduction took over their role, they have generally been lost to sight as objects and as topics for analysis. But recognition of their physical presence illuminates a number of topics that concern Material Inspirations: the relationship between matter and idea, the pressure of remains on culture, and the effect of forms of mediation on ideas about art. Raphael’s Transfiguration fascinated later periods formally and historically. It was known to be the painter’s last work, and understood to have been finished by his students after his death, and so it had important biographical associations even as it put into question ideas of individual creative agency. The divided form of the painting consistently called out for reconciliation by writers on the work, and was soon linked to the tension between the world and a state beyond it that the canvas represents. This chapter proposes ways in which unresolvable questions of representability raised by the theological program of the painting may be placed in relation to developments in taste in the nineteenth century, including reproduction itself.","PeriodicalId":200784,"journal":{"name":"Material Inspirations","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116275779","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":"“Strange Aphrodite”","authors":"Jonah Siegel","doi":"10.1093/oso/9780198858003.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780198858003.003.0004","url":null,"abstract":"This chapter brings to a close the argument of the first part of the book through an analysis of the social crises Ruskin discovers in the works of Joseph Mallord William Turner. Ruskin gave the name “the English death,” to the grim combination of economic and military violence and social indifference characteristic of the nineteenth century, which he finds at the heart of the achievement of his preeminent modern painter. According to this account, even Turner’s most beautiful landscape is shaped by the boyhood experience of urban poverty that determined the painter’s sensibility, and which fitted him to capture the melancholy forms of alienation and suffering in reaction to which the experience of nature derives its force. This chapter puts Ruskin’s claims about the formal evidence of the sources of the painter’s sensibility in relation to later theoretical and artistic attempts to represent the relationship between material conditions and the reactions they provoke. Returning to the split form of Raphael’s Transfiguration and looking forward to arguments about historical crisis in Walter Benjamin and Jacques Rancière, it proposes the recognition of the power of material conditions driving both the nineteenth-century painter and his major critic by highlighting a number of linked displacements that have been difficult for criticism to address: not just the sophistication of the political work entailed in the creation of beautiful objects in the nineteenth century, but the complex forms of solidarity and social analysis that may be discovered in the critical work of the period","PeriodicalId":200784,"journal":{"name":"Material Inspirations","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116498688","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}