RACAR : Revue d'art canadienne最新文献_第4页

Lesley Johnstone and Monika Kin Gagnon, In Search of Expo 67, Montreal and Kingston: McGill-Queen’s University Press, 2020, 248 pp. 138 photos, $ 49.95 (paper) ISBN 9780228001140 莱斯利·约翰斯通和莫妮卡·金·加格农，《寻找第67届世博会》，蒙特利尔和金斯顿:麦吉尔-皇后大学出版社，2020年，248页，138张照片，49.95美元(纸质)ISBN 9780228001140

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1085437ar

Didier Morelli

引用次数: 0

La loi, la statue et l’artiste. L’apport du droit moral aux débats sur la commémoration 法律、雕像和艺术家。道德权利对纪念辩论的贡献

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1085425ar

François Le Moine

引用次数: 0

Max Liebermann: Assimilation and Belonging 马克思·利伯曼:同化与归属

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1073941AR

M. Frank

{"title":"Max Liebermann: Assimilation and Belonging","authors":"M. Frank","doi":"10.7202/1073941AR","DOIUrl":"https://doi.org/10.7202/1073941AR","url":null,"abstract":"97 The fame of the German-Jewish painter Max Liebermann (1847–1935) was such that the answer to the question “Where does the painter Liebermann live ?” was well known to Berliners : “When you come into Berlin, immediately go left !”1 Liebermann’s home on the Pariser Platz, next to the Brandenburg Gate, | fig. 1 | was located in the heart of the city. Diagonally across the square was the Prussian Academy of Arts, where Liebermann served as president from 1920 to 1932. The Pariser Platz was also where the Nazis marched soon after they had gained power in 1933, parades that the artist could have seen through his windows. Liebermann’s home thus stood for his integration into German society at one point in time and his expulsion from it at another. In an often-cited letter of February 28, 1934, to Breslau businessman and art collector Carl Sachs, Liebermann lamented his life-long striving for Jewish equality in German society. “We have unfortunately, unfortunately,” the eighty-six-year-old artist wrote, “been awoken from the beautiful dream of assimilation.”2 Gershom Scholem later suggested that for assimilated German Jews, “the unending Jewish demand for a home was soon transformed into the ecstatic illusion of being at home.”3 In this paper, I employ Liebermann’s Berlin house as a central motif in a discussion of his sense of belonging. Feeling at home for Liebermann, however, involved not only a physical place, but also a socio-cultural position, language, and, especially in his later years, memories of youth. In the early twentieth century, Liebermann held a prominent if controversial place as the leading German impressionist painter. In the reception of his work, nation and race figured significantly in claims made by his detractors and champions. From the first decade of the century, he also started to focus more of his attention on self-portraiture. Often set in the studio Liebermann had built on top of his Berlin home, these self-portraits engage in a dialogue of proximity and distance, which are at the crux of his sense of being at home, at the heart of his position as modernist painter and assimilated German Jew. The concept of assimilation in the German-Jewish context is often understood as what the Jews were to give in return for emancipation or equality, which was granted to Jews by many German states in the nineteenth century before unification and then by the German nation in 1871.4 Assimilation could take on a variety of different forms from acculturation (integration into German society while keeping one’s Jewish identity) to amalgamation (merger via intermarriage, conversion and name change).5 Many assimilated Jews En raison de la nature très publique de sa vie à l’époque de l’Empire allemand et de la République de Weimar, le peintre juif allemand Max Liebermann (1847–1935) a souvent été considéré comme un représentant exemplaire de l’assimilation juive à la vie culturelle allemande. Plutôt que de traiter Liebermann comme le représen","PeriodicalId":234580,"journal":{"name":"RACAR : Revue d'art canadienne","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116693517","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

Man Scans: The Matter of Expertise in Art and Technology Histories 《人的扫描:艺术和技术史中的专业知识》

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1078065ar

R. Lynch

引用次数: 1

Sabine Marschall, ed., Public Memory in the Context of Transnational Migration and Displacement: Migrants and Monuments, Cham, Switzerland: Palgrave Macmillan, 2021, 326 pp. 25 b/w illus., $ 119 US (hardcover) ISBN 9783030413286, $ 84.99 US (paper) ISBN 9783030413316, $ 64.99 US (eBook) ISBN 9783030 萨比娜·马歇尔主编，《跨国迁移和流离失所背景下的公共记忆:移民和纪念碑》，Cham，瑞士:帕尔格雷夫·麦克米伦出版社，2021年，326页，25 b/w。， 119美元(精装)ISBN 9783030413286, 84.99美元(纸质)ISBN 9783030413316, 64.99美元(电子书)ISBN 9783030

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1085430ar

Varda Nisar

引用次数: 0

Jillian Lerner, Graphic Culture. Illustration and Artistic Enterprise in Paris, 1830-1848, Montréal, Kingston, McGill-Queen University Press, 2018, 252 pp., 56 illus. couleur et noir & blanc, $49,95 (relié) ISBN 9780773554559

RACAR : Revue d'art canadienne Pub Date : 1900-01-01 DOI: 10.7202/1078079ar

Marie-Lise Poirier