Australian and New Zealand Journal of Art最新文献

{"title":"Kings and Queens and Caterpillars: Women’s Agency and a Seventeenth-century English Embroidery in Melbourne","authors":"A. Dunlop","doi":"10.1080/14434318.2022.2075617","DOIUrl":"https://doi.org/10.1080/14434318.2022.2075617","url":null,"abstract":"The large embroidery 1) to be discussed here, in the collection National Gallery of Victoria (NGV), Melbourne, is an oddly doubled composition. 1 On the one hand, it is a picture of a king and queen at the centre of an idealised landscape. The rulers stand on a raised platform, framed by a draped pavilion supported by slim columns with a twisting vine decoration They are crowned and elaborately dressed. Each has a sceptre, and they hold up or exchange something that looks like a cup or chalice. Other regalia sit on a crimson throne behind them, including an orb of rule and a sword scabbard suspended on a blue belt; a dog chewing a bone lies peacefully at the king ’ s feet. Two small cas-tles hover near the top corners of the scene, where a line of clouds, a moon, and a rainbow mark the horizon and sky, and birds are shown in flight. At the bottom, a double-tiered fountain and a rocky pool with frogs and jumping fish suggest the earth and foreground.","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"22 1","pages":"85 - 98"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45704208","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":"Clarice Beckett: The Present Moment","authors":"Siobhan Byford","doi":"10.1080/14434318.2022.2076039","DOIUrl":"https://doi.org/10.1080/14434318.2022.2076039","url":null,"abstract":"","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"22 1","pages":"141 - 145"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46929455","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 Rhinoceros as ‘Mid-Wife to Divine Wonderment’ in Edward Topsell’s The Historie of Foure-footed Beastes","authors":"Catherine Kovesi","doi":"10.1080/14434318.2022.2075610","DOIUrl":"https://doi.org/10.1080/14434318.2022.2075610","url":null,"abstract":"For the armchair zoologist of the early modern period, there were many foreign bodies to behold in wonderment. Thanks to the indefatigable work of Conrad Gessner and his five-volume Historiae animalium (1551–58; 1587) with some 3,500 folio pages and a fine collection of woodcuts, those keen to discover, document, reproduce, study, imagine, or simply gaze at the complexities of the animal kingdom had rich resources available. Here not only could they read about the familiar—the hedgehog and the dormouse—but they could wonder at the foreign—the unicorn, the dragon, the lamia, and the ferocious manticore. Fifty years later, in 1607 and 1608, two separate volumes of Gessner’s Latin works, together with their woodcuts, appeared in English. These were the product of a devout English clergyman, Edward Topsell, whose The Historie of Foure-footed Beastes (1607), based on Gessner’s first volume, and his The Historie of Serpents (1608), based on Gessner’s posthumously published fifth volume Qui est de serpentium natura (1587), were not only translations but summaries, commentaries, emendations, and at times revisionings of Gessner’s work, which brought it thereby for the first time to a broad English readership. In 1658, after Topsell’s death, another edition appeared with both volumes combined into one and with the addition of The Theater of Insects by the physician and naturalist Thomas Muffett (1553–1604), whose work, also derived from Gessner, completed the zoological categories of these English volumes. While Gessner was a layman—a physician, naturalist, bibliographer, and philologist—whose universalising and encyclopedic goals were reflected in his publications, Topsell, the Protestant cleric, had no such ambitions. His goal instead was a singular one, derived from his primary vocation and purpose in life, the worship of his God. For Topsell, as for others of his time, the natural world was inextricably bound with, as well as providing evidence for, providential history. In this short appraisal of a copy of Topsell’s 1607 volume held in the Rare Books Collection of the Baillieu Library at the University of Melbourne, I wish to focus","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"22 1","pages":"71 - 84"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47690929","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":"Stitches and Patches: The Franciscan Habit in an Engraving by Lucas Vorsterman","authors":"Cordelia Warr","doi":"10.1080/14434318.2022.2075605","DOIUrl":"https://doi.org/10.1080/14434318.2022.2075605","url":null,"abstract":"The National Gallery of Victoria holds a number of prints from the sixteenth and seventeenth centuries that show Saint Francis of Assisi (d. 1226) as the main subject or protagonist, or as one of a number of saints. One of these is an early seventeenth-century engraving by Lucas Vorsterman (1595–1675) catalogued as The Death of Saint Francis, after a painting by the Antwerp Italianist painter Gerard Seghers (1591–1651) (fig. 1). The painting on which the engraving is based is now in the collection of the Louvre and has been dated to between 1620 and 1624. A pen-and-ink drawing by Seghers, related to the engraving, is in the Fondation Custodia in Paris. Other prints are held by the Wellcome Trust Collection (London), the Kaluga Regional Art Museum (Russia), and the Albertina (Vienna) among others. The dedicatory inscription at the bottom of the engraving is to Paul van Halmalus (c. 1562–1648), an Antwerp senator (‘Nobili vivo D. Paulo Halmalio Senatori Antuerpensi, sculptoriae artis amatori summo, Adfectissimus sui Lucas Vorsterman consecrabat’), a portrait of whom was included in Anthony van Dyck’s ‘Iconography’. The wording of the dedication shows that Vorsterman held Halmalus in great esteem as a connoisseur of engravings. Below this, the origin of the composition is given: ‘G. Seghers invent.’. In larger lettering directly below the image is the text ‘Vivo autem, iam non ego, vivit vero in me Christus’ (I no longer live, but Christ lives in me), from Paul’s letter to the Galatians 2:20 immediately following ‘Christo confixus sum cruci’ (I have been crucified in Christ). Francis had been represented with this text from the thirteenth century. It drew attention to him as one who suffered with and as Christ, as well as one who had received, miraculously, the wounds of Christ on the cross—the stigmata. However, the miraculous nature of Francis’s wounds is not the main focus of the composition. Only one of the five wounds is visible, that on the saint’s left hand. Rather, our attention is drawn to Francis’s state of collapse. The saint, who appears to have been kneeling, falls backward and is supported by two angels, while a third","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"22 1","pages":"43 - 58"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47226787","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 foreign and the out-of-place in Melbourne’s early modern collections","authors":"A. Dunlop, Cordelia Warr","doi":"10.1080/14434318.2022.2073974","DOIUrl":"https://doi.org/10.1080/14434318.2022.2073974","url":null,"abstract":"The essays in this issue take eleven objects in Melbourne collections to examine the concepts of foreignness and the out-of-place in the early modern world. The objects were made over a span of almost four centuries, from the 1400s into the 1700s, and in regions as far apart as England and the Philippines. They include manuscripts and sculptures, textiles, drawings, and prints. Some were made as art-works, while others began as practical objects with a specific use. The research presented here developed from a joint project between the Universities of Manchester and Melbourne, titled ‘ Foreign Bodies ’ and focused on the early-modern art collections in both cities. ‘ Foreign Bodies ’ began in 2017, and brought together scholars and curators from all over Australia and the United Kingdom to explore ideas of foreignness, exteriority, exclusion, and distance as manifested in early-modern art and culture. To date there have been two major outcomes from this work: the online exhibition ‘ Foreign Bodies ’ which presents objects from both cities (https://connectingcollections-manmel.com/) and a 2019 special issue of the Bulletin of the John Rylands Library (vol. 95, no. 2) with extended essays on objects in Manchester collections. The research essays presented here focus on Melbourne collections and are the final part of our project work. As we noted in the introduction to the 2019 volume, we chose ‘ Foreign Bodies ’ as a research theme both for its current and its early-modern importance. 1 Notions of the foreign and out-of-place are radically historically and socially contingent: they are shaped by contextual expectations of correct placement, appearance, or behaviour, and subtended by real or perceived exception to prevailing norms or conventions. As our research began, uncertainties associated with Brexit, the status of U.K. and Australian nationals identified as terrorists, and the Australian policy of off-shore refugee imprisonment were placing ideas about ‘ foreign ’ status and citizenship into sharp focus. As our work advanced, the protests in the wake of the murder of George Floyd in Minneapolis on 25 May 2020 and the Black Lives Matter movement brought debates about inclusivity and structural violence to the fore, and the ways in which these issues can (and","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"22 1","pages":"1 - 5"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48882802","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 Case Study of the Blind Healer in Early Modern Europe","authors":"Kerri Stone","doi":"10.1080/14434318.2022.2073994","DOIUrl":"https://doi.org/10.1080/14434318.2022.2073994","url":null,"abstract":"The Baillieu Library’s Print Collection, which is part of Archives and Special Collections at the University of Melbourne, focuses primarily on the period between 1470 and 1850, having grown out of an initial donation of prints by Dr John Orde Poynton in 1959. Poynton’s collection comprises a diverse representation of European print practitioners, such as D€ urer, Rembrandt, and Hogarth. Unnoticed for many years in a drawer of miscellaneous pictures was a ‘foreign body’, an engraving from 1597–1601 depicting a blind man, which the catalogue record stated was ‘A Grotesque’ (fig. 1). This title was adopted from a handwritten inscription on the backing support. The Connecting Collections project inspired its reassessment in the collection, and as an early modern depiction of the blind healer. The subject of blindness occurs in works of art in the early modern period through biblical themes, such as Christ healing the blind man (John, 9:1–12). It is also a device used for purposes of allegory and metaphor, such as the blind leading the blind and the parable of the blind men and an elephant—an Eastern story of a group of blind men describing an elephant by feel and each coming up with such disparate accounts that they suspect each other of lying. In the early modern period blindness could occur from many circumstances, including war injury, disease, accident, or divine intervention. The blind could expect a life of hardship and poverty: abandoned and left to cling to the fringes of society, and frequently in the role of beggar. However, in art and literature, and in the imagination, the blind were also believed to be endowed with almost supernatural gifts that stemmed from their other heightened senses. As well as acute hearing and choral ability, the blind were understood to be gifted with an inner sight that could perhaps penetrate to truths that the sighted could not perceive. Villamena’s image of a blind man contains elements of social history, and metaphor, but also provides evidence for the practice of medicine and healing. The title, Cieco da Rimedio per i Calli (Blind Man, or Blind Man with Remedy for Corns), relates to a popular genre of prints of street criers that first emerged in Paris in 1500, and then spread to other European cities. This broadsheet style of","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"22 1","pages":"33 - 42"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48430892","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":"Daniel Thomas: Recent past: writing Australian art","authors":"T. Bonyhady","doi":"10.1080/14434318.2022.2076038","DOIUrl":"https://doi.org/10.1080/14434318.2022.2076038","url":null,"abstract":"","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"22 1","pages":"137 - 140"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45271246","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":"Vile Bodies in Guillaume de Deguileville’s Pelèrinage de la vie humaine","authors":"H. Maddocks","doi":"10.1080/14434318.2022.2073980","DOIUrl":"https://doi.org/10.1080/14434318.2022.2073980","url":null,"abstract":"As I went down into the deep valley, I saw in my path an old crone of a different sort of ugliness than I had seen before. She was very strange, and it seemed that she was deliberately lying in wait for me as her prey, and that she was going to attack me. I do not remember ever seeing any such beast described in Daniel or in Ezekiel, and none more hideous in the Apocalypse. She was lame, crippled, and humpbacked, dressed in a big old table-cloth edged with pieces of old rags and patches of cloth. She had a sack hanging from her neck and [... ] she was stuffing brass and iron into it. She had stuck out her tongue, which was helping her to do this, but it was all leprous, ulcered and scabrous. She had six hands and two stumps. On two hands she had the claws of a griffin, and another was behind her in a sinister way. In one of her other hands she had a file [... ] and a scale, in which she was weighing the zodiac and the sun very carefully, in order to offer them for sale. In another hand she had a bowl and a sack for bread. In the fifth she had a hook. On her head she had a Maumet that made her lower her eyes and look down. She rested the sixth hand on her crippled haunch and she kept lifting it up and touching her tongue with it.","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"22 1","pages":"6 - 19"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44911353","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 Siren and the Satyr as Spiritual Curatives in Jacob Meydenbach’s Hortus sanitatis","authors":"Catherine Mahoney","doi":"10.1080/14434318.2022.2075607","DOIUrl":"https://doi.org/10.1080/14434318.2022.2075607","url":null,"abstract":"Medieval herbals were encyclopedic medicinal compilations that detailed the physical structure and therapeutic properties of a wide range of plants, animals, and minerals. These books were essential to the practice of medieval physicians and herbalists, who often cultivated or collected their own medicinal specimens for use in the treatment of patients. 1 A fifteenth-century printed herbal held in the University of Melbourne ’ s Baillieu Library Rare Books Collection has been identified through examination of a hand-written inscription as a first edition Hortus sanitatis , published in 1491 by the Mainz printer Jacob Meydenbach. 2 The 1491 edition is the only one produced by Meydenbach, although three more economical editions were published by the printer Johann Pr € uss, who reduced the amount of paper required by using a smaller type and increasing the lines in each column of text. The Baillieu acquired its copy of the Hortus in 1903 and, prior to conservation treatment at the University ’ s Centre for Cultural Materials Conservation, the book was in extremely fragile condition and missing its original binding and title page. 3 Containing only 386 of the original 454 leaves, the copy is imperfect; it retained, however, two alphabetised indices, several hundred hand-coloured woodcut illustrations, and a number of annotations in a later hand. 4 Many of the taxonomic entries in Meydenbach ’ s Hortus were Latin translations from a 1485 German-language compilation (also known as Hortus sanitatis, or Garten der Gesundheit ) by the printer Peter Sch € offer (c. 1425 – c. 1503), who was employed in the workshop of Johannes Gutenberg. 5 Unlike Sch € offer ’ s herbal, how-ever, Meydenbach ’ s version introduced a variety of fantastical and monstrous fauna, including the unicorn, the dragon, the manticore, the satyr, and the siren. Ostensibly a book of popular medicine, Meydenbach ’ s Hortus aligned itself closely with the tradition of the Christian bestiary, wherein the characteristics of various animals and monsters provided a didactic","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"22 1","pages":"59 - 70"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46673653","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":"Installation View: Photography Exhibitions in Australia (1848–2020)","authors":"C. De Lorenzo","doi":"10.1080/14434318.2022.2076037","DOIUrl":"https://doi.org/10.1080/14434318.2022.2076037","url":null,"abstract":"As long ago as 2007 Florence Derieux was able to claim that ‘the art history of the second half of the twentieth century is no longer a history of artworks, but a history of exhibitions’. Exhibition histories allow a shift away from individual works, artists or art movements, to contingences across space that also invite social and political critique. In Australia, while there have been many studies of exhibitions at home and abroad, it is only relatively recently that an examination of the impact of art exhibitions on art history has been undertaken. Unlike some of these recent studies that embraced exhibitions across multiple media, Daniel Palmer and Martyn Jolly’s Installation View: Photography Exhibitions in Australia (1848-2020), focuses on a single medium, photography, albeit in many permutations over the last 170 years. Installation View draws the reader’s attention to the ways in which photography has been exhibited, and in so doing steps aside from the usual run of photography monographs on individuals, technologies or collections. It would seem that the first exhibition of photography for other than commercial gain was in 1854 when the Australian Museum enabled local audiences to preview diverse works, including daguerreotypes, from the colonies of Victoria and New South Wales before despatching them to the Exposition Universelle (1855) in Paris. By the final chapters, and there are 37 in all, the reader is reminded that photographers have long used posters, billboards, electronic screens and projections to take photography into the streets. The narrative centres on visual records of exhibitions; in the authors’ own words, it is ‘driven by installation photographs’ sourced from institutional and private archives. Arranged roughly chronologically, the visual material in each chapter is supported by mini chapters, or ‘vignettes’, ranging from less than 400 words to maybe 3,000. To document photo exhibitions from 1854 to 2020 is no mean feat, and it is very likely that established scholars in the field will encounter new information. While the specific focus perpetuates a separation of photography from other art forms, it also enables a vastly more comprehensive account of photography exhibitions than is possible in cross-media studies. Even so, a predilection for a single (if not singular) medium warrants a sustained argument, one that takes into account the very disciplinary-diverse readership and scholarship on photo histories. It may be that researchers across the humanities and the social sciences find","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"22 1","pages":"133 - 136"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47634092","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}