Artium Quaestiones最新文献

{"title":"Local to National: Victorian Industrialist Art Collectors’ Geographies","authors":"Julie Codell","doi":"10.14746/aq.2023.34.7","DOIUrl":"https://doi.org/10.14746/aq.2023.34.7","url":null,"abstract":"After 1850, the middle and working classes sought cultural education, which John Ruskin, among others, identified as a signifier of civilization and national greatness. Working Men’s Colleges, three 1870 university Slade Professorships in art history, proliferating art publications, and emerging regional museums offered opportunities to become conversant with visual art were then equated with social mobility and Englishness. Amid this cultural nationalism, critic F. G. Stephens’s 100+ Athenaeum series, “The Private Collections of England” (1873–1887), transformed collectors into national heroes. Scholars have noted the rising profile of collectors in 19th-century Europe and the US, in which Stephens’s series participated. Stephens detailed these collections’ expanded geography in England’s industrial north, turning local art collecting into a national, unifying force, a transformation made possible by his periodical serialization itself. These collectors, industrialists, merchants and bankers exemplified a new middle-class social, cultural and political authority. Most of them intended to bequeath their collections philanthropically to museums, thus shaping public tastes and the canon. They were personally and socially networked with artists and with each other, often working in complementary industries. Stephens interspersed his detailed descriptions of artworks with exhibition histories across translocal and transnational spaces, using the power of the press to weave a network between collectors and the public and a shared cultural history that endorsed collectors’ new public identity. However, Stephens also raised tensions about the geography of collecting, emphasizing collectors’ local places while presenting them as shaping a national space in their homogeneous taste and support of the same living artists and even the same pictorial subjects. In this way, Stephens straddled and flattened differences between national and regional market forces when, ironically, England’s art market was be coming increasingly international. This geographical layering is explored here in the context of the rise of provincial art institutions, the period’s notion of national schools and in anticipating the features of the current geohistory of art. I will explore two devices associated with the periodical press: ekphrasis and serialization, both of which Stephens deploys. Stephens wrote long ekphrases on works in these collection and omitted illustrations, noting in several comments that the Athenaeum’s middle-class readers were already familiar with artists’ works. This presumption and his use of 19th-century serialization, used by novelists whose chapters appeared across multiple issues of periodicals, combing to create a powerful force binding readers to his elevation of collectors’ social, national and cultural roles.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"100 s6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139154144","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":"Spuścizna niemiecka, kierunek Polski. Zbiór reprodukcji Seminarium Historii Sztuki na Uniwersytecie Poznańskim (1919–1939)","authors":"Kamila Kłudkiewicz","doi":"10.14746/aq.2022.33.6","DOIUrl":"https://doi.org/10.14746/aq.2022.33.6","url":null,"abstract":"In 1919, the authorities of the newly established University of Poznan took over the buildings and movable property of the German Royal Academy, which had functioned in Poznan between 1903 and 1918. The Seminar of Art History, which was organised at the time, acquired, among other things, a collection of 4,000 slides and 4,000 reproductions which had been used in teaching art history at the German university. Thanks to the first Polish professor of art history, Szczęsny Dettloff, the collection began to grow. Dettloff, one of the fathers of academic art history in Poland, understood perfectly the need to expand the university’s research workshop: the library and the reproduction collection. He built a Polish photo library at the University of Poznan on the basis of the existing German reproduction collection and a set of diapositives acquired in 1919 from the Museum of Wielkopolska (the collection after the German Kaiser Friedrich Museum). The article describes the reproduction collection in the inter-war period, indicates its state of preservation and analyses the role of the local collection in the academic teaching of art history (in the context of the programme of studies, but also of trips for students).","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129858309","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":"Double Index. The Self-Shadow in American Photography of the Second Half of the 20th Century","authors":"Julia Stachura","doi":"10.14746/aq.2022.33.11","DOIUrl":"https://doi.org/10.14746/aq.2022.33.11","url":null,"abstract":"The article focuses on the notion of the image of self-shadow in American photography in the second half of the twentieth century, understood as a shadow silhouette of the creator captured in a photograph. The two main problems that concern the author’s research are the lack of current, theoretical study on the problem of shadow in the history of photography from the perspective of art history (V. Stoichita, R. Casati, P. Cavanagh, H. Kanaan) and the lack of the definition of the phenomenon of self-shadow and its possible types in self-portraiture. The author’s proposition of a definition of self-shadow is based on selected photographs by four artists whose works touch upon the problem of shadow in the context of relations between the “self” and the “other” (Lee Friedlander), race and subjective invisibility (Shawn W. Walker), mask and the other-self (Andy Warhol), and the intimate recording of identity (Nan Goldin). In her analyses, the author discusses the problem of the hybrid ontology of the shadow, which is both visible and visual. In this understanding, the shadow not only refers to a physical body, present “here and now” but more importantly evokes a sense of presence, even when the artist’s body is absent in the picture. The double index refers to the image leaving its mark both in reality and on light-sensitive paper. The rudimentary, vitalistic relation linking the human body with its shadow is only a starting point for analyses of the complexity of its status and symbolism. The concepts framing Andy Warhol’s Polaroid are twinning, the mask, and the Jungian theory of the shadow archetype. To discuss the self-portrait of Shawn W. Walker, the author applies the literary-philosophical concept of invisibility based on writings from Black existentialists (W.E.B. Du Bois, F. Fanon, R. Ellison). The analyses of Lee Friedlander’s photograph have been based on the psychological distinction between the figures of the “self” and the “other”. The closing concepts that frame Nan Goldin’s self-portrait are the haptic thinking subject (M. Smolińska) and the notion of a diary. The critical apparatus of the study is supplemented by contemporary analyses of the myth of Narcissus, the mythical origins of the self-portrait, and the notion of the index (after R. Krauss, M. Michałowska, M.A. Doane).","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"193 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128507088","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":"Editor's note","authors":"Dorota Łuczak","doi":"10.14746/aq.2022.33.0","DOIUrl":"https://doi.org/10.14746/aq.2022.33.0","url":null,"abstract":"EDITOR'S NOTE","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134392312","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":"Od „bibliotek fotograficznych” do \"fototek\". O epistemologicznym potencjale historyczno-artystycznych kolekcji fotografii","authors":"Constanza Caraffa, F. Lipiński","doi":"10.14746/aq.2022.33.8","DOIUrl":"https://doi.org/10.14746/aq.2022.33.8","url":null,"abstract":"This text is a translation from English into Polish of a fundamental text for research into reproductions of works of art, written by Constanza Caraffa, the leading theorist of the field. It is an introductory chapter of her important volume Photo Archives and the Photographic Memory of Art History (2011), in which she elucidates the meaning of a photo-archive as a site of research into photographs of works of art as individual, material objects. Using examples and her work experience in the Photothek at the Kunsthistorische Institut in Florence, she presents the complexity and abundance of information that photographic reproductions of works of art can carry, over and above the traditional understanding of a photograph as a document transparent onto the object it represents.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127551775","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":"Carved by Light of Cities with a Chisel. Kraków Retable of the Dormition of the Blessed Virgin Mary Altar through Stanisław Kolowca 's Lens","authors":"Weronika Kobylińska","doi":"10.14746/aq.2022.33.4","DOIUrl":"https://doi.org/10.14746/aq.2022.33.4","url":null,"abstract":"On two occasions (around 1932–1933 and after the war, between 1946 and 1950), Stanisław Kolowca (1904–1968) undertook the task of creating the photographic documentation of the reredos of the altar of the Dormition of the Blessed Virgin Mary in Kraków (Poland). The stature of Wit Stwosz’s work – widely recognized as one of the key late Gothic masterpieces in Europe – could be the only factor legitimizing the status of Kolowca’s photographs. Nevertheless, the photographs seem to deserve a thorough analysis for other reasons as well. It should be underlined that in his project Kolowca did not focus only on the most obvious shots illustrating the altarpiece. In addition to long shots and full shots showing the characteristic iconographic motifs and portrait-type close-ups, reflecting the mastery of key figures (such as Virgin Mary or John the Baptist), the photographer also created completely unexpected compositions that go beyond the codified frames of documentary photography. Consequently, his works fundamentally problematize the concept of photographic reproduction of an art piece.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115048919","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":"Zadanie fotografa. Problemtyka Reprodukcji dzieła sztuki na przykładzie dwóch książek fotograficz`nych Eustachego Kossakowskiego August Zamoyski oraz Lumières de Chartres","authors":"A. Mazur","doi":"10.14746/aq.2022.33.5","DOIUrl":"https://doi.org/10.14746/aq.2022.33.5","url":null,"abstract":"Using the example of two books by Eustachy Kossakowski (1925–2001) – August Zamoyski (1974) and Lumières de Chartres (1989) – the text addresses the issue of reproducing works of art in the form of a photo album (photobook). The work of the photographer who makes reproductions of works of art is compared to the task of the translator, a reference to Walter Benjamin’s essay. The text is divided into two parts corresponding to albums. A detailed analysis allows us to see the differences between the books, as well as the change in Kossakowski’s approach to reproduced works of art. The first album consists of black-and-white photographs depicting in an original way the works of the prominent Polish sculptor August Zamoyski. Kossakowski recontextualizes individual objects photographed in the artist’s French studio. In the second book, the photographer publishes color photographs of the titular “lights of Chartres.” Taken inside the early Gothic cathedral, the photos move away from the documentation of the object, and the weight shifts to a near-abstract record of the artist’s emotions. Published alongside Anne Prache’s scholarly study, engravings and documentation of the edifice, Kossakovsky’s photographs constitute an original monograph of Chartres Cathedral. In the author’s view, Kossakowski’s photobooks go beyond the framework of a typical album of reproductions offering the mass public a substitute for contact with art. The photographer creates autonomous objects by translating the reproduced work of art into an object that fosters an aesthetic experience and becomes art itself. Kossakowski’s approach is juxtaposed with Mieke Bal’s reading of Benjamin’s text. While the album dedicated to Zamoyski seems to be based on unconventional documentation, in which the procedure of recontextualizing objects plays a dominant role, the Chartres monograph approaches the “ecstatic aesthetic” proposed by Bal. Lumières de Chartres provides a different perspective on the reproduction album, which, in addition to basic information and illustrative reproductions, is a carrier of emotions, a record of experiences and a medium of art. An analysis of the author’s publications, which include reproductions of August Zamoyski’s sculptures and documentation of Chartres Cathedral, emphasizes their autonomous and artistic character. Kossakowski observes and interprets Zamoyski’s work by looking at it from a distance. But in Chartres, we observe how he lets himself be captivated by the cathedral. The transformation of the cathedral into sensual light completely absorbs its subject - the metamorphosis of Zamoyski’s sculptures does not. Photography is not art, nor is it reproduction. It is only in the process of interpreting an object by looking at it with a camera to the eye that the artistry of translating a work of art into the format of a photograph and, further, a photo album is revealed. The photobook as a work of art is the true task of the photographer.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124008472","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":"Transfiguration: Southworth and Hawes, Reproduced Images and Body","authors":"E. Handy","doi":"10.14746/aq.2022.33.2","DOIUrl":"https://doi.org/10.14746/aq.2022.33.2","url":null,"abstract":"The Harrison Horblit Collection at the Harvard University’s Houghton Library contains a remarkable daguerreotype plate by the Boston firm Southworth & Hawes. It reproduces an engraving after Raphael’s Transfiguration. Whereas reproductive printmaking normally seeks to produce multiples of a unique original, daguerreotype reproductions open a space of ambiguity between the categories of original and reproduction since daguerreotypes are unique objects. Much is lost in this translation, but what is gained? If reproduction of paintings normally renders the singular multiple, what happens when a painting is reproduced as a unique image? Why was this daguerreotype created? Southworth & Hawes specialized in portraits of celebrities and considered themselves artists. Why then did they make a daguerreotype of an engraving of a painting? And why this painting?Their image of an image of an image is at once simply duplicative and a meditation on photography itself – an expanded conception of photography that figures it as spiritual and conceptual practice, as is suggested in other conflations of image reproduction and transfiguration within Southworth & Hawes’ oeuvre as well. The logic of the Southworth & Hawes’ Transfiguration becomes less a conundrum when considered in relation to two of their other images, one of the branded hand of abolitionist Jonathan Walker, the other a self-portrait representing Southworth’s torso as a classical sculpture. Translation, transfiguration, body, soul and image are closely imbricated in all three of these daguerreotypes, each produced during the height of New England Transcendentalism. While Raphael’s Transfiguration epitomizes the intersection of the human and a divine being as Scriptural drama, The Branded Hand and Southworth as a Classical Bust allude to the spiritual realm through representation of the soul’s transcendence of the suffering body rather than direct reference to scripture. The Branded Hand detaches subject from the context of the body as a whole; Walker’s wound appears in the image as the silvery trace of the price paid for his abolitionist conviction. The portrait of Southworth separates an individual man’s identity from the more allegorical presence, while presenting suggestions of sorrow as emblems of spiritual elevation. But beyond this, the transmedial daguerreotype of the print of the Raphael announces itself as visual metonymy; the transfiguration of Christ in the painting also conveys the transfigurative power of the photographic medium itself.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130924365","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":"Feminism in the Time of Transformation. Piotr Piotrowski, Zofia Kulik and the Development of Feminist Art History in Poland","authors":"A. Jakubowska","doi":"10.14746/aq.2022.33.10","DOIUrl":"https://doi.org/10.14746/aq.2022.33.10","url":null,"abstract":"This article is an analysis of one area of Piotr Piotrowski’s (1952–2015) activity in the 1990s – his writings on the art of Zofia Kulik and, more specifically, on its feminist dimension. I argue that although Piotrowski was never interested in women’s art in particular, not only did he practise feminist criticism during this period, but he was also a catalyst for the development of a specific form of feminist reflection that was then new in Polish art history. It focused on power relations and did not accept distancing oneself from social and political problems. I analyse it from the perspective of contemporary revisions of the development of feminist discourse after 1989 in Eastern Europe, which critically examines its embeddedness in Western ideas.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114750911","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":"Migracja aury lub jak badać oryginał poprzez jego faksymile","authors":"Bruno Latour (1947-2022), Adam Lowe, F. Lipiński","doi":"10.14746/aq.2022.33.9","DOIUrl":"https://doi.org/10.14746/aq.2022.33.9","url":null,"abstract":"The text offers enlightening reflections on issues concerning reproductions of works of art, the status of an original and a copy, the problem of conservation, and the role of digital photography. Latour and Lowe raise the contentious issue of how good and bad reproductions can affect the original, participate in what they call “the migration of the aura”. This is primarily a case study of a production, presentation, reception and the meaning of a facsimile of a Veronese work, Nozze di Cana at its original location, San Giorgio in Venice. The second part of the text (the appendix) is a meticulous, technical description of the stages of production of the picture by Lowe.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131278444","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}