Bulletin of the Detroit Institute of Arts最新文献_第4页

Pieter Bruegel the Elder’s Wedding Dance: An Iconic Painting Reconsidered 老彼得·勃鲁盖尔的婚礼舞蹈:重新思考一幅标志性的绘画

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707418

Yao-Fen You

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Changes to the Paint Layers in The Wedding Dance 更改了婚礼舞蹈的油漆层

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707429

Blair Bailey

{"title":"Changes to the Paint Layers in The Wedding Dance","authors":"Blair Bailey","doi":"10.1086/707429","DOIUrl":"https://doi.org/10.1086/707429","url":null,"abstract":"e paint on a painting is not immune to the passage of time. Changes to the paint occur for a variety of reasons and at numerous points during the life of a painting. Some natural changes begin immediately as chemical reactions cause the paint to dry. Other natural degradation takes longer to occur and depends on the materials present, as well as what they are exposed to over time. In addition, human intervention can begin a dierent cycle of degradation. Paintings are sometimes vandalized, and this vandalism necessitates treatment—but if that treatment is done by someone who is unskilled, it can lead to further damage. Unfortunately, in the past many “restorers” sought to hide badly degraded areas of the paint layers by overpainting them (applying paint not just within the areas of actual paint loss but also beyond those areas, on top of the artist’s paint). Using the two copies of Bruegel’s painting (see Part 10, p. 96), as well as a color print presumed to be from the 1930s (see Part 11, p. 110), we have determined what types of degradation contributed to the present condition of e Wedding Dance, as well as what the painting may have looked like before each change occurred.","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":"93 1","pages":"81 - 86"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707429","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45713338","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}

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Bruegel’s Inscriptions 勃鲁盖尔铭文

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707430

Aaron Steele

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Introduction 介绍

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707417

Ellen Hanspach-Bernal

{"title":"Introduction","authors":"Ellen Hanspach-Bernal","doi":"10.1086/707417","DOIUrl":"https://doi.org/10.1086/707417","url":null,"abstract":"s (a sizeable object) after he arrived at the conference, was heard to ask, sadly: 'Is this what we have become?' (2012, 1) As Turner's anecdote makes evident, the \"warning bells for cultural studies\" (2012, 37) are not exclusively activated by the choice of material. They also address substantial questions of methodology and agenda in a cultural studies project. More precisely, Turner takes issue with the prevalent practice in cultural studies of \"mistaking any analytical method for a political purpose\" (2012, 173) and thereby reducing it to \"a genre of academic performance\" that is \"merely self-serving\" (2012, 158). Angela McRobbie, whose feminist repurposing of cultural studies effectively challenges the above assumptions that interdisciplinarity inevitably compromises the field's political potential, arrives at more ambiguous conclusions. Reflecting on the trajectory of \"British Cultural Marxism,\" her talk at the Rosa-Luxemburg-Stiftung in October 2017 poses a research question that remains unanswered. The subtitle of her lecture – \"From 'Working-Class Culture' to 'Common-Sense Neoliberalism'?\" – may be read as a cautious comment on the development of cultural studies which reiterates Turner's findings about the field's subordination to a market-oriented logic of cultural exploitation. On the other hand, it may reference a broader shift in scholarly focus to the influence of neoliberalism on gender hierarchies (see e.g. McRobbie's The Aftermath of Feminism, 2008). While the question mark in the subtitle allows for both readings, McRobbie's ambiguity deliberately unsettles the above allegations and thereby raises more general questions about the functions and effects of meta-critical debates. Providing ample evidence that the institutionalization and resulting interdisciplinarity of research areas does not constitute a problem per se, McRobbie's talk insinuates that, in the words of Gesa Stedman, \"[t]he hottest phase\" of cultural studies \"is followed by a cooler one,\" which is usually the case when \"institutions are set up and become part of everyday scholarly practice\" (2013, 4). In addition, the 'cooler' phases in the evolution of various disciplines commonly provoke competitions for the most political or most radical positions among different generations of scholars. Are the reproaches of Taylor, Turner and others justified or ascribable to this dynamic? In order to prepare this special issue, the editors surveyed approximately 60 pertinent international journals specializing in postcolonial and cultural studies. 1 Finding about 100 immediately relevant articles, we decided to approach them with Franco Moretti's method of 'distant reading' (2013a)2 and arrived at the following observations: The majority of articles prove that the disciplines are increasingly concerned with their own stocktaking, mainly occasioned by journal anniversaries or the publication of controversial interventions into the fields, which necessarily accompanies the est","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":"93 1","pages":"10 - 11"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42556743","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}

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Markets and Materials in Bruegel’s Antwerp 勃鲁盖尔笔下安特卫普的市场与材料

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707423

Katharine M. Campbell

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Additional Image Credits 其他图片来源

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707436

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Pigments and Pigment Making in Bruegel’s Time Period 勃鲁盖尔时期的颜料与颜料制作

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707426

Katharine M. Campbell

{"title":"Pigments and Pigment Making in Bruegel’s Time Period","authors":"Katharine M. Campbell","doi":"10.1086/707426","DOIUrl":"https://doi.org/10.1086/707426","url":null,"abstract":"To better understand Bruegel’s use of pigments in the paint layer of e Wedding Dance, it is important to examine their historical context. How did artists obtain their pigments? Who made them, who sold them, and by what processes were they actually made? Just as the Antwerp Guild of Saint Luke controlled the sale of paintings (see Part 1, p. 30) and the fabrication of painting panels (see Part 2, p. 35), it played a central role in the regulation of pigment production and sales. e guild provided a network in which painters could operate, allowing them to connect with art dealers and suppliers of materials. Some art dealers played a dual role, not only selling artworks to the public, but also selling pigments to artists. is type of specialized pigment dealer was known as a verfvercopere (Dutch for “paint seller”) or marchand de couleurs (French for “merchant of colors”).120 Beginning in 1561 the registers of the Antwerp Guild of Saint Luke list some of these dealers as professional pigment sellers.121 e emergence of formal pigment sellers’ shops allowed artists to purchase their specialized, highquality pigments from merchants dedicated solely to supplying artists’ materials, rather than from the apothecaries or general purpose pharmacies that artists in Rome, Paris, and London patronized. Venice was the only other European city with a similar infrastructure of professional pigment merchants (vendecolori in Italian).122 Bruegel may have purchased his pigments (or the raw materials for them) from this type of Antwerp dealer. Even though he painted e Wedding Dance while living in Brussels, Antwerp was the commercial center through which such pigments arrived in the Low Countries before they were distributed elsewhere. Moreover, Bruegel received his training within Antwerp’s distinctive artistic culture, and it was the city that shaped his artistic thinking and professional networks. Since Bruegel was a member of the Antwerp Guild of Saint Luke, it seems reasonable to assume that he purchased his pigments from pigment sellers who were part of his social circle through the guild. How were such pigments actually made, and who made them? Painters may have purchased their pigments ready-made from either a pigment dealer or an apothecary, outsourced their manufacture to either an apprentice or a specialized pigment maker, or used some combination of these sources. (For more information on the grinding and storage of pigments, see Part 5, p. 63.)","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":"93 1","pages":"56 - 60"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707426","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41721146","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

Bruegel’s Paint Application in The Wedding Dance 勃鲁盖尔在《婚礼之舞》中的绘画应用

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707428

Blair Bailey

{"title":"Bruegel’s Paint Application in The Wedding Dance","authors":"Blair Bailey","doi":"10.1086/707428","DOIUrl":"https://doi.org/10.1086/707428","url":null,"abstract":"In e Wedding Dance, Bruegel applied the paint in a thin, smooth layer, a method that he typically used in his paintings.181 Rather than relying on a thick layer of paint to cover his dark underdrawing, he seems to have preferred using a thin layer of opaque paint that was densely packed with pigment.182 Although an overall sequence to Bruegel’s paint application is dicult to discern, what is apparent is that he followed the design he laid out in his underdrawing by generally using a paint application method known as painting (or working) in reserve. With this technique, the artist paints certain elements of the composition first and leaves other adjacent areas “in reserve” to be painted later.183 When we view e Wedding Dance flat and at an oblique angle in visible lighting, we can see evidence of this method in the slight paint ridges surrounding various figures and architectural elements.184 Painting in reserve is a distinguishing feature of Bruegel’s painting technique, and we can observe evidence of this method in many of his works, including the Rotterdam Tower of Babel (after 1563), Return of the Herd (1565),185 Hunters in the Snow (1565), Winter Landscape with Bird Trap (1565), e Gloomy Day (1565), Massacre of the Innocents (ca. 1565–67), and Census at Bethlehem (1566).186 is method of painting is a thoughtful way to avoid wasting precious materials—and thus money—because the artist did not apply pigments, which were sometimes expensive, in areas where they were not needed.187 However, Oberthaler, as well as Currie and Allart, notes that Bruegel did not always follow this method strictly throughout a whole composition.188 In e Wedding Dance, although he painted in reserve, Bruegel seems to have worked on smaller groups of figures at the same time. He would start by painting the key element on whichever figure he deemed to be the central person in a group. He would then proceed to paint whatever items visually overlap that element. For example, on the basis of how the paint overlaps, we can tell that within the group of figures that includes the bride (person 13), Bruegel painted her carbon black–based dress first.189 en within that group (persons 11, 12, 4, 5, 14, and 15), he painted the various elements that adjoin the bride’s dress, such as person 12’s dark sleeve, person 15’s gray-striped fur cu, and person 4’s now-brown jacket.190 Although these items appear to overlap the dress, the overlapping is only visual; Bruegel in fact painted each color adjacent to the others rather than actually overlaying them. However, the deteriorated condition of the paint layer makes it dicult to discern a more specific order of paint application beyond a general approach of beginning with the central figure in a grouping and then working outward within the group. e order varies even in each figure grouping, let alone throughout the entire composition.","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":"93 1","pages":"66 - 80"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707428","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46582115","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}

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The Wooden Panel of The Wedding Dance 婚礼舞蹈的木板

Bulletin of the Detroit Institute of Arts Pub Date : 2019-01-01 DOI: 10.1086/707424

Ellen Hanspach-Bernal

{"title":"The Wooden Panel of The Wedding Dance","authors":"Ellen Hanspach-Bernal","doi":"10.1086/707424","DOIUrl":"https://doi.org/10.1086/707424","url":null,"abstract":"Bruegel painted e Wedding Dance on an oak panel. is panel is an important component of the painting because it provided the smooth support for his remarkably thin ground and paint layers. e specific oak timber used to build the panel traveled from the Baltic ports to Antwerp via the trading routes of the Hanseatic League—a confederation of merchant guilds and market towns in northern Europe—before it was delivered to Bruegel’s studio as a panel.28 is wood panel tells us not only about an artist who was able to access materials of the highest quality, but also about the history of the powerful merchant city of Antwerp and about trade and organized labor during the mid-sixteenth century. Although the wooden panel has been altered over the centuries, it remains a repository of important information. Many of the manufacturing marks and assembly techniques are clearly consistent with those found on Bruegel’s other panels, and they show the practices of the workshop that made these panels. Recent wood analysis and dating of the various wooden planks has placed the panel even more thoroughly within Bruegel’s oeuvre, drawing more specific connections to his other panels.29 A thorough examination of the wooden panel, however, reveals that the top section of e Wedding Dance is a later addition by someone other than Bruegel—an assessment that significantly alters our understanding of the artist’s compositional intentions. Because its condition and colors are dierent from those of the rest of the painting, the top section has been under scrutiny since at least the restorer William Suhr’s 1942 report. Yet ultimately it was the logic of the panel itself that led us to speculate that this section was not just a later repair, but in fact a complete invention. is hypothesis has now been confirmed both by wood analysis and by a comparison of the painting with a copy in the collection of the Gemäldegalerie in Berlin: Wedding Dance in the Open (plate 7). O A K : A J O U R N E Y F R O M T H E B A LT I C T O A N T W E R P","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":"93 1","pages":"31 - 43"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707424","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44889831","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}

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The Contemporary Japanese Ceramics Collection at the Detroit Institute of Arts 底特律艺术学院的当代日本陶瓷收藏

Bulletin of the Detroit Institute of Arts Pub Date : 2018-10-01 DOI: 10.1086/701458

Natsu Oyobe

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