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Marian Demotion: An Engraving of the Virgin and Child in Early Modern China and Problems of Cross-Cultural Translation 玛丽安降格:中国近代早期圣母与圣子的雕刻及跨文化翻译问题
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-06-01 DOI: 10.1086/709192
S. Park
{"title":"Marian Demotion: An Engraving of the Virgin and Child in Early Modern China and Problems of Cross-Cultural Translation","authors":"S. Park","doi":"10.1086/709192","DOIUrl":"https://doi.org/10.1086/709192","url":null,"abstract":"Images, the Jesuits believed, had a special power to communicate Christianity to potential converts, unhindered by the obstacles of language or cultural difference. This fantasy of images as, in the words of CounterReformation thinker Gabriele Paleotti, a “universal language” able to move the unlettered or those who did not speak one’s language to piety motivated the Jesuits’ extensive use of visual material in their missionary activities. A print in the Ashmolean Museum, Oxford, however, points to anxiety around, rather than confidence in, images used in missionary endeavors. It provides evidence of when Alessandro Valignano’s","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83230784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Antonio Rossellino, the Eros of Praxiteles, and Michelangelo’s David 安东尼奥·罗塞利诺，普拉克西特莱斯的爱神，米开朗基罗的大卫
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-06-01 DOI: 10.1086/709189
Sean T. Roberts
{"title":"Antonio Rossellino, the Eros of Praxiteles, and Michelangelo’s David","authors":"Sean T. Roberts","doi":"10.1086/709189","DOIUrl":"https://doi.org/10.1086/709189","url":null,"abstract":"For Renaissance writers on art, few tropes enjoyed the prominence of comparison between contemporary and ancient practitioners. Among a select group of comparanda, the most commonwere surely Apelles for painters and Praxiteles for sculptors, though Myron, Lysippus, Phidias, and others made sporadic appearances. To modern readers, such analogies vary widely in their appropriateness and utility, responding to regional and momentary tastes, friendships, networks, and rivalries. Battista Spagnoli’s claim that the art of the ancients “is tarnished and loses all luster”when seen alongside that of Andrea Mantegna accords, in spirit, with art historical estimations of the significance of his","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84979209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
On Roger de La Fresnaye’s Lost Étude pour le portrait de l’artiste and Its Corbeille de fleurs Motif 在Roger de La fresnaye的《失落的研究》中，艺术家的肖像和他的花篮图案
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-06-01 DOI: 10.1086/709193
Anne Greeley
{"title":"On Roger de La Fresnaye’s Lost Étude pour le portrait de l’artiste and Its Corbeille de fleurs Motif","authors":"Anne Greeley","doi":"10.1086/709193","DOIUrl":"https://doi.org/10.1086/709193","url":null,"abstract":"The painter Roger de La Fresnaye is known for his conservative handling of cubist methods and techniques. His classicizing approach, by which he converted natural forms into a harmoniously balanced configuration of simplified planes and arcs rendered in pure, luminous color, is paradigmatically instantiated in L’homme assis (Musée des beaux-arts, Rouen)—one of the last canvases he produced before departing for the front in 1914, and a work that has long been regarded as one of his finest compositions. This article discusses newly discovered evidence concerning the artist’s preliminary oil study for this work, which","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77679852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Editor’s Note: Of Jesus and Judas 编者注:耶稣和犹大
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-06-01 DOI: 10.1086/709187
John Cunnally
{"title":"Editor’s Note: Of Jesus and Judas","authors":"John Cunnally","doi":"10.1086/709187","DOIUrl":"https://doi.org/10.1086/709187","url":null,"abstract":"Situated in the rear of our set of essays in this issue of Source is an elegiac “Appreciation” by Paul Barolsky of one of his former teachers, the late Fred Licht. Best known for his work on Goya, Licht was a multifaceted scholar and curator whose published essays (including some in Source) covered several centuries of topics ranging from Raphael to Picasso. Barolsky’s remarks about Licht’s “acute visual analysis and . . . depth of historic knowledge” brought me to thinking about one of my own mentors (elegiac moods being rather contagious), Paul Watson, who passed in 2005. Students in his course on Italian Renaissance painting at Penn in the 1970s may no longer remember exactly what Paul said about Botticelli or Mantegna, but they will never forget his wit, which could sometimes take on an acerbic and irreverent tone. I","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90134769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Death Nag: Altdorfer’s 1506 Delilah and the Real Power of Women 死亡唠叨:阿尔多弗1506年的黛利拉和女性的真正力量
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-06-01 DOI: 10.1086/709190
Jennifer L. Nelson
{"title":"Death Nag: Altdorfer’s 1506 Delilah and the Real Power of Women","authors":"Jennifer L. Nelson","doi":"10.1086/709190","DOIUrl":"https://doi.org/10.1086/709190","url":null,"abstract":"Amid variants of the misogynistic motifs known as “Power of Women” or Weibermacht popular in early modern northern Europe appears an early unique interpretation: Albrecht Altdorfer’s 1506 lively, scrawly chiaroscuro drawing Samson and Delilah (fig. 1). It would be unusual at this time to depict a historical (or biblical-historical) woman as anything but a moral example of good or bad behavior. Delilah, lethal deceiver of the Old Testament hero Samson, finds herself squarely in the category of “bad.”Why, then, does Altdorfer’s Delilah appear to be attempting to warn a sleeping, unshorn Samson of the approach of Philistine soldiers?","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82774967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
John Opie’s Portrait of Charles Macklin and the Shakespeare Gallery 约翰·奥佩的查尔斯·麦克林肖像和莎士比亚画廊
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-02-27 DOI: 10.1086/707744
P. Goring
{"title":"John Opie’s Portrait of Charles Macklin and the Shakespeare Gallery","authors":"P. Goring","doi":"10.1086/707744","DOIUrl":"https://doi.org/10.1086/707744","url":null,"abstract":"JohnOpie’s portrait of CharlesMacklin (ca. 1699–1797) is one of themore technically accomplished likenesses of the celebrated actor-playwright. It was the work of a painter hailed as “the English Rembrandt”; there was hyperbole in that soubriquet, but Opie (1761–1807) was certainly among the more talented British portraitists of his day, and his skills are evident in his rendering of Macklin. The portrait is furthermore notable for depicting Macklin doing something other than acting. Visual artists had typically portrayed Macklin, like most actors, in character, costumed and suspended at amoment within a drama.Macklin was generally shown as Shylock, the role for which he was renowned—this was","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81411400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
An Open-Ended Question: H. C. Westermann’s Untitled, 1962 一个开放式的问题:h.c.韦斯特曼的《无题》，1962年
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-02-27 DOI: 10.1086/707745
D. McCarthy
{"title":"An Open-Ended Question: H. C. Westermann’s Untitled, 1962","authors":"D. McCarthy","doi":"10.1086/707745","DOIUrl":"https://doi.org/10.1086/707745","url":null,"abstract":"A three-dimensional, polychrome realization of a question mark, H. C. Westermann’s Untitled remains something of a question itself (fig. 1). Without the verbiage normally preceding any such sign it is impossible to know what, if anything, is being asked. Perhaps the riddle posed has more to do with viewer projection than the artist’s own intendedmeaning, although it is my contention that built into the content of the sculpture was a faith that such uncertainty would attract attention. Certainly this was true in the months of its initial reception, when Untitled elicited divergent responses and frequent reproduction. Clearly it met the needs of critics in their desire to engage with emergent practices in United","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88185960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“His fruit was sweet to my taste”: The Song of Solomon and Michelangelo’s Temptation 《所罗门之歌》与米开朗基罗的《诱惑
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-02-27 DOI: 10.1086/707742
J. Manca
{"title":"“His fruit was sweet to my taste”: The Song of Solomon and Michelangelo’s Temptation","authors":"J. Manca","doi":"10.1086/707742","DOIUrl":"https://doi.org/10.1086/707742","url":null,"abstract":"Michelangelo Buonarroti’s Temptation in the Sistine Chapel is marked by iconographic freedom and innovation, as the artist departs more than once from biblical text and pictorial tradition (fig. 1). Genesis 3:6 describes how the wily serpent tempted Eve with forbidden fruit from the Tree of the Knowledge of Good and Evil, and she, in turn, tempted the first man: “And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat.” Michelangelo, perhaps to emphasize Adam’s free will, independence of mind, and inexcusable","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89733923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Editor’s Note: New Baggage for Old Masters 编者注:老大师的新包袱
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-02-27 DOI: 10.1086/707739
John Cunnally
{"title":"Editor’s Note: New Baggage for Old Masters","authors":"John Cunnally","doi":"10.1086/707739","DOIUrl":"https://doi.org/10.1086/707739","url":null,"abstract":"“Most people look at a painting with their ears,” runs the old Chinese proverb, although I suspect this is actually a bit of cynical Yankee wit of the P. T. Barnum variety, disguised as a pearl of ancient oriental wisdom. Those of us who teach art history know very well how difficult it is to persuade students to abandon what they have already been told about a work of art, replacing this inherited sagacity with the evidence of their own eyes and the discoveries of their own research. Perhaps we have good reason to be thankful that so many of these students come to our classrooms with zero prior knowledge of the subject, possessing the unbiased innocence of the “transparent eye-ball” that Emerson experienced only in moments of transcendental ecstasy.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82541205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Decadence or Hedonism? The Abject as Sublime in the Asàrotos òikos Mosaic Floor from the Vatican 颓废还是享乐?梵蒂冈Asàrotos òikos马赛克地板上的崇高与卑贱
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-02-27 DOI: 10.1086/707740
Nava Sevilla-Sadeh
{"title":"Decadence or Hedonism? The Abject as Sublime in the Asàrotos òikos Mosaic Floor from the Vatican","authors":"Nava Sevilla-Sadeh","doi":"10.1086/707740","DOIUrl":"https://doi.org/10.1086/707740","url":null,"abstract":"The depictions in the so-called Asàrotos òikos (“unswept floor”) mosaic from the Vatican have remained puzzling, although it seems clear that waste is portrayed (fig. 1). The images depicted in the main parts of the mosaic have been recognized as remnants of food (such as cherries, grapes, leaves, nutshells, lobster claws, fish skeletons, oysters, chicken bones; fig. 2), and even a tiny mouse appears among them. Another part of themosaic features Dionysian tragicmasks (fig. 3).Mosaics belonging to this genre have been interpreted as a symbolic representation of the Roman elite. However, the proximity of reversal images in the mosaic","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82443913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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