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Famous but Unknown: An Introduction to J. Howard Miller 著名但不为人知:j·霍华德·米勒简介
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-09-01 DOI: 10.1086/718490
J. Kimble
{"title":"Famous but Unknown: An Introduction to J. Howard Miller","authors":"J. Kimble","doi":"10.1086/718490","DOIUrl":"https://doi.org/10.1086/718490","url":null,"abstract":"Colin Eisler observed in 1987 that postwar art scholarship had increasingly begun to distance itself from the biographical details of artists. In the typical study, he wrote, “The Life is gotten over just as hastily as possible before turning to The Work.” In Eisler’s view, this development was unfortunate, for “if an artist’s work is worthy of scrutiny, the more we know the artist the better.” Perhaps no art historian has taken Eisler’s guidance more to heart than Martin Kemp. His Leonardo embraced the virtues of outright biography so avidly that it became an","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76613683","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: Restoring the Director’s Cut 编者按:恢复导演的剪辑
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-09-01 DOI: 10.1086/718484
John Cunnally
{"title":"Editor’s Note: Restoring the Director’s Cut","authors":"John Cunnally","doi":"10.1086/718484","DOIUrl":"https://doi.org/10.1086/718484","url":null,"abstract":"Not all bowdlerization is the result of sexual prudery. I heard Leo Steinberg once express disappointment with an edition of the Diary of John Evelyn that he was reading because the editor had decided to eliminate Evelyn’s extensive reports and critiques of sermons he attended on Sundays. The editor was convinced that no modern reader would have the slightest interest in such tedious accounts of theology and exegesis. Yet these homilies, Steinberg noted, not only excited great attention and curiosity during Evelyn’s lifetime (1620–1706), but they were regarded as important forms of communal entertainment and popular discussion,","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86438032","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
The Misaligned Body: The Fourth Group and Performance Art in Authoritarian South Korea 错位的身体:第四群体与威权主义韩国的行为艺术
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-09-01 DOI: 10.1086/718491
Adela Kim
{"title":"The Misaligned Body: The Fourth Group and Performance Art in Authoritarian South Korea","authors":"Adela Kim","doi":"10.1086/718491","DOIUrl":"https://doi.org/10.1086/718491","url":null,"abstract":"On one balmy evening in July 1970, two men appeared in Myeongdong, a bustling commercial district in Seoul, South Korea. In their button-up shirts, the men—Chung Chan S. (Chŏng Ch’an-sŭng) and Ko Ho—might have blended in with the workforce returning home for the day. Yet the pair wore placards around their necks, conspicuously drawing attention to themselves in a society that valued conformity above all. The sign upon Chung’s chest asked, “With what do you","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88617987","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
Michelangelo’s Jonah: A Study in Multitasking 米开朗基罗的《约拿》:多任务研究
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-09-01 DOI: 10.1086/718486
Anthony Apesos
{"title":"Michelangelo’s Jonah: A Study in Multitasking","authors":"Anthony Apesos","doi":"10.1086/718486","DOIUrl":"https://doi.org/10.1086/718486","url":null,"abstract":"The most memorable moment of Michelangelo Buonarroti’s Sistine Chapel ceiling is, for most—possibly all—modern viewers, the creation of Adam. The vital distance between the hands of God and the first man is one of Michelangelo’s most potent inventions. Yet sixteenth-century commentators on the ceiling were struck more powerfully by the figure of the prophet Jonah (fig. 1) over the altar wall. Vasari expressed his admiration for the way the figure tips away from the actual surface on which it is painted, which itself tips toward the viewer:","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85033218","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
The Journey into the Mind of Bellini: Bonaventure and the Frick St. Francis 贝利尼的心灵之旅:博纳旺蒂尔和弗里克圣弗朗西斯
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-09-01 DOI: 10.1086/718485
E. Hupe
{"title":"The Journey into the Mind of Bellini: Bonaventure and the Frick St. Francis","authors":"E. Hupe","doi":"10.1086/718485","DOIUrl":"https://doi.org/10.1086/718485","url":null,"abstract":"In the beginning of the Itinerarium mentis in Deum (The journey of the mind into God, ca. 1259), Saint Bonaventure (1217–74) exhorts his reader, “Open your eyes, alert the ears of your spirit, unlock your lips, and apply your heart that you may see, hear, praise, love, and adore . . . your God.” As though visualizing Bonaventure’s call to prayer, Giovanni Bellini’s (ca. 1430–1516) painting, St. Francis in the Desert (ca. 1475), portrays the Poverello moving into the light with eyes turned heavenward and lips parted in a sigh of exultation (fig. 1). This supernatural","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72477594","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
Charles Eliot Norton on Bernhard Berenson: Methodological Differences or Ethnic Bias? 查尔斯·艾略特·诺顿谈伯恩哈德·贝伦森:方法论差异还是种族偏见?
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-09-01 DOI: 10.1086/718489
A. Moskowitz
{"title":"Charles Eliot Norton on Bernhard Berenson: Methodological Differences or Ethnic Bias?","authors":"A. Moskowitz","doi":"10.1086/718489","DOIUrl":"https://doi.org/10.1086/718489","url":null,"abstract":"Charles Eliot Norton (1827–1908), the first professor of art history atHarvard—whose wordwould have had an enormous impact—refused to support the young Bernhard Berenson (1865–1959) when he requested a recommendation for a scholarship application to travel abroad after his final year at Harvard (1886–87) (figs. 1, 2). Was the reason an (unacknowledged) bias against Jews? And was this the same reason that later, knowing of Berenson’s role in assisting Isabella Stewart Gardner (1840–1924) in locating and purchasing Old Master paintings, he apparently never","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80362399","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
Women Artists in Sixteenth-Century Antwerp: The Missing Case of Anna Coblegers (ca. 1545/50?–66) 16世纪安特卫普的女艺术家:安娜·科布莱格斯失踪案(约1545/50? -66)
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-09-01 DOI: 10.1086/718488
P. Simons
{"title":"Women Artists in Sixteenth-Century Antwerp: The Missing Case of Anna Coblegers (ca. 1545/50?–66)","authors":"P. Simons","doi":"10.1086/718488","DOIUrl":"https://doi.org/10.1086/718488","url":null,"abstract":"When living in Antwerp for many years, the Florentine merchant Lodovico Guicciardini (1521–89) compiled information about the region’s history and culture that he first published in 1567, complete with several maps. His brief descriptions of artists are useful to art historians, as is his attention to women artists. But one person in the latter category remains virtually unknown, and no work of hers has been discovered. It will be demonstrated here that, in part, Anna Coblegers’s invisibility is","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84042765","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
Nitidissima solis imago: Pontormo, Vertumnus, and the Sun
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-09-01 DOI: 10.1086/718487
K. Houston
{"title":"Nitidissima solis imago: Pontormo, Vertumnus, and the Sun","authors":"K. Houston","doi":"10.1086/718487","DOIUrl":"https://doi.org/10.1086/718487","url":null,"abstract":"Jacopo Pontormo’s fresco in the grand salone of the Medicean villa at Poggio a Caiano (fig. 1) has been the subject of extensive analysis, which has yielded what might be called a partial consensus. Following Giorgio Vasari, most scholars accept that the painting alludes to the story of the shape-shifting god Vertumnus and the nymph Pomona. It seems clear, too, that the painting is partially rooted in Ovid’s detailed account, in Metamorphoses, of Vertumnus’s assumption of various guises in an attempt to seduce Pomona. At the same time, the fresco also features references","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79400174","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
Choreographer Trisha Brown’s It’s a Draw (2002–3) 编舞特丽莎·布朗的《平局》(2002-3)
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-06-01 DOI: 10.1086/716333
S. Rosenberg
{"title":"Choreographer Trisha Brown’s It’s a Draw (2002–3)","authors":"S. Rosenberg","doi":"10.1086/716333","DOIUrl":"https://doi.org/10.1086/716333","url":null,"abstract":"At the 2002 Montpellier Danse festival, choreographer Trisha Brown (1936–2017) premiered a new hybrid work of dance and drawing. Through the project’s title, It’s a Draw, she encapsulated the ambiguity governing her combination of these two mediums in a single performative artwork. From July 1 to July 6, 2002, in the festival’s nonproscenium Studio/Théâtre du Hangar, Brown presented live improvisational dance and used improvised movement to draw, producing three ten-byeight-foot works per night: nine drawings in all. As Jean-Paul Montanari,","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84097649","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
Botticelli Interprets Petrarch’s Triumph of Love: An Overlooked Drawing in Ravenna 波提切利解读彼特拉克的《爱的胜利:拉文纳被忽视的绘画》
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-06-01 DOI: 10.1086/716327
J. Nelson
{"title":"Botticelli Interprets Petrarch’s Triumph of Love: An Overlooked Drawing in Ravenna","authors":"J. Nelson","doi":"10.1086/716327","DOIUrl":"https://doi.org/10.1086/716327","url":null,"abstract":"About two decades before Sandro Botticelli (ca. 1445–1510) made his celebrated drawings of the Divine Comedy (Berlin and Vatican City), he already showed his pictorial intelligence in an illustration of Petrarch’s Triumph of Love (fig. 1). This little-known pen-and-ink drawing, in a manuscript of Petrarch’s Canzoniere and Triumphs (Ravenna, Biblioteca Classense, ms. 143, fol. 141v), was first published in 1984 by Annarosa Garzelli, who attributed it to Botticelli’s workshop, but the characteristic style, high quality, and original interpretation all indicate that it was","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87511269","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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