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On the Significance of Saint Paul’s Sword in Raphael’s Saint Cecilia Altarpiece 论拉斐尔圣塞西莉亚祭坛画中圣保罗之剑的意义
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-01-01 DOI: 10.1086/712860
Christian K. Kleinbub
{"title":"On the Significance of Saint Paul’s Sword in Raphael’s Saint Cecilia Altarpiece","authors":"Christian K. Kleinbub","doi":"10.1086/712860","DOIUrl":"https://doi.org/10.1086/712860","url":null,"abstract":"Raphael was exacting in rendering the accoutrements of the figures in his paintings. Indeed, he frequently researched a particular personage’s collateral effects in designing them. When the artist in his Disputa (Stanza della Segnatura, Vatican) portrayed Saint Gregory the Great, the famous doctor of the church, he presented him seated on the marble chair that was then believed to have been his pontifical throne, an object still kept as a relic in the church of San Gregorio in Rome. This tendency can also be observed in the painter’s portraits, in which a sitter’s possessions were on occasion rendered with such verisimilitude that we can still locate them. For example, we can identify the fourteenth-century book, now known as the Hamilton Bible, perused by Leo X in Raphael’s portrait","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"41 1","pages":"81 - 91"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87491720","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
Before the Babe and After: Counting Women Cartoonists in the Underground Comix 《美女之前与之后:地下漫画中的女性漫画家》
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-09-01 DOI: 10.1086/711343
John Cunnally
{"title":"Before the Babe and After: Counting Women Cartoonists in the Underground Comix","authors":"John Cunnally","doi":"10.1086/711343","DOIUrl":"https://doi.org/10.1086/711343","url":null,"abstract":"This year we celebrate the fiftieth anniversary of a remarkable publication, It Ain’t Me Babe, proclaimed by its creators as “the first women’s liberation comic” and “the world’s first all-women’s comic book.” Bearing the date July 1970, this was the collaborative product of seven female artists already active in the alternative feminist media and counterculture newspapers of the San Francisco Bay Area. Several of them belonged to a group called the Feminist Liberation Basement Press, which produced a tabloid newspaper that bore the same title as the comic book. It Ain’t Me Babe resembled in format the other underground “comix” sold in head shops, record stores, and independent booksellers","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"15 1","pages":"44 - 54"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78009419","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 Darkest Knight: The Gothic Roots of Batman Comics 最黑暗的骑士:蝙蝠侠漫画的哥特式根源
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-09-01 DOI: 10.1086/711341
Thomas Andrae
{"title":"The Darkest Knight: The Gothic Roots of Batman Comics","authors":"Thomas Andrae","doi":"10.1086/711341","DOIUrl":"https://doi.org/10.1086/711341","url":null,"abstract":"Appearing in Detective Comics no. 27 (May 1939), “The Bat-Man,” as he was then called, was unlike anything seen before in comic books. With long, prominent ears that looked disturbingly like satanic horns and enormous batwings for a cape, Batman was initially as menacing as any of the villains he faced. Although Superman’s fight against injustice was based on altruistic motives, Batman’s war on crime emanated from vengeance for the murder of his parents during a robbery. Though usually unacknowledged in this way, Batman was the first major gothic superhero in comic books.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"3249 1","pages":"19 - 33"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86593273","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
“’Twas Steve’s Idea”: Steve Ditko and the Problem of Collaborative Production “这是史蒂夫的想法”:史蒂夫·迪特科和协作生产的问题
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-09-01 DOI: 10.1086/711342
Z. Kruse
{"title":"“’Twas Steve’s Idea”: Steve Ditko and the Problem of Collaborative Production","authors":"Z. Kruse","doi":"10.1086/711342","DOIUrl":"https://doi.org/10.1086/711342","url":null,"abstract":"Steve Ditko almost never participated in interviews, and in 1968 he took part in his very last, in issue 4 of the fanzineMarvel Main. Responding to a question about which of his characters he believed were the clearest extension of his own philosophy, Ditko remarked, “Every person, whether he wants to be or not, is in a continuous struggle. It’s not a physical life or death struggle. . . . It’s a struggle for his mind!” For Ditko, this struggle meant to protect one’s mind from being corrupted by “irrational premises.” It’s that personal struggle for the individual mind that underwrites Ditko’s philosophy as he explored it over the course of his career, from its beginnings in 1953, working in a variety of genres, to his","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"2661 1","pages":"34 - 43"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87532044","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
Guest Editor’s Note: Superman’s Brother 客串编者注:超人的兄弟
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-09-01 DOI: 10.1086/711339
A. Flaten
{"title":"Guest Editor’s Note: Superman’s Brother","authors":"A. Flaten","doi":"10.1086/711339","DOIUrl":"https://doi.org/10.1086/711339","url":null,"abstract":"It was the summer of 1972 in Arlington, Virginia. My best friend and I sat across from each other in intense cross-legged dialogue. Doug proudly displayed his copy of DC’s Action Comics starring Superman. I had Dynamo no. 1 from Tower Comics (fig. 1). The calculus that informs six-year-old logic determined that his comic book was better because the quasiomnipotent Superman was universally known. In those years of lunchboxes and recess kickball, one’s stature might reside, if fleetingly, in the question of whose hero could beat up the other’s. I casually explained that Dynamo was Superman’s brother. This is my earliest memory of willful prevarication. It is also my earliest memory of what would become a lifelong fascination with comic books.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"64 1","pages":"1 - 6"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77510289","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
Major Malcolm Wheeler-Nicholson and the Origins of DC Comics 马尔科姆·惠勒-尼科尔森少校和DC漫画的起源
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-09-01 DOI: 10.1086/711340
Nicky Wheeler-Nicholson
{"title":"Major Malcolm Wheeler-Nicholson and the Origins of DC Comics","authors":"Nicky Wheeler-Nicholson","doi":"10.1086/711340","DOIUrl":"https://doi.org/10.1086/711340","url":null,"abstract":"The first issue of New Fun comics magazine, consisting of all original material, appeared on newsstands January 11, 1935, published by Major Malcolm Wheeler-Nicholson (fig. 1). This was the beginning of his series of original comics magazines, leading to Action Comics no. 1 in 1938, which featured Superman on the cover. The Major’s comics magazines, or comic books, should be understood as a critically important continuum resulting in the emergence of superhero comics. Much of what we take for granted as the fundamental elements of modern comic books, from their business model to their design, artwork, and story lines, can be traced back to this pre-Superman period of early comics history.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"42 1","pages":"7 - 18"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81970298","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 Evolution of the Contemporary Graphic Novel: Gil Kane’s His Name Is … Savage! and Blackmark 当代图画小说的演变:吉尔·凯恩的《他的名字是……野蛮人!》和Blackmark
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-09-01 DOI: 10.1086/711344
D. Herman
{"title":"The Evolution of the Contemporary Graphic Novel: Gil Kane’s His Name Is … Savage! and Blackmark","authors":"D. Herman","doi":"10.1086/711344","DOIUrl":"https://doi.org/10.1086/711344","url":null,"abstract":"Nineteen sixty-seven bore witness to many events that are nothing more than dimmemories today. NASA was gearing up to send astronauts into orbit around themoonwithin a year. The VietnamWarwas beginning to divide the country. Comic books and the development of a format for extended sequential storytelling, now commonly referred to as a graphic novel, were hardly high on the agenda of important things to consider. In 1967, the comic book industry experienced a drop in its sales for the first time since the start of the superhero boom now referred to by comics historians as the “Silver Age.”","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"9 1","pages":"55 - 65"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87433820","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
Taddeo Zuccaro and the Pucci Chapel in Santissima Trinità dei Monti, Rome 撒迪厄斯·祖卡罗和普奇教堂在罗马的圣三位一体
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-06-01 DOI: 10.1086/709191
Georgios E. Markou
{"title":"Taddeo Zuccaro and the Pucci Chapel in Santissima Trinità dei Monti, Rome","authors":"Georgios E. Markou","doi":"10.1086/709191","DOIUrl":"https://doi.org/10.1086/709191","url":null,"abstract":"In his 1966 article on the fresco decoration of the Pucci chapel in the church of Santissima Trinità dei Monti in Rome (fig. 1), John Gere set out to distinguish the contribution of Taddeo Zuccaro (1529–66) from that of his younger brother, collaborator, and heir to the family business, Federico (1540/41–1609). This, however, proved to be a challenging task. Not only is the decoration of the Pucci chapel one of Taddeo’s commissions that were left unfinished with his death in 1566, but Federico, who had a stylistic dependence on his brother, completed the scheme in 1589. Giorgio Vasari, who included a biography of Taddeo in the second edition of the Vitae in 1568, recorded that the artist died while busying himself with a cartoon for the chapel’s altarpiece.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"04 1","pages":"241 - 251"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86074547","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
Libbali-sharrat in the Garden: An Assyrian Queen Holding Court 花园里的利巴利-沙拉特:亚述女王主持朝廷
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-06-01 DOI: 10.1086/709188
D. Kertai
{"title":"Libbali-sharrat in the Garden: An Assyrian Queen Holding Court","authors":"D. Kertai","doi":"10.1086/709188","DOIUrl":"https://doi.org/10.1086/709188","url":null,"abstract":"The Garden Scene is one of the most famous images to have survived from Assyria, the world’s first empire. The scene, one of the gypsum reliefs from the North Palace at Nineveh (ca. 643 BCE), shows the Assyrian king Ashurbanipal reclining on a couch while the queen Libbalisharrat sits next to him in a lush garden. The scene’s tranquility initially seems to diverge from the violent images of warfare that traditionally dominate Assyrian palace reliefs, but this impression is belied by the presence of a severed head hanging in a tree situated to the left of the royal couple, usually attributed to the Elamite king Teumman, who was defeated by Ashurbanipal’s army in 653 BCE.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"307 1","pages":"209 - 218"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77510279","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
Fred Licht (1928–2019): An Appreciation 弗雷德·莱特(1928-2019):一种欣赏
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2020-06-01 DOI: 10.1086/709194
Paul Barolsky
{"title":"Fred Licht (1928–2019): An Appreciation","authors":"Paul Barolsky","doi":"10.1086/709194","DOIUrl":"https://doi.org/10.1086/709194","url":null,"abstract":"Leaving a dinner party in Florence one fine spring evening in 1987, Fred Licht remarked to his fellow guests, “I am just a cicerone.” Not untrue, his statement was of course ironic, since Fred pondered works of art deeply and his friends all knew it. Yes, he was a cicerone or guide, but he was far more than that. For years Fred led students here and there throughout Italy in order to behold works of art that he loved. What he had to say was informed by a deep knowledge which he happily shared and by an obsessive attempt to solve the mysteries of great, well-known masterpieces and of works that were little known. In the summer of 1960 he showed slides of works of art aboard a little ship, the Ascanio, filled with students traveling between New York","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"132 1","pages":"272 - 276"},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79647758","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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