希腊艺术领域中的跨民族主义

Q3 Arts and Humanities
Historein Pub Date : 2023-04-12 DOI:10.12681/historein.30301
Katia Papandreopoulou
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引用次数: 0

摘要

该研究从跨国方法的角度考察了20世纪初希腊的艺术生产。通过研究艺术家的流通、来源、交流、联系或阻力,以及本地或国际参与这一时期的展览,对二十世纪希腊艺术史学中流行的静态神话进行了修正。对1903年在Zappeion Megaron举行的雅典国际展览的案例研究,包括其策展和参加展览的艺术家,证明了这一时期的希腊艺术创作并非边缘化和滞后。相反,雅典作为一个具有特殊地理和文化动态的外围地区,与地中海和巴尔干半岛互动,突出了自己的网络和路线,从而在20世纪初成为更广泛地区创新和传统的十字路口。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Transnationalism in the Field of Art in Greece
The study examines the artistic production of the early twentieth century in Greece in the light of the transnational approach. The static myths prevalent in the historiography of Greek art in the twentieth century are revised through the study of the circulation of artists, sources, exchanges, connections, or resistances, as well as local or international participation in exhibitions regarding this period. The study of the case of the International Exhibition of Athens, including its curation and the artists who entered it, that took place in the Zappeion Megaron in 1903, proves that the Greek artistic production of the period was not marginal and belated. On the contrary, Athens, a periphery with particular geographical and cultural dynamics, interacted with the Mediterranean and the Balkans, highlighted its own networks and routes, thus managing to function as a crossroads of innovations and traditions of the wider region at the beginning of the twentieth century.
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来源期刊
Historein
Historein Arts and Humanities-History
CiteScore
0.20
自引率
0.00%
发文量
22
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