THE VICTORIAN GRAND SIÈCLE: IDEOLOGY AS ART HISTORY

2000 ◽  
Vol 28 (1) ◽  
pp. 133-147 ◽  
Author(s):  
Elizabeth Mansfield
Keyword(s):  
Cultural Production ◽  
Art History ◽  
Modern State ◽  
Aesthetic Theory ◽  
Art Writing ◽  
The Arts ◽  
Aesthetic Inquiry ◽  
Victorian Art ◽  
Historical Text ◽  
Working Out

The true greatness of this great century consists . . . not in its vain wars, and formal stage, and stilted eloquence, and pompous palaces, and grandiose art, but in the formation and working out of the political and social system of which these things were the first fruits. It is idle to indulge in academical discussions as to the merits of this system. We have inherited it, it has penetrated our lives in every direction, we act, we think under its invisible pressure, and its study is pregnant with teaching.— Emilia Dilke, Art in the Modern StateFUSING AESTHETIC INQUIRY WITH POLITICAL THEORY, Emilia Dilke’s Art in the Modern State heralds a shift in the evolving discipline of art history. Published in 1888, the book succeeds her well-received The Renaissance of Art in France (1879) and anticipates by a decade her multi-volume study of the arts of eighteenth-century France. Methodologically, however, Art in the Modern State stands apart from her other books. Predicated upon the supposition that art — indeed all cultural production — derives from and serves the “invisible pressure” of ideology, the book points to a new direction in Victorian aesthetic theory. Specifically, the book offers the first direct application of Marxist philosophy in an art historical text. That this innovation met and continues to meet with critical as well as popular indifference appears, at first, extraordinary. Considered within the context of Victorian art writing and materialist art history, however, the sources of this critical neglect begin to emerge.

The Transformations of Aesthetic Theory

2020 ◽  
pp. 1-9
Author(s):  
Arnold Berleant
Keyword(s):  
Everyday Life ◽  
Environmental Ethics ◽  
Social Relations ◽  
Environmental Movement ◽  
Western Civilization ◽  
Aesthetic Theory ◽  
The Arts ◽  
Natural Beauty ◽  
Aesthetic Inquiry ◽  
Social Aesthetics

Recent decades have witnessed a dramatic broadening in the scope of aesthetic inquiry. No longer focused exclusively on the arts and natural beauty, the mainstream of aesthetics has entered a delta in which its flow has spread out into many channels before entering the oceanic expanse that is Western civilization. Several decades ago, environmental aesthetics began to attract interest and has grown to be an important focus of present-day inquiry in aesthetics. Along with environmental ethics, it has become part of the broader range of environmental studies and the environmental movement in general. This expansion has continued, interpreting environment not only as natural but also as social. Aesthetics has been applied to social relations and political uses, and now, most recently to the objects and situations of everyday life. The course of the arts has displayed a similar succession of changes.

scholarly journals The rediscovery of an Adoration of the Shepherds by Jacques Jordaens: a multidisciplinary approach combining dendroarchaeology and art history

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Johannes Edvardsson ◽  
Andrea Seim ◽  
Justin Davies ◽  
Joost Vander Auwera
Keyword(s):  
Art History ◽  
Multidisciplinary Approach ◽  
Traditional Art ◽  
Secondary Sources ◽  
The Arts ◽  
Oak Trees ◽  
Dendrochronological Analysis ◽  
Religious Paintings ◽  
Production Period ◽  
Panel Paintings

AbstractThe implementation of multidisciplinary research approaches is an essential prerequisite to obtain comprehensive insights into the life and works of the old masters and their timeline in the production of the arts. In this study, traditional art history, cultural heritage, and natural science methods were combined to shed light on an Adoration of the Shepherds painting by Jacques Jordaens (1593–1678), which until now had been considered as a copy. From dendrochronological analysis of the wooden support, it was concluded that the planks in the panel painting were made from Baltic oak trees felled after 1608. An independent dating based on the panel maker’s mark, and the guild’s quality control marks suggests a production period of the panel between 1617 and 1627. Furthermore, the size of the panel corresponds to the dimension known as salvator, which was commonly used for religious paintings during the period 1615 to 1621. Finally, the interpretation of the stylistic elements of the painting suggests that it was made by Jordaens between 1616 and 1618. To conclude, from the synthesis of: (i) dendrochronological analysis, (ii) panel makers’ punch mark and Antwerp Guild brand marks, (iii) re-examination of secondary sources, and (iv) stylistic comparisons to other Jordaens paintings, we suggest that the examined Adoration of the Shepherds should be considered as an original by Jordaens and likely painted in the period 1617–1618. The study is a striking example of the effectiveness of a multidisciplinary approach to investigate panel paintings.

scholarly journals Ivan Aleksandăr (1331-1371)

2010 ◽  
Author(s):  
Alberto Alberti
Keyword(s):  
Fourteenth Century ◽  
Cultural Production ◽  
Cultural Evolution ◽  
Crucial Importance ◽  
Amount Of Information ◽  
The Arts ◽  
Literary Sources ◽  
Military Campaigns ◽  
First Time

The long reign of Ivan Aleksandăr (1331-1371), the penultimate emperor of Bulgaria prior to the Turkish conquest, was marked by a series of successful military campaigns against Serbia and Byzantium and above all by an intensive cultural production, largely fostered and funded by the sovereign himself. The central decades of the fourteenth century were of crucial importance for the later cultural evolution of Bulgaria and the whole of Orthodox Slovenia, despite which to date ample and exhaustive studies on the figure of Ivan Aleksandăr are lacking. There is, in effect, a considerable amount of information at disposal, although it is scattered over the literary sources, the colophons of the manuscripts, the epigraphic documentation and also, obviously, the official deeds promulgated by the Emperor. Through the analysis of this varied documentation, this book attempts to reconstruct the figure of the sovereign, the context in which he lived and worked, his greatness and his mistakes and his parallel activities as a strategist and an illuminated patron of the arts. For the first time, the Italian reader can find collected and translated all the manuscript sources relating to the Bulgarian sovereign. The book is completed by an appendix with the original texts of the Slavonic-ecclesiastical tradition.

An Iskandarnāma of Nizami Produced for Ibrahim Sultan

2014 ◽  
Vol 30 (1) ◽  
pp. 235-253 ◽  
Author(s):  
Lâle Uluç
Keyword(s):  
Art History ◽  
Historical Context ◽  
Visual Data ◽  
Military Leader ◽  
Basic Task ◽  
Works Of Art ◽  
The Arts ◽  
Insight Into ◽  
The Way

This paper introduces a copy of the Iskandarnāma of Nizami dated 1435 and dedicated to the Timurid prince Ibrahim Sultan, grandson of the eponymous founder of the Timurid dynasty. It discusses the various features of the manuscript together with comparable examples from the same period, and also focuses on Abu al-Fath Ibrahim Sultan ibn Shah Rukh and his role as both a military leader and a patron of the arts during his tenure as the governor of the provinces of Fars, Kirman, and Luristan (1414–35). Utilizing the visual data together with the historical context of the period, this essay interprets one of the illustrations of the Iskandarnāma, hoping to fulfill what David Summers called “the most basic task of art history,” which he says “is to explain why works of art look the way they look.” The addition of this Iskandarnāma manuscript to the surviving corpus of works that can be connected to Ibrahim Sultan will provide a further insight into the important patronage of this Timurid prince.

Introduction

2019 ◽  
pp. 1-14
Author(s):  
Jenny Tone-Pah-Hote
Keyword(s):  
Twentieth Century ◽  
Progressive Era ◽  
Cultural Production ◽  
Expressive Culture ◽  
Men And Women ◽  
Cultural Negotiation ◽  
The Arts ◽  
Interdisciplinary Study

This is an interdisciplinary study of how Kiowa men and women made, wore, displayed and discussed expressive culture. Kiowa men and women used the arts to represent new ways of understanding and representing Kiowa identity that resonated with their changed circumstances during the Progressive Era and twentieth century. Kiowas represented themselves individually and collectively through cultural production that emphasized the significance of change and cultural negotiation, gender, the ties and tensions over tribally specific and intertribal identities.

Nature Related Computerkunst

2012 ◽  
pp. 138-147
Author(s):  
Wolfgang Schneider
Keyword(s):  
Art History ◽  
Social Contexts ◽  
Fundamental Question ◽  
Art Exhibitions ◽  
Natural Scientist ◽  
The Arts ◽  
Art Works ◽  
Representations Of Nature ◽  
Conventional Manner ◽  
Contemporary Development

It has been generally accepted in art history that nature ranks as master and ideal of the arts. Everybody knows examples of nature-related artworks created over centuries and decades in a conventional manner. Most of the contemporary readers witnessed the invention of the computer as a tool used in natural sciences, and later, in the arts as well. As a natural scientist and curator of art exhibitions, the author of this chapter was continually involved in this contemporary development which raised a fundamental question: Would the computer as a tool be a means to generate new representations of nature related art? This would demand results that ought to be different from conventional works of art as to the conceptional creation processes as well as the output. Some theoretical backgrounds and categorizing of such creations are discussed in this chapter and then illustrated by several examples from artists participating in a series of ´Computerkunst/Computer Art’ exhibitions during the quarter of the last centuries (1986-2010). Though it might be too soon to judge computational art works concerning their importance in Art History, a closer investigation in the creational processes and social contexts seems helpful and worthwhile.

The Freedom of the Press

2020 ◽  
pp. 107-133
Author(s):  
Maggie Gray
Keyword(s):  
Social Relations ◽  
Historical Research ◽  
The Political ◽  
Aesthetic Theory ◽  
Community Arts ◽  
Artistic Value ◽  
The Arts ◽  
The Press ◽  
The Relationship

This chapter engages with important strands of scholarship on comics work, arguing for a critical comics studies that attends to the political economy, social relations, and material processes of production. It examines the relationship between struggles over the organization of cultural labor and the forms of value inscribed in comics, via the case study of a specific site of British comics production that reimagined how comics work could be organized and the artistic value comics could have– the cooperative Birmingham Arts Lab Press (1969-1982) and its Ar:Zak imprint. Bringing together archival inquiry and participant interviews, wider historical research into the arts lab, alternative press, community arts and underground/alternative comics movements, and Marxist political and aesthetic theory, this chapter analyzes how struggles for an autonomous, democratized, participatory creative practice that took place within this context of comics production were embodied in the material and visual form of the comics made.

The Pasts and Futures of Latina/o Indigeneities

2019 ◽  
Author(s):  
Simón Ventura Trujillo
Keyword(s):  
Cultural Production ◽  
Social Structures ◽  
State Sovereignty ◽  
Modern State ◽  
Nation State ◽  
Modern Life ◽  
Politics And Culture ◽  
European Colonization ◽  
And Gender ◽  
Intellectual Production

The question of indigeneity in the study of Latina/o literature and culture points toward conflictive histories of colonization and invigorates a set of global directions for the future of Latina/o studies. The pairing of the two terms—Latina/o and Indigeneity—appears initially counterintuitive. Conventionally understood as an ancestral relation of Latina/o communities that has been vanished or lost over the duration of the European colonization of the Americas, Indigeneity opens a set of insuperable problematics that continue to pattern and shape multiple and incommensurate iterations of Latina/o politics and culture. While “Latina/o” in some instances denotes ancestral relation with Native tribes in the Americas, for many the term has also come to signify decidedly non-indigenous mestiza/o, settler, or migrant identities, imaginaries, and belongings. The literary, cultural, and intellectual production of Latina/o Indigeneity offers a unique window into the ways in which Native politics continue to compete with, accommodate, and challenge multiple regimes of colonial occupation and periods of modern state formation. Indigeneity illuminates places of Latina/o literary and cultural production through which to engage the historic ascendance of a number of fundaments of modern life across the globe, including capitalism, nation-state sovereignty, and the transnational social structures of race, sex, citizenship, and gender.

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