Museums of Art in the West

Art History ◽  
2014 ◽  
Author(s):  
Daniel J. Sherman
Keyword(s):  
Art History ◽  
Early Modern Period ◽  
Museum Studies ◽  
Art Museums ◽  
Past Century ◽  
Interdisciplinary Field ◽  
Significant Area ◽  
History Of ◽  
Critical Museum Studies ◽  
The 19Th Century

Art museums, their antecedents, and, related exhibition spaces have produced texts of various kinds—catalogues, guidebooks, travel accounts—since their inception in Europe in the Early Modern period, and museums have been an important site of research since the beginnings of disciplinary art history in the 19th century. Courses of study aimed at museum professionals have also produced, over the past century, an abundant literature on the technical aspects of the various activities in which museums engage. But art museums have emerged as the object of sustained scholarly inquiry in their own right only since the 1980s. The scholarly study of art museums, moreover, is most fruitfully considered a subfield not only of art history, but also of an interdisciplinary field, critical museum studies. Contributions to this field come from a variety of disciplines, including anthropology, history, literature, and sociology as well as art history. Critical museum studies focuses on the functions, practices, and ideology of museums in society, understanding these to be neither fully autonomous nor wholly derivative of social or political structures. While recognizing that different museum types, such as art museums, have distinct protocols and histories, scholars in critical museum studies have often looked to work on related museum types, such as history, natural history, and anthropology museums, for theoretical insight. Indeed, the role of institutions in constituting distinct categories of knowledge, and in delineating borders between them, has long been a significant area of inquiry in critical museum studies. As a contribution to Oxford Bibliographies in Art History, this article is not an introduction to the entire field of critical museum studies; it does not, for example, include works concerned solely with museums of science, history, or anthropology. The focus is on resources pertinent to the study of art museums within the parameters of art history, excluding primarily technical works (those related to conservation, for example). In keeping with the interdisciplinary nature of scholarly research on the history of museums, however, the titles surveyed include many that are not limited to museums of art. For among the signal insights of critical museum studies is that questioning the boundaries of art history and its institutions is a productive way of bringing art history to the forefront of humanist inquiry. The overriding, but not exclusive, emphasis on museums in Europe and North America reflects both the way the study of art museums has developed and the contours of the field, though the rapid proliferation of art institutions in other parts of the world has spurred scholarship worthy of attention.

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

The Hurt(ful) Body

2017 ◽  
Keyword(s):  
Early Modern ◽  
Cultural History ◽  
Art History ◽  
Interdisciplinary Approach ◽  
Early Modern Period ◽  
The Body ◽  
Literary Studies ◽  
Dialectical Approach ◽  
History Of ◽  
Theatre Studies

This book offers a cross-disciplinary approach to pain and suffering in the early modern period, based on research in the fields of literary studies, art history, theatre studies, cultural history and the study of emotions. It has a sustained focus on visual sources, textual material and documents about actual events rather than well-known thinkers or ‘masterpieces’ of art history, and a preference for cases and historical contexts over systematic theory-building. The hurt(ful) body brings under discussion visual and performative representations of embodied pain, using an insistently dialectical approach that takes into account the perspective of the hurt body itself, the power and afflictions of its beholder and, finally, the routinising and redeeming of hurt within institutional contexts. The volume’s two-fold approach of the hurt body, defining ‘hurt’ both from the perspective of the victim and the beholder (as well as their combined creation of a gaze), is unique. It establishes a double perspective about the riddle of ‘cruel’ viewing by tracking the shifting cultural meanings of victims’ bodies, and confronting them to the values of audiences, religious and popular institutional settings, and practices of punishment. It encompasses both the victim’s presence as an image or performed event of pain and the conundrum of the look – the transmitted ‘pain’ experienced by the watching audience. This will be done through three rubrics: the early modern performing body, beholder or audience responses, and the operations of institutional power. Because of its interdisciplinary approach of the history of pain and the hurt(ful) body, the book will be of interest for Lecturers and students from different fields, like the history of ideas, the history of the body, urban history, theatre studies, literary studies, art history, emotion studies and performance studies

scholarly journals Conglomerate Karst in Slovenia : History of Cave Knowledge and Research of Udin Boršt (Gorenjsko)

2016 ◽  
Vol 34 (2) ◽  
Author(s):  
Andrej Kranjc
Keyword(s):  
Book History ◽  
Rock Cutting ◽  
Past Century ◽  
Grammar School ◽  
World War ◽  
Folk Tales ◽  
The Past ◽  
The People ◽  
History Of ◽  
The 19Th Century

Folk tales and tradition evidence that people in Udin Boršt were aware of caves from old. In the 19th century a special type of outlaws occurred in Gorenjska. One of the centres was in Udin Boršt where brigands hid in caves. Under the French occupation the villagers hid in the caves, while during the 2nd World War they were partisans. Water is another factor playing an important role at studying Udin Boršt. Most of the villages were water supplied from Udin Boršt, partly out of caves. As elsewhere in conglomerates in Udin Boršt also there are traces of rock cutting for millstones. The first printed news about the caves in Udin Boršt are found in Valvasor’s Die Ehre des Herzothums Crain. The book History of the Ljubljana Bishop’s Diocese cites seven caves. The modern caving research started in 1946. In 1954 the members of the Natural Science Circle of the 1st Grammar School, Kranj started to visit caves in Udin Boršt. About that time a co-worker of the Karst Research Institute from Postojna started to research these caves. The caves in Udin Boršt were revisited in the seventieth of the past century in connection with the project “Speleological Map of Slovenia”. The connection between the people and the land can be seen from the topographical names too. The last part of the paper deals with these names, including the explanation of the name Udin Boršt. Da so ljudje jame v Udin borštu že dolgo poznali, se odraža v ljudskem blagu in izročilu. V 19. stol. je nastalo rokovnjaštvo. Eno od središč je bilo v Udin borštu, kjer so se rokovnjači skrivali po jamah. Pred Francozi so se skrivali po jamah tudi vaščani, med II. svetovno vojno pa partizani. Drugi dejavnik, ki je igral veliko vlogo pri spoznavanju jam v Udin borštu, je voda. Večina vasi je dobivala vodo iz Udin boršta, deloma iz jam. Kot drugod v konglomeratu, so tudi v Udin borštu sledi lomljenja kamine za mlinske kamne. Prva tiskana vest o jamah v Udin borštu je v Valvasorjevem delu »Slava vojvodine Kranjske«. V Zgodovini fara Ljubljanske škofije je omenjenih sedem jam. Sodobno jamarsko raziskovanje se je pričelo leta 1946. 1954 so pričeli obiskovati jame v Udin borštu člani Prirodoslovnega krožka I. gimnazije iz Kranja. V istem času se je raziskovanja teh jam lotil sodelavec Inštituta za raziskovanje krasa SAZU iz Postojne. Jame v Udin borštu so bile ponovno obiskane sredi sedemdesetih let prejšnjega stoletja, v okviru velikega projekta »Speleološka karta Slovenije«. Povezanost človeka z zemljo se vidi tudi iz krajevnih in ledinskih imen. Zadnji del prispevka se ukvarja s temi imeni, vključno z razlago imena Udin boršt.  

Francis James Herbert Haskell 1928–2000

2003 ◽  
Author(s):  
Charles Hope
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
17Th Century ◽  
Oxford University ◽  
French Painting ◽  
King's College ◽  
History Of Art ◽  
History Of ◽  
The 19Th Century

Publication of Patrons and Painters (1963), which dealt with art in 17th-century Rome and 18th-century Venice, established Francis Haskell as one of the leading art historians of his generation. He held posts at King's College Cambridge and was then appointed Professor of the History of Art at Oxford University with a Fellowship at Trinity College. Haskell turned to studying French painting of the 19th century. Rediscoveries in Art: Some Aspects of Taste, Fashion and Collecting in England and France (1976) won the Mitchell Prize for Art History. Haskell was elected a Fellow of the British Academy in 1971. Obituary by Charles Hope.

ЦИРКОВЕ МИСТЕЦТВО У ПРОСТОРІ ТА ЧАСІ: ВІД КОЛІЗЕЮ ДО АМФІТЕАТРУ ЕСТЛІ; ВІД СКОМОРОХІВ ДО СУЧАСНОСТІ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
19Th Century ◽  
Art History ◽  
Western Europe ◽  
18Th Century ◽  
History Of ◽  
Reasonable Ground ◽  
The 19Th Century ◽  
Further Development ◽  
New Time

У контексті дослідження особливостей розвитку циркового мистецтва і циркової справи на західноукраїнських землях кінця ХVІІІ–ХІХ ст. поставлено завдання простежити процес становлення циркового мистецтва на етнічній території України. Розглянуто проблематику визначення зв’язку сучасного циркового мистецтва України з мистецтвом скоморохів; зроблено спробу визначення ступеню «спорідненості» зв’язку цирку Нового часу з давньоримським цирком.З’ясовано, що через брак історичних відомостей не існує підстав пов’язувати творчість скоморохів із ґенезою професійного циркового мистецтва в Україні. Більш коректним є визначення витоків сучасного циркового мистецтва в перших гастрольних виступах на етнічній території України західноєвропейських акробатичних і циркових труп, які належать до другої пол. XVIII ст., виходячи зі значущості їх впливу на системність подальшого розвитку циркових жанрів і циркового мистецтва. Розглянуто і визначено спільні риси, відмінності і особливості цирку Нового часу і давньоримського цирку.Ключові слова: цирк, циркове мистецтво, історія цирку, витоки циркового мистецтва, мистецтво скоморохів, давньоримський цирк. In the context of the study of the features of the development of Circus Art and the functioning of Circus business at the Western Ukrainian lands at the end of the 18th – during the 19th century, the author set the task to track down the processes of the inception of Circus Art at the ethnic territory of Ukraine.In this article, the problems of determining the continuity of contemporary circus art of Ukraine with the art of Scomorochs are considered; an attempt is made to determine the degree of «kinship» of the connection of the circus of New time with the ancient Roman circus. It turned out that today, due to the lack of historical documental evidences, there is no reasonable ground for the scientists to relate the art of Scomorochs with the genesis of the professional Circus Art in Ukraine. It seems more correct to determine the origins of the modern Circus Art in the first guest performances of the acrobatic and circus troupes from Western Europe at the ethnic territory of Ukraine, which belong to the second half of the 18th century, based on the significance of their influence on the further development of Circus genres and the Circus Art.The similarities, differences, and features of the Circus of the New Time and the ancient Roman circus have been considered and determined.Key words: circus, circus art, history of the circus, the origins of circus art, the art of scomorochs, the ancient Roman circus.

scholarly journals Precedentes de la institucionalización de la Historia del Arte en España: los estudios histórico-artísticos en el siglo XIX = Precedents of the institutionalisation of Art History in Spain: Historical and artistic studies in the 19th century

2019 ◽  
Vol 31 ◽  
pp. 253
Author(s):  
Carmen de Tena Ramírez
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Art History ◽  
Early 20Th Century ◽  
History Of Art ◽  
History Of ◽  
Siglo Xix ◽  
Spanish Universities ◽  
History Of Art History ◽  
The 19Th Century

Resumen: El objetivo de este artículo es ofrecer una visión general acerca de los estudios histórico-artísticos realizados y publicados en España a lo largo del siglo XIX, así como poner de manifiesto que estos trabajos dieron base y fundamento a la posterior institucionalización de la Historia del Arte en la universidad española a comienzos de la centuria siguiente. Comenzamos nuestro texto con un estado de la cuestión para subrayar la necesidad de acometer esta clase de estudios; seguidamente exponemos una amplia perspectiva diacrónica sobre las circunstancias históricas que rodearon la práctica historiográfica del siglo XIX, sus características y quiénes fueron sus artífices. Terminamos este trabajo con una breve reflexión acerca del alcance de la investigación decimonónica y sus efectos en la institucionalización de la Historia del Arte en España.Palabras clave: historiografía artística, historia de la Historia del Arte en España, Restauración borbónica, Historia del Arte y Arqueología, fuentes para la Historia del Arte.Abstract: This articles aims chiefly to provide an overview of the historical-artistic studies carried out and published in Spain throughout the 19th century and to show that these works provided the basis and foundation for the subsequent institutionalisation of Art History in Spanish universities in the early 20th century. It begins with a summary underlining the need for this kind of study, then paints a broad diachronic perspective on the historical circumstances surrounding the historiographic practice of the 19th century, its characteristics and its writers. It ends with a brief consideration of the scope of 19th century research and its effects on the institutionalisation of Art History in Spain.Key words: Art Historiography, history of Art History in Spain, Bourbon restoration, Art History and Archaeology, Sources for Art History.

Dido Meets Aeneas: Anachronism, Alternative History, Counterfactual Thinking and the Idea of Fiction

2020 ◽  
Vol 14 (2) ◽  
pp. 194-214
Author(s):  
Françoise Lavocat
Keyword(s):  
Early Modern ◽  
Middle Ages ◽  
Early Modern Period ◽  
17Th Century ◽  
16Th Century ◽  
Modern Period ◽  
The Status ◽  
History Of ◽  
Change Of Perspective ◽  
The 19Th Century

AbstractThe anachronistic character of the loving relationship between Dido and Aeneas was widely and commonly discussed among commentators, critics, and writers in the early modern period. From the 16th century onwards, when the word »anachronism« appeared in vernacular languages, its definition was even inseparable from the example borrowed from the Aeneid. The purpose of this article is to interrelate early modern debates on anachronism, reflections on the status of fiction and the history of fiction.Starting with the hypothesis that anachronism is a form of counterfactual, the questions posed in this article are: did forms of counterfactuals exist before the 19th century, to what extent did they differ from contemporary alternative histories and, if so, why? The story of Dido and Aeneas in the Aeneid can be considered »counterfactual«, because this version of the narrative about the queen of Carthage was opposed to another, which was considered to be historical and which made Dido a privileged embodiment of female virtue and value.Several important shifts are highlighted in this article. With the exception of St. Augustine (who saw in Vergil’s anachronism confirmation of the inanity of fiction), before the 16th century indifference towards anachronism prevailed: the two versions of Dido’s story were often juxtaposed or combined. If Vergil’s version of Dido’s story was condemned, it was for moral reasons: the exemplary version, considered more historically accurate, was favored throughout the Middle Ages, notably by Petrarch and Boccaccio.From the 16th century onwards, however, increased acquaintance with Aristotle’s Poetics promoted greater demand for rationality and plausibility in fables. This coincided with the appearance of the word »chronology« and its development, which led to a new understanding of historical time. Anachronism then appeared to be a fault against verisimilitude, and as such was strongly condemned, for example by the commentator on Aristotle, Lodovico Castelvetro. At the same time, the argument of poetic license was also often invoked: it actually became the most common position on this issue. Vergil’s literary canonization, moreover, meant that the version of Dido’s life in the Aeneid was the only story that was known and cited, and from the 17th century onwards it totally supplanted the exemplary version. Strangely enough, permissiveness towards anachronism in treatises, prefaces, or comments on literary works was not accompanied by any development of counterfactual literature in early modern period. Indeed, in both narrative and theatrical genres fiction owed its development and legitimization to the triumph of the criterion of plausibility.This article, however, discusses several examples that illustrate how the affirmation of fiction in the early modern period was expressed through minor variations on anachronism: the counterfictional form of Ronsard’s epic, La Franciade, which represents an explicit deviation from the Iliad; the metaleptic meeting of Vergil and Dido in the Underworld in Fontenelle’s Le dialogue des morts; and the provocative proposal for a completely different version of Dido’s life, which was made in an early 17th century Venetian operatic work by an author who claimed to be anti-Aristotelian. This study thus intends to provide an aspect of the story of fiction. The change of perspective on anachronism marks a retreat from moral argument, with privilege given to aesthetic criteria and relative independence with regard to history – while still moderated by the criterion of verisimilitude, as underlined by the abbé d’Aubignac, as well as Corneille.

Der Atheismus in Enzyklopädien der Frühen Neuzeit

Daphnis ◽  
2021 ◽  
Vol 49 (3) ◽  
pp. 479-524
Author(s):  
Björn Spiekermann
Keyword(s):  
Early Modern ◽  
19Th Century ◽  
Early Modern Period ◽  
Modern Period ◽  
History Of ◽  
History Of Concepts ◽  
The 19Th Century

Abstract This article examines definitions and evaluations of as well as alternative terms for ‘atheism’ in encyclopedias of the early modern period. In a representative overview it will be shown that the early modern discourse about atheism must be interpreted in the light of the history of concepts, of ideas and of knowledge: Not only was the scope of the term ‘atheism’ much broader in the 16th and 17th centuries than it is today, but the sometimes highly ambitious attempts to classify the phenomenon of atheism according to the early modern orders of knowledge remained influential during the 18th and well into the 19th century.

scholarly journals Soviet engravings and the Chinese writer Lu Xun

2020 ◽  
pp. 38-50
Author(s):  
Yishuai Li
Keyword(s):  
Art History ◽  
Significant Contribution ◽  
Chinese Literature ◽  
Past Century ◽  
Lu Xun ◽  
The Past ◽  
Soviet Art ◽  
History Of ◽  
Young Students ◽  
Life Path

This article analyzes the relations between the Chinese writer Lu Xun and Soviet engravings. Lu Xun is attributed to one of the most prominent Chinese literary figures of the past century. His significant contribution to the development of culture also consists in the fact that in the 1930’s he collected, edited and published a substantial amount of Soviet engravings. This is why his is known in China as the “Founder of the collection of wood engravings”. The article represents an cross-disciplinary research in the field of art history, culturology and literature, particular in the area of history of Soviet art and Chinese literature. The research elucidates the key milestones of life path of Lu Xun, associated with the increase of cultural level of Chinese young students through familiarization of majority of the population with Soviet engraving. However, his relations with the Soviet art, and namely Soviet engraving, are insufficiently covered. The article talks about the forgotten achievements in the area of Soviet arts in China.

scholarly journals Szable w kontekście badań nad bronią dawną – przyczynek do dziejów bronioznawstwa polskiego

2019 ◽  
Vol 26 ◽  
pp. 59-81
Author(s):  
Mateusz Chramiec
Keyword(s):  
20Th Century ◽  
Art History ◽  
18Th Century ◽  
Art Restoration ◽  
Polish Literature ◽  
Starting Point ◽  
History Of ◽  
Post War ◽  
The 19Th Century ◽  
Private Collections

Sabres in the context of research on historical weapons – a contribution to the history of Polish hoplology This article is an attempt to provide a comprehensive view on the history of hoplology in relation to the most popular type of weapon used in the old Polish-Lithuanian Commonwealth, the sabre. The research history addresses the issue of modern weapons, which is motivated by the emergence of various types of sabre at that time. Research on old weapons, inspired primarily by collectors, museologists and members of academia, traditionally uses a range of methods developed by history, art history, archaeology and art restoration. Such research can also enter the field of sociology and cultural studies, provided that we take into account the fact that weapons, sabres in particular, symbolized social standing. The variety of issues, which are generally confined to the above mentioned concepts, also translates into the historiographic sphere. Because of that, it may be surprising that Polish literature on historical weapons only dates back to the second half of the 19th century. However, collectors had shown interest in military items much earlier. The first part of the article presents the most important private collections of weapons from the end of the 18th century to the beginning of the 20th century, with particular focus on the almost entirely preserved collection of Izabela Czartoryska, who founded the first museum in Poland. This layout is the starting point for presenting academic interest in military items, divided into the pre- and post-war periods.

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