scholarly journals Introduction: Global art history and the Netherlands

2016 ◽  
Vol 66 (1) ◽  
pp. 6-27
Author(s):  
Thijs Weststeijn
Keyword(s):  
The Netherlands ◽  
Art History ◽  
Global Art

scholarly journals The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 111
Author(s):  
Camila Maroja
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Native People ◽  
Amazon Rainforest ◽  
Critical Practice ◽  
Sacred Place ◽  
Art Practices ◽  
Environmental Work ◽  
Global Art ◽  
Venice Biennale

During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.

Art History and Fetishism Abroad

2014 ◽  
Keyword(s):  
19Th Century ◽  
Art History ◽  
Historical Perspective ◽  
Cultural Practice ◽  
Colonial Expansion ◽  
Global Art

By focusing on the various modes and media of the fetishised object, this anthology shifts the debates on thingness into a new global art historical perspective. The contributors explore the attention given to those material images, in both artistic and cultural practice from the heyday of colonial expansion until today. They show that in becoming vehicles and agents of transculturality, so called »fetishes« take shape in the 17th to 19th century aesthetics, psychology and ethnography - and furthermore inspire a recent discourse on magical practice and its secular meanings requiring altered art historical approaches and methods.

Art History: A Very Short Introduction

2020 ◽  
Author(s):  
Dana Arnold
Keyword(s):  
Visual Arts ◽  
Art History ◽  
The Other ◽  
Short Introduction ◽  
Western Art ◽  
Wide Range ◽  
Critical Approaches ◽  
Key Aspects ◽  
The Impact ◽  
Global Art

Art history encompasses the study of the history and development of painting, sculpture, and the other visual arts. Art History: A Very Short Introduction considers the issues, debates, and artefacts that make up art history. It explores the emergence of social histories of art and, using a wide range of images, it discusses key aspects of the discipline including how we write about, present, read, and look at art, and the impact this has on our understanding of art history. This second edition includes a new chapter on global art histories, considering how the traditional emphasis on periods and styles in art originated in Western art and can obscure other critical approaches and artwork from non-Western cultures.

Vincent van Gogh en Antoine Furnée

1995 ◽  
Vol 109 (1-3) ◽  
pp. 95-100
Author(s):  
Martha Op De Coul ◽  
Annet Tellegen
Keyword(s):  
The Netherlands ◽  
Art History ◽  
Fluorescent Light ◽  
Van Gogh ◽  
Vincent Van Gogh ◽  
Chestnut Tree ◽  
The Gift ◽  
Bottom Left ◽  
The Hague ◽  
Artistic Merit

AbstractThe small Van Gogh painting discussed in this article (fig. I) has never been published before. Originally, it belonged to Antoine Philippe Furnée (I86I-I897), whom Vincent had met in I883 in The Hague through Furnée père, the proprietor of a chemist's shop which also sold artists' paint. In the letters (365 (300), 372 (307) and 409 (342)) Furnée is referred to as 'the surveyor'. He was an amateur painter to whom Van Gogh gave advice. The two men would go out into the nearby countryside together to paint landscapes. In April I884 Furnee went to Java, where he remained until I897. He was probably already ailing on his return, for he died a few months later. His property passed to a brother, Antoine Louis Cornelis (I867-I965), a respected pharmacist of The Hague. The little painting, signed 'Vincent' at the bottom left, is done in oil on canvas pasted on cardboard, 30.5 by 23.I cm. Examination under fluorescent light shows it to be covered entirely with old varnish. On the back Furnée the pharmacist wrote: 'Chestnut tree on Broeksloot by Vincent van Gogh. This study was given by Vincent van Gogh to my brother A. Ph. Furnée (the surveyor)'. The gift accounts for the painting's being signed. Like many of the Hague paintings, this early work is of limited artistic merit. The poorly indicated space and forms are however offset by the good rendering of the contrast between light and dark areas. (Compare the paintings F 8a (fig. 3), F I92 (fig. 5) and the watercolour SD I680 (fig. 4).) The authenticity of the painting was established back in I963 in an appraisal by R. W. D. Oxenaar, and again at the Netherlands Institute for Art History by the present authors in I979, the year it was sold by the Furnee family. Two little pictures painted by Furnee on his expeditions with Vincent van Gogh come from the same source (figs. 6 and 7).

scholarly journals Longitudinal, Transverse or Centrally Aligned? In the Search for the Correct Layout of the ‘Protesters’ Churches

2017 ◽  
Vol 48 (1) ◽  
pp. 1-16 ◽  
Author(s):  
Jan Harasimowicz
Keyword(s):  
Czech Republic ◽  
Great Britain ◽  
The Netherlands ◽  
Art History ◽  
Church Architecture ◽  
Research Project ◽  
Protestant Church ◽  
The Reformation ◽  
The University ◽  
The Church

The article was written within the framework of a research project “Protestant Church Architecture of the 16th -18th centuries in Europe”, conducted by the Department of the Renaissance and Reformation Art History at the University of Wrocław. It is conceived as a preliminary summary of the project’s outcomes. The project’s principal research objective is to develop a synthesis of Protestant church architecture in the countries which accepted, even temporarily, the Reformation: Austria, Czech Republic, Denmark, Estonia, Finland, France, Germany, Great Britain, Hungary, Island, Latvia, Lithuania, Norway, Poland, Romania, Russia, Slovakia, Slovenia, Switzerland, Sweden and The Netherlands. Particular emphasis is placed on the development of spatial and functional solutions (specifically ground plans: longitudinal, transverse rectangular, oval, circular, Latin- and Greek-cross, ground plans similar to the letters “L” and “T”) and the placement of liturgical furnishing elements within the church space (altars, pulpits, baptismal fonts and organs).

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