Border Studies and Art History: A Case Study of the Seventeenth Century Dutch Visual Culture

2021 ◽  
Vol 54 ◽  
pp. 7-20
Author(s):  
Soo Yun Sohn
Keyword(s):  
Seventeenth Century ◽  
Visual Culture ◽  
Art History ◽  
Border Studies

The Chalosse Rebellion: A Case Study in Seventeenth Century French Revolts

1970 ◽  
Vol 5 (2) ◽  
pp. 1-12
Author(s):  
Robert W. Poetschke ◽  
George A. Rothrock
Keyword(s):  
Seventeenth Century

The Nonconformist Inheritance

2018 ◽  
Author(s):  
Isabel Rivers
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Church Of England ◽  
John Bunyan ◽  
John Wesley ◽  
Religious Attitudes ◽  
Pilgrim's Progress ◽  
The Many ◽  
John Owen

This chapter analyses the editions, abridgements, and recommendations of texts by seventeenth-century nonconformists that were made by eighteenth-century dissenters, Methodists, and Church of England evangelicals. The nonconformist writers they chose include Joseph Alleine, Richard Baxter, John Flavel, John Owen, and John Bunyan. The editors and recommenders include Philip Doddridge, John Wesley, Edward Williams, Benjamin Fawcett, George Burder, John Newton, William Mason, and Thomas Scott. Detailed accounts are provided of the large number of Baxter’s works that were edited, notably A Call to the Unconverted and The Saints Everlasting Rest, and a case study is devoted to the many annotated editions of Bunyan’s Pilgrim’s Progress and the ways in which they were used. The editors took into account length, intelligibility, religious attitudes, and cost, and sometimes criticized their rivals’ versions on theological grounds.

scholarly journals Whose Landscape Is It? Remapping Memory and History in Interwar Central Europe

2021 ◽  
pp. 1-26
Author(s):  
Nóra Veszprémi
Keyword(s):  
Visual Culture ◽  
Interwar Period ◽  
Historical Memory ◽  
Political Agenda ◽  
Mental Maps ◽  
Habsburg Empire ◽  
Cultural Traditions ◽  
Place Memory ◽  
Insight Into

Abstract After the collapse of the Habsburg Empire and the sanctioning of new national borders in 1920, the successor states faced the controversial task of reconceptualizing the idea of national territory. Images of historically significant landscapes played a crucial role in this process. Employing the concept of mental maps, this article explores how such images shaped the connections between place, memory, and landscape in Hungary and Czechoslovakia. Hungarian revisionist publications demonstrate how Hungarian nationalists visualized the organic integrity of “Greater Hungary,” while also implicitly adapting historical memory to the new geopolitical situation. As a counterpoint, images of the Váh region produced in interwar Czechoslovakia reveal how an opposing political agenda gave rise to a different imagery, while drawing on shared cultural traditions from the imperial past. Finally, the case study of Dévény/Devín/Theben shows how the idea of being positioned “between East and West” lived on in overlapping but politically opposed mental maps in the interwar period. By examining the cracks and continuities in the picturesque landscape tradition after 1918, the article offers new insight into the similarities and differences of nation-building processes from the perspective of visual culture.

MapTap and Cornelia Slow Digital Art History and Formal Art Historical Social Network Research

2016 ◽  
Vol 79 (3) ◽  
pp. 315-330 ◽  
Author(s):  
Koenraad Brosens ◽  
Klara Alen ◽  
Astrid Slegten ◽  
Fred Truyen
Keyword(s):  
Social Networks ◽  
Social Network ◽  
Early Modern ◽  
Data Model ◽  
Art History ◽  
Digital Art ◽  
Unique Data ◽  
Network Research ◽  
Custom Made

Abstract The essay introduces MapTap, a research project that zooms in on the ever-changing social networks underpinning Flemish tapestry (1620 – 1720). MapTap develops the young and still slightly amorphous field of Formal Art Historical Social Network Research (FAHSNR) and is fueled by Cornelia, a custom-made database. Cornelia’s unique data model allows researchers to organize attribution and relational data from a wide array of sources in such a way that the complex multiplex and multimode networks emerging from the data can be transformed into partial unimode networks that enable proper FAHSNR. A case study revealing the key roles played by women in the tapestry landscape shows how this kind of slow digital art history can further our understanding of early modern creative communities and industries.

The Fiery Pacific: Volcanic Eruptions and Settler-State Theatricality in Oceania, 1780–1900

2014 ◽  
Vol 55 (3) ◽  
pp. 362-392
Author(s):  
Diana Looser
Keyword(s):  
Seventeenth Century ◽  
Performance Studies ◽  
Art History ◽  
Volcanic Eruptions ◽  
The Body ◽  
Red Color ◽  
Form Part ◽  
And Performance ◽  
Grand Opera ◽  
The City

In the closing scene of René-Charles Guilbert de Pixérécourt's melodramaLa Tête de mort; ou, Les Ruines de Pompeïa(1827), audiences at Paris's Théâtre de la Gaîté were presented with the spectacular cataclysm of an erupting Mount Vesuvius that invaded the city and engulfed the hapless characters in its fiery embrace. “The theatre,” Pixérécourt writes, “is completely inundated by this sea of bitumen and lava. A shower of blazing and transparent stones and red ash falls on all sides…. The red color with which everything is struck, the terrible noise of the volcano, the screaming, the agitation and despair of the characters … all combine to form this terrible convulsion of nature, a horrible picture, and altogether worthy of being compared to Hell.” A few years later, in 1830, Daniel Auber's grand operaLa Muette de Portici(1828), which yoked a seventeenth-century eruption of Vesuvius with a popular revolt against Spanish rule in Naples, opened at the Théâtre de Monnaie in Brussels. The Belgian spectators, inspired by the opera's revolutionary sentiments, poured out into the streets and seized their country's independence from the Dutch. These two famous examples, which form part of a long genealogy of representing volcanic eruptions through various artistic means, highlight not only the compelling, immersive spectacle of nature in extremis but also the ability of stage scenery to intervene materially in the narrative action and assimilate affective and political meanings. As these two examples also indicate, however, the body of scholarship in literary studies, art history, and theatre and performance studies that attends to the mechanical strategies and symbolic purchase of volcanic representations has tended to focus mainly on Europe; more research remains to be undertaken into how volcanic spectacles have engaged with non-European topographies and sociopolitical dynamics and how this wider view might illuminate our understanding of theatre's social roles.

Alessandro Grandi: A Case Study in the Choice of Texts for Motets

1988 ◽  
Vol 113 (2) ◽  
pp. 274-305
Author(s):  
Jerome Roche
Keyword(s):  
Seventeenth Century ◽  
Sacred Music ◽  
Vocal Music ◽  
Literary Texts ◽  
Sacred Texts ◽  
The One ◽  
The Way ◽  
Musical Styles

It is perhaps still true that research into sacred types of music in early seventeenth-century Italy lags behind that into madrigal, monody and opera; it is certainly the case that the textual aspects of sacred music, themselves closely bound up with liturgical questions, have not so far received the kind of study that has been taken for granted with regard to the literary texts of opera and of secular vocal music. This is hardly to be wondered at: unlike great madrigal poetry or the work of the best librettists, sacred texts do not include much that can be valued as art in its own right. Nevertheless, if we are to understand better the context of the motet – as distinct from the musical setting of liturgical entities such as Mass, Vespers or Compline – we need a clearer view of the types of text that were set, the way in which composers exercised their choice, and the way such taste was itself changing in relation to the development of musical styles. For the motet was the one form of sacred music in which an Italian composer of the early decades of the seventeenth century could combine a certain freedom of textual choice with an adventurousness of musical idiom.

scholarly journals Museari: Art in a Virtual LGBT Museum Promoting Respect and Inclusion

2022 ◽  
pp. 180-197
Author(s):  
Ricard Huerta
Keyword(s):  
Human Rights ◽  
Teacher Training ◽  
Data Collection ◽  
Focus Groups ◽  
Art History ◽  
Participant Observation ◽  
Assessment Instruments ◽  
Virtual Museum ◽  
Sexual Diversity

Museari is an online museum dedicated to upholding human rights and sexual diversity through art, history, and education. Museari was born in 2015 and since then more than 70 exhibitions have been presented. This paper analyzes Museari's interest in teacher training, something that has been especially positive during the Covid-19 pandemic. The objective of the research is to reflect on the opportunity to use a virtual museum to address issues of art and education. For data collection, we used assessment instruments specific to the case study, such as diagnoses, discussions, focus groups, and participant observation. We highlight museum’s positive reception by the students, particularly the role it plays in overcoming stereotypes and conventional taboos to achieve inclusive environments.

scholarly journals A descriptive mode in art and the issue of a representation

2020 ◽  
pp. 11-17
Author(s):  
O. V. Bezzubova ◽  
Keyword(s):  
Visual Culture ◽  
Art History ◽  
American Art ◽  
Pictorial Representation ◽  
Research Approach ◽  
Work Of Art ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Wide Range ◽  
New Research

The predominant for XX century art studies tradition was seriously reconsidered during the 1970– 1980s during the so called «new art history» development, when many received concepts were called into question. A notion of descriptiv e mode of painting proposed by an American art historian S. Alpers is of great interest in this context because it allows us to revise the homogeneous development of European art. While elaborating the concept of descriptive mode of painting, Alpers took under consideration a wide range of historical and cultural sources thus contributed to the new research approach nowadays known under the title of visual culture studies. It is not less important that she also focused on the issue of pictorial representation, which inquires the essence of the work of art.

scholarly journals Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn

2019 ◽  
pp. 5-23
Author(s):  
Charolotta Krispinsson
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Scientific Discipline ◽  
Self Control ◽  
Simple Fact ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Art Historians ◽  
History Of ◽  
Material Turn

Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history:  the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance. 

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