Showing papers in "Art Bulletin in 1991"
812 citations
TL;DR: Physiognomy: the literal view the rules of physiognomy and their application in the Victorian age Physiogonomy and the artist PhysiOGonomy, art and the social classes the artist as anthropologist.
Abstract: Physiognomy: the literal view the rules of physiognomy and their application in the Victorian age physiognomy and the artist physiognomy, art and the social classes the artist as anthropologist The "Derby Day" and "Railway Station", specimens from the crowd winners and losers epilogue notes.
91 citations
TL;DR: An unusual fresco cycle in the Cathedral of Le Puy consisted of scenes from the lives of Moses, Solomon, and Christ as mentioned in this paper, intended to celebrate the life of a local hero, Adhemar.
Abstract: An unusual fresco cycle in the Cathedral of Le Puy consisted of scenes from the lives of Moses, Solomon, and Christ. The cycle was intended to celebrate the life of a local hero, Adhemar, bishop of Le Puy, hailed as “alter Moyses” in contemporary texts and papal legate to the First Crusade. The frescoes are interpreted as a monument to Adhemar and to the crusading ideology that made Le Puy a major pilgrimage site in the wake of the First Crusade.
45 citations
TL;DR: In this article, the authors present a collection of illustrations of the apples of Cezanne and their relationship with the antique narcissus and the story of metamorphosis in painting.
Abstract: List of illustrations Preface and acknowledgements Introduction Part I. The Object: 1. Zeuxis and Parrhasius 2. Are they thinking of the grape? 3. Around the apples of Cezanne Part II. The Self: 1. The antique narcissus 2. Narcissus in painting 3. Art and metamorphosis Part III: The Story: 1. The Greek and the Chinese artists 2. Legends of the True Cross 3. Endings and beginnings Notes.
42 citations
TL;DR: In this article, the changing installation practices of the Impressionist exhibitions in relation to a variety of late nineteenth-century Paris art venues, including the Salon, art circles such as the Mirlitons, the dealers Georges Petit and Durand-Ruel, and the Societe des Independents, are discussed.
Abstract: This article situates the changing installation practices of the Impressionist exhibitions in relation to a variety of late nineteenth-century Paris art venues, including the Salon, art circles such as the Mirlitons, the dealers Georges Petit and Durand-Ruel, and the Societe des Independents. Relying principally on documentation from critical reviews and contemporary illustrations, the author correlates display practices with understandings of contemporary art that revolved around the issues of the decorative and the autonomous tableau, the private and the public space.
21 citations
TL;DR: Rubens incorporated those cryptic images into his compositions with full awareness of their political and personal implications and did so, it seems, at the insistence of the patroness and her advisers as mentioned in this paper.
Abstract: No previous study of Rubens' pictorial biography of Maria de' Medici, Dowager Queen of France, has analyzed in such detail each of the twenty-four paintings with regard to iconography, the painter's source material, and his pictorial treatment. Not only is each episode seen here within its historical context, using documents from both Italian and French sources of the time, many never before adduced in connection with the paintings, but for the first time an iconographical element is studied which heretofore has been glimpsed only in passing: the symbolical and allegorical emblems connected with coins, medals, broadsheets, public ceremonies, and political propaganda. Rubens, this book argues, incorporated those cryptic images into his compositions with full awareness of their political and personal implications and did so, it seems, at the insistence of the patroness and her advisers. These and other \"mystic figures\" offer a hitherto unsuspected key to the cycle's \"secret\" meanings. The theme now appears to be not reconciliation, as usually stated, but a vindication of the former Florentine princess's policies as queen, regent, and dowager. With this goes an accusation of filial ingratitude and political ineptness directed against King Louis XIII, and there is an implicit--painted--threat to reopen armed hostilities should the uneasy truce between mother and son ever be broken. Reason enough then, to dissemble, conceal, or explain away the true meaning of the cycle when the paintings were new.
20 citations
TL;DR: The authors analyzed the motives behind both facets of this will to fit events to a mythic shape: the maneuverings of the artists and their critical supporters and the later participation of scholars.
Abstract: The general literature on the Abstract Expressionists presents them as archetypal bohemians: high-minded emigrants from an unsympathetic, materialistic culture. Life magazine is frequently cited for its insensitive antagonism to them and to modern art in general. A review of Life's writings on art around 1950 reveals, instead, the magazine's essentially supportive program on behalf of the vanguard tradition. Furthermore, an examination of the behavior of the artists at this time reveals that they were more accommodating toward prevailing cultural values than either they or their chroniclers have acknowledged. This article analyzes the motives behind both facets of this will to fit events to a mythic shape: the maneuverings of the artists and their critical supporters and the later participation of scholars.
15 citations
TL;DR: The writing of art history and criticism in the Italian Renaissance tradition was controlled by the precepts of classical, especially panegyrical rhetoric, which aims to benefit morals by means of instruction and edification as mentioned in this paper.
Abstract: The writing of art history and criticism in the Italian Renaissance tradition was controlled by the precepts of classical, especially panegyrical rhetoric. This rhetoric of praise and blame aims to benefit morals by means of instruction and edification. Founded on a view of history as moral and Christian, such writing has much in common with the exempla of the Middle Ages. It is a view of history, as of art history, as a form of power and desire, responding to and capable of having an effect on, the social and political structures in which it is embedded.
13 citations
TL;DR: A systematic stylistic analysis of the figural decoration on two mosaic glass beakers from the Iron-Age settlement, Hasanlu, in Northwest Iran suggests that the vessels were manufactured in Babylonia in the time of the Kassites and exported to the east as discussed by the authors.
Abstract: A systematic stylistic analysis of the figural decoration on two mosaic glass beakers from the Iron-Age settlement, Hasanlu, in Northwest Iran suggests that the vessels were manufactured in Babylonia in the time of the Kassites and exported to the east. The analysis serves to understand better the wide network of cultural exchange that existed in the ancient Near East in the late second-early first millennium b.c. It also provides an opportunity to make explicit the elements that constitute style and to try to rank their relative value for establishing relationships between works of art.
11 citations
TL;DR: The significance of the art of Suzanne Valadon has long been overlooked largely due to the conventional methodologies used to interpret it as mentioned in this paper, and a study of her female nudes through such a multiple perspective discloses a diversity of representations that sometimes participate in, sometimes resist, and sometimes renegotiate the conventions of the genre.
Abstract: The significance of the art of Suzanne Valadon has long been overlooked largely due to the conventional methodologies used to interpret it. A multiple perspective that engages issues of class, gender, artistic milieu, and artistic conventions reveals a different body of work than the one posited in the literature at present. A study of her female nudes through such a multiple perspective discloses a diversity of representations that sometimes participate in, sometimes resist, and sometimes renegotiate the conventions of the genre.
TL;DR: In this paper, a newly discovered liber precum in Selestat serves as the point of departure for a reevaluation of the so-called Prayer Book of Hildegard of Bingen, the most profusely illustrated prayer book from twelfth-century Germany.
Abstract: The twelfth century marks a turning point in the history of the prayer book. During the first Christian millenium, pictures played only a limited role in prayer and in narrative imagery almost none, but by the later Middle Ages extensive cycles of narrative illustration appeared in books of prayer across Europe. Focusing on developments in Germany, this article argues that the cura monialium or pastoral care of nuns provided a seminal context for the development of early illustrated prayer books. A newly discovered liber precum in Selestat serves as the point of departure for a reevaluation of the so-called Prayer Book of Hildegard of Bingen, the most profusely illustrated prayer book from twelfth-century Germany. Analysis of the prayers as well as the images in this group of manuscripts suggests that the history of prayer books with narrative illustrations should be carried back to the very beginning of the twelfth century, if not even earlier, and that, within the context of monastic reform, female patr...
TL;DR: In a classic study now nearly thirty years old, John Shearman concluded that Leonardo's paintings manifest an increasingly complex tonal structure and progressively lighter palette as mentioned in this paper, and since then, The...
Abstract: In a classic study now nearly thirty years old, John Shearman concluded that Leonardo's paintings manifest an increasingly complex tonal structure and progressively lighter palette. Since then, The...
TL;DR: Moxey as mentioned in this paper examines woodcut images from the Nuremburg area, arguing that far from being crude representations of popular culture, they in fact represent the means by which the middle and upper classes could disseminate reformed attitudes to a broader audience.
Abstract: Keith Moxey examines woodcut images from the Nuremburg area, arguing that far from being crude representations of popular culture, they in fact represent the means by which the middle and upper classes could disseminate reformed attitudes to a broader audience.
TL;DR: In this paper, the authors attempt to settle the question of van Eyck's perspective, at least in the case of the Arnolfini Portrait and the Lucca Madonna, and to introduce a new, higher level of accuracy and reproducibility for perspectival reconstructions in general.
Abstract: Exchanges on the topic of Jan van Eyck's pictorial constructions have been going on intermittently since the turn of the century. The most recent hypothesis, put forward in 1982–83, has if anything clouded the issue further by proposing an entirely new “elliptical perspective.” The ensuing debate, which appeared in The Art Bulletin, raises fruitful questions for further research: the problem of knowing how accurate a reconstruction needs to be, and of how reconstructed lines should be interpreted. The present essay has two purposes. It attempts to settle the question of fan van Eyck's perspective, at least in the case of the Arnolfini Portrait and the Lucca Madonna, and to introduce a new, higher level of accuracy and reproducibility for perspectival reconstructions in general.1
TL;DR: A reconsideration of chronicles and known documents pertinent to the campaign, together with close examination of the masonry and reassessment of personnel responsible for the campaigns, has resulted in a verifiable chronology of the phases of construction as mentioned in this paper.
Abstract: The canons of Salisbury Cathedral mounted two major building campaigns in the thirteenth century. Documented as beginning in 1220 and ending in 1266, the first encompassed the erection of the cathedral. A reconsideration of chronicles and known documents pertinent to the campaign, some heretofore misdated, together with close examination of the masonry and reassessment of personnel responsible for the campaigns, has resulted in a verifiable chronology of the phases of construction. No document indicates the start of the second campaign, however, begun in the second half of the 1260s with the bell tower and followed by a consistory court, the cloister, and the chapter house. Earlier hypotheses based exclusively on stylistic judgments generally failed to take into account the documentable preference at Salisbury for stylistic continuity. Besides stylistic criteria, concrete evidence in the masonry, deeds, and fund-raising efforts establish a chronology for the second campaign that spans the years from ca. 1...
TL;DR: The enigmatic content of Pieter Bruegel's Beekeepers is examined in the context of the politico-religious conflict in the Spanish Netherlands during the late 1560s as discussed by the authors.
Abstract: The enigmatic content of Pieter Bruegel's Beekeepers is examined in the context of the politico-religious conflict in the Spanish Netherlands during the late 1560s. The meaning of this drawing is revealed as deliberately ambiguous because it is addressed to antagonistic groups of viewers: the Inquisition and Protestants. Bruegel manipulates the dual reception of his work by using an overt and a covert content. Although the artist must have been a bona fide Catholic, fulfilling obligations required by the Roman Church, he expresses in the Beekeepers a veiled condemnation of activities associated with the Inquisition and an even more negative view toward acceptance of Protestantism.
TL;DR: In this paper, the stylistic and political concerns of the Neo-Impressionists were brought together by re-interpreting their scientific aesthetic as an analogue to the ideal social configuration imagined by the anarchists.
Abstract: Neo-Impressionist scholarship of the past has focused either upon the role played by scientific color theory in the creation of the characteristic divided surfaces of Neo-Impressionist paintings, or upon the way in which the anarchist sympathies of the artists were expressed through their choice of subjects. This paper brings the stylistic and the political concerns of the Neo-Impressionists together by re-interpreting their scientific aesthetic as an analogue to the ideal social configuration imagined by the anarchists. Artists and anarchists alike were intent on creating, and justifying as “natural,” conditions of aesthetic and social harmony using the laws and vocabulary of late nineteenth-century French chemistry. It was this shared scientific ground as manifested in paint and politics that provided much of the basis for their well-known mutual respect.
TL;DR: For instance, Picasso's perception of appropriation as a magical transference of power developed in response to traumatic events in his life that were linked by the related themes of death and artistic and sexual impotence.
Abstract: Picasso's perception of appropriation as a magical transference of power developed in response to traumatic events in his life that were linked by the related themes of death and artistic and sexual impotence. His revelatory visit to the Trocadero Museum of ethnology in Paris in 1907 convinced the artist that an art work is not merely a simulacrum, but rather is a magical object, endowed with the properties of its model and capable of affecting its destiny. Picasso subsequently assimilated this idea of appropriation into his art to give form to his fears, to exorcise them, and to regain control over what he termed the “unknown hostile forces” of nature and man.
TL;DR: The Feast of the Gods of Giovanni Bellini as discussed by the authors has been examined in the context of humanist theories of rhetorical invention and literary stylistics, Renaissance art theory and neo-Aristotelian philosophy, as well as a natural-philosophical discourse on the Halcyon days and the time of the winter solstice.
Abstract: Recent technical and documentary research on Giovanni Bellini's Feast of the Gods has necessitated a new strategy for the interpretation of its meaning and of its function within the camerino of Alfonso I d'Este of Ferrara. The present article seeks to develop a new interpretation of the painting that takes these discoveries into account. Most significantly, the essay considers Shearman's recent identification of Mario Equicola as the humanist who conceived the subject matter of Bellini's painting and shows that this necessitates an examination of the content of the painting in light of humanist theories of rhetorical invention and literary stylistics, Renaissance art theory and neo-Aristotelian philosophy. It is demonstrated that The Feast of the Gods embodies a natural-philosophical discourse on the Halcyon Days and the time of the winter solstice, which relates it to the themes of love and marriage that are also present in the other works that once adorned Alfonso's camerino.
TL;DR: In this paper, the authors present previously unpublished documents that shed new light on the statue of Philip IV in S. Maria Maggiore and conclude with a reconstruction of the statue's history from the time of its completion to its final installation.
Abstract: This paper presents previously unpublished documents that shed new light on the statue of Philip IV in S. Maria Maggiore. These documents establish the process by which the chapter of the basilica commissioned and financed the statue, and oversaw its completion; they also allow a radical redating of the work, with respect to both its conception and execution, and they clarify the roles played by Gianlorenzo Bernini and Girolamo Lucenti in its invention and realization. The article interprets the statue's iconography and carefully formulated propagandistic message, and concludes with a reconstruction of the statue's history from the time of its completion to its final installation. Viewed within the broader framework of European politics, the statue of Philip IV emerges as both a product and a victim of the rivalry between Spain and France and their efforts to assert power in the papal capital.
TL;DR: A group of fifteenth-century monuments in Burma commemorates a special seven-week period associated with the Buddha's Enlightenment at Bodh Gaya in India as mentioned in this paper, and the layout of the shrines, or stations, was determined by a formal plan that was considered to be a replica of the original temple complex.
Abstract: A group of fifteenth-century monuments in Burma commemorates a special seven-week period associated with the Buddha's Enlightenment at Bodh Gaya in India. The layout of the shrines, or stations, was determined by a formal plan that was considered to be a replica of the original temple complex at Bodh Gaya. The adoption of the plan in Burma reflects the process by which a venerated religious site in India and its interpretation were transmitted to Southeast Asia. The royal patronage of the site was motivated by a regional myth that legitimized the foundation of Buddhism in Burma.
TL;DR: A painting in a private English collection, hitherto unknown, is identified as a portrait of Constantijn Huygens and his wife, Susanna van Baerle as mentioned in this paper.
Abstract: A painting in a private English collection, hitherto unknown, is here identified as a portrait of Constantijn Huygens (1595–1657) and his wife, Susanna van Baerle (1599–1637). That no portrait of Susanna has been identified before is important since she played a prominent role in Huygens's poetry and was still movingly remembered by him after her untimely death. Documentary and stylistic arguments support the attribution of the painting to the famous architect Jacob van Campen (1595–1657), who executed a portrait drawing of one of Huygens's sons.
TL;DR: The Unity Temple as mentioned in this paper was the culmination of a series of experiments in a new architecture for liberal religion near Chicago around 1900, which embodied ideas for church design advocated by Wright's uncle, Rev. Jenkin Lloyd Jones, who helped to select Wright as architect and articulated the religious symbolism of Unity Temple in terms of Unitarian and Universalist thought.
Abstract: Long recognized as a major early work of Frank Lloyd Wright, Unity Temple may be understood as the culmination of a series of experiments in a new architecture for liberal religion near Chicago around 1900. Its precursors included All Souls Church, Unity Chapel, and Abraham Lincoln Center, which embodied ideas for church design advocated by Wright's uncle, Rev. Jenkin Lloyd Jones. Unity Temple also signified the theological ideals of Rev. Rodney F. Johonnot, the minister of Unity Church in Oak Park, who helped to select Wright as architect and who articulated the religious symbolism of Unity Temple in terms of Unitarian and Universalist thought.
TL;DR: Men, Art, and Society (World of Art) by Whitney Chadwick 21.12 MB Free download women, art, and society book PDF, FB2, EPUB and MOBI as mentioned in this paper.
Abstract: Women, Art, and Society (World of Art) by Whitney Chadwick 21.12 MB Free download Women, Art, and Society (World of Art) book PDF, FB2, EPUB and MOBI. Read online Women, Art, and Society (World of Art) which classified as Other that has 512 pages that contain constructive material with lovely reading experience. Reading online Women, Art, and Society (World of Art) book will be provide using wonderful book reader and it's might gives you some access to identifying the book content before you download the book.
TL;DR: This article interpreted Hendrick ter Brugghen's painting in the J. Paul Getty Museum as an allegory of excess and connected it with a group of related pictures, including Caravaggio's Uffizi Bacchus, that display cognate subjects.
Abstract: In that great compendium of Renaissance temperance imagery that is Book Two of The Faerie Queene, Edmund Spenser provides us with the means to interpret Hendrick ter Brugghen's painting in the J. Paul Getty Museum as an allegory of Excess. This painting, moreover, can be connected with a group of related pictures, including Caravaggio's Uffizi Bacchus, that display cognate subjects. All draw on widely canvassed ideas concerning the nature of virtue, and all structure a formal situation in which the viewer is confronted with familiar temptations. Thus the viewer's relation to the image becomes a calculated part of its meaning, and his response recreates the moral choice between reason and desire that is the abiding condition of continence.
Abstract: This article concerns the idea of finish for Michelangelo and artists of the early sixteenth century; the degree to which any parts in the accounts by Condivi and Vasari can be taken as records of the things that actually happened; and finally the nature of the Ceiling from the record of its commentators, especially since it now seems to be close to its original condition.
TL;DR: In this article, the authors investigated the relationship between Memling's Gdansk Last Judgment and Rogier van der Weyden's Beaune Altarpiece and suggested that the addition of Portinari's portrait on the scales of judgment relates to his piratic appropriation of the painting.
Abstract: Memling's Gdansk Last Judgment is undocumented before its capture at sea in 1473. Information about the career of the triptych's patron, Angelo Tani, implies that he commissioned it on an unrecorded trip to Bruges in 1465 and helps to clarify its much debated relationship to Rogier van der Weyden's Beaune Altarpiece. The activities of Tani's successor, Tommaso Portinari, as manager of the Bruges branch of the Medici Bank, suggest that the addition of Portinari's portrait on the scales of judgment relates to his piratic appropriation of the painting.
TL;DR: The Auch ein Todtentanz series is a counter-revolutionary tract, yet it is also one of the most brilliant artistic achievements of the period.
Abstract: Rethel's decisive contribution to the visual reconstruction of the 1848 revolutions is ambivalently treated by art historians. His Auch ein Todtentanz series is a counterrevolutionary tract, yet it is also one of the most brilliant artistic achievements of the period. The need of some scholars to match aesthetic accomplishment with a “politically correct” posture has often resulted in tortured discussions of Rethel's politics. Here the attempt is made to position Rethel's visual practice in relation to the politics current in mid-nineteenth-century Prussia. Finally, the essay indicates that what distinguishes Rethel's achievement depended in part on his ability to subvert the symbolic imagery of the Left.
TL;DR: Pietro da Cortona's reputation in Rome around 1625 was established by his painting of the Sacrifice of Polyxena as discussed by the authors, and a century later Giambattista Pittoni produced an extremely successful series of works illustrating the same subject.
Abstract: Pietro da Cortona's reputation in Rome around 1625 was established by his painting of the Sacrifice of Polyxena. A century later Giambattista Pittoni produced an extremely successful series of works illustrating the same subject. The story of the death of the Trojan princess Polyxena at the tomb of Achilles was difficult to harmonize with the ideals and prejudices of Renaissance and post-Renaissance times, and it was not frequently represented. But these two artists, drawing on a variety of narratives from classical literature, were able to construe it as an expression of cultural values of their respective centuries.