This volume explores a basic question in the historiography of art: the extent to which iconology was a homogenous research method in its own immutable right. By contributing to the rejection of the universalizing narrative, these case studies argue that there were many strands of iconology. Methods that differed from the 'canonised' approach of Panofsky were proposed by Godefridus Johannes Hoogewerff and Hans Sedlmayr. Researchers affiliated with the Warburg Institute in London also chose to distance themselves from Panofsky's work. Poland, in turn, was the breeding ground for yet another distinct variety of iconology. In Communist Czechoslovakia there were attempts to develop a 'Marxist iconology'. This book, written by recognized experts in the field, examines these and other major strands of iconology, telling the tale of iconology's reception in the countries formerly behind the Iron Curtain. Attitudes there ranged from enthusiastic acceptance in Poland, to critical reception in the Soviet Union, to reinterpretation in Czechoslovakia and the German Democratic Republic, and, finally, to outright rejection in Romania. The book will be of interest to scholars working in art history, visual studies, and historiography. Chapters 8 and 15 of this book are freely available as a downloadable Open Access PDF at www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 international license
AbstractThis article aims to reexamine the relationship between the artist Lee Ufan and nationalist art history through his idea of "ambivalent otherness," which he defined as both "suffering" and "power." Traditional art history is established upon a nationalist framework that emphasizes the artists' nationality, leading to the marginalization of national others at the border. As a zainichi Korean, Lee has undergone the "suffering" of being excluded by the art world and art historiography. However, he transformed it into his source of "power" to challenge art historiography based on nationality. This study analyzes the art criticism of "Japanese Contemporary Art History" written by Minemura Toshiaki and Chiba Shigeo in the 1970s and 1980s and highlights the ruptures that the artist's in-between identity wrought on nationalist art history. This shows how both the Mono-ha movement and the artist were marginalized in the construction of "Japanese Contemporary Art History." Furthermore, this study scrutinizes how Lee attempted to rewrite art history using Mono-ha art theory and a perspective committed to "overcoming coloniality" from the postcolonial in-between position, by reinterpreting Lee's article on Chosŏn minhwa, written amidst an aesthetic controversy across the border between Japan and Korea.
True to its cultural roots in the United States, the field of American art history has been slow to recognize centuries of slavery's shaping of visual production and has only begun to address historiography's persistent devaluation of Black lives. This article explores how scholars over the last decade are attempting to integrate discussions of slavery into studies of American art and reflects on the political implications of doing so. Their work invites us to look again at key moments in US history through the lens of art and slavery, holding out the possibility of reinventing the story of American art in relation to the African diaspora.
At the end of World War I, Romania emerged as a much stronger nation, with a greatly enlarged territory. During the two world wars, the Romanian state was permanently looking for the best way to preserve the newly created national state and defend its frontiers. This was the only matter all Romanian parties seemed to agree on. The threat of territorial revisionism coming from Hungary, the Soviet Union and, to a lesser extent, Bulgaria united all the political actors in defending the peace system of Versailles and supporting the League of Nations as the guarantor of this peace and stability. The interwar period was a remarkable time for Romania's cultural history. Between the two world wars, the Romanian cultural scene was dominated by what Keith Hitchins calls the 'Great Debate' about national identity and development. The opponents were those advocating synchronism with the West, on the one hand, and those pleading for tradition, on the other, with many others looking for a third way. In Romanian interwar culture, the country's modernity was emphasized in order to place the country within the larger family of European nations. An opposing, and at the same time, complementary line of thought was that of presenting the long and noble Romanian history, tradition and ancestral roots. These two themes have been present in Romanian culture since the mid-19th century. They were used by various authors, sometimes in a complementary fashion, while at others, in a conflicting manner in literature, historical writing or political discourse. This process did not end with the creation of the Greater Romania after the end of World War I. New threats, which are mentioned above, maintained the need to continue this discourse. In this context, historical arguments became political arguments and were used by the Romanians in order to justify the new territorial gains and the Versailles system. Art history, part of the family of historical disciplines, came to play an important part in this. Romanian art historical writing or political discourse. This process did not end with the creation of the Greater Romania after the end of World War I. New threats, which are mentioned above, maintained the need to continue this discourse. In this context, historical arguments became political arguments and were used by the Romanians in order to justify the new territorial gains and the Versailles system. Art history, part of the family of historical disciplines, came to play an important part in this. Romanian art historical writing did not exist as such until the end of the 19th century. It was only in the first years of the next century that the number of scholarly works produced following western standards steadily increased. As part of a general tendency of aligning Romanian academic practices with those in the West, art historiography established itself as a respectable academic discipline, a process which went hand in hand with the establishment of new institutions such as museums, university departments, research institutions and the Commission for historical monuments. All these institutions were founded and financed by the Romanian state, and most scholars were involved with these institutions in one way or another. Although Romanian art historiography of the period is dominated by the desire to produce academic works to the highest standards, the ideas of the Great Debate are present in the works of that time. At the same time, in several texts, the most prominent art historians of the day strongly affirm the necessity of putting their work in the service of the national cause. In this paper, we will be looking at the general histories of Romanian art written between the two world wars. The choice of these texts is motivated by the fact that these works are the result of larger research projects and have a broader scope and as such better summarise the trends of the interwar period.
"This book explores ideologies, conflicts and ideas that underpinned art historical writing in Ukraine in the 20th century. Disciplinary beginnings testify both to its deep connection to Krakow, Saint Petersburg and especially Vienna with its school of art history and originality of theoretical thought. Art History started as another imperial project in Ukraine, but ultimately transformed into the means of assertion of national identity. The volume looks closely at the continuity and ruptures in scholarship caused by the establishment of Soviet power and challenges a number of existing stereotypes like total isolation under Communist rule and strict adherence to a Marxist-Leninist methodology. It showcases intellectual exchanges through published work, personal contacts, and ways to resist the politically enforced methodology. Despite keeping the focus on one country, it contributes to understanding the development of art history as an academic discipline in Europe more generally. It also uncovers unknown or little-researched personal and academic connections between art historians from Ukraine and their peers abroad. Starting with the 19th century quest for the method and proceeding by disentangling the complexities of the 20th century, the authors move on to the specifics of historiography after the formal collapse of the USSR. The volume transgresses purely academic boundaries and tackles the development of the discourse in periodicals, exhibition spaces and public discussions. Thus, the findings will be pertinent to all interested in politics, art history, museum studies, intellectual history, historiography, and Eastern European studies"--
"This book maps key moments in the history of post-war art from a global perspective. The reader is introduced to a new globally oriented approach to art, artists, museums, and movements of the postwar era (1945-1970). Specifically, this book bridges the gap between historical artistic centres, such as Paris and New York, and peripheral loci. Through case studies, previously unknown networks, circulations, divides and controversies are brought to light. From the development of Ethiopian modernism, to the showcase of Brazilian modernity, this book provides readers with a new set of coordinates and a reassessment of well-trodden art historical narratives around modernism. This book will be of interest to scholars in art historiography, art history, exhibition and curatorial studies, modern art and globalization"--
"Based on an extensive and very meticulous study of different archives and the evaluation of original, previously unpublished, archival material, this book highlights the key aspects and trends of the European and American art markets in the late nineteenth and early twentieth centuries. In particular, the book focuses on how these markets influenced each other from the viewpoint of one of the most prominent museum directors of this period, Wilhelm von Bode (1845-1929). Given the complexity of the topic, the book is structured into two parts. The first part focuses on Bode's interactions with the German banker and dedicated art collector based in Paris, Rudolphe Kann (1845-1905). The second part follows the sale of the Kann Collection to the dealer Joseph Duveen and follows on the relationship between Bode, Duveen and the American collectors. The book will be of interest to scholars working in art history, museum studies, and the art market"--
"This book brings together thirteen scholars to introduce the newest and most cutting-edge research in the field of Russian and East European art history. Reconsidering canonical figures, reexamining prevalent debates, and revisiting aesthetic developments, the book challenges accepted histories and entrenched dichotomies in art and architecture from the nineteenth century to the present. In doing so, it resituates the artistic production of this region within broader socio-cultural currents and analyzes its interconnections with international discourse, competing political and aesthetic ideologies, and continuous discussions over identity"--
"This book takes a new, interdisciplinary approach to analyzing modern Viennese visual culture, informed by Austro-German theater, contemporary medical treatises centered on hysteria, and an original examination of dramatic gestures in expressionist artworks. It centers on the following question: How and to what end was the human body discussed, portrayed, and utilized as an aesthetic metaphor in turn-of-the-century Vienna? By scrutinizing theatrically "hysterical" performances, avant-garde puppet plays, and images created by Oskar Kokoschka, Koloman Moser, Egon Schiele and others, Nathan J. Timpano discusses how Viennese artists favored the pathological or puppet-like body as their contribution to European modernism."--Page i
Based on an extensive and very meticulous study of different archives and the evaluation of original, previously unpublished, archival material, this book highlights the key aspects and trends of the European and American art markets in the late nineteenth and early twentieth centuries.
Zugriffsoptionen:
Die folgenden Links führen aus den jeweiligen lokalen Bibliotheken zum Volltext:
One late morning in June 2019 I sought refuge from the blazing sun within the magnificent structure of the 10th-century Church of the Holy Mother of God, better known as the cathedral of the medieval Armenian capital of Ani.1 The cathedral, the masterpiece of the celebrated architect Trdat, is located inside the walled city, today a sprawling site of ruins perched at the extreme edge of the modern Republic of Turkey on its still-closed border with neighboring Armenia. Despite having lost its dome to the ravages of time and to earthquakes, its edifice still stands monumental, with exterior and interior walls marked with hundreds of crosses and inscriptions in the distinct Armenian script, a history carved in stone. In its shade, I had stumbled into a group of two dozen Turkish tourists, who, visibly in awe of their surroundings, were attentively listening to their guide attribute the building to, and praise the splendors of, Seljuk architecture. The surreal experience took me right back to the travel writer Jeremy Seal's recollections of his visit, some twenty-five years prior, to the then-ruined (now renovated) Church of the Holy Cross on the island of Aghtamar (renamed Akdamar) near Van. Perplexed at the structure being described as Seljuk, Seal had confronted his companion-guide as to why the Seljuks, of Muslim faith, would have built themselves a church in that place, centuries before their arrival to the region. He recognized having been "taught a lesson in forgetting," on how to airbrush "the awkward realities enshrined in this building." "How had it come to this," Seal wondered, "that decent Turks . . . could refashion the evidence of bricks and mortar so that their absolving view of national history might prevail?"2
