•There is a new database capturing information about 140,000+ paintings shown at the Paris salon.•Surprisingly, this database shows that portraits were a very commonly displayed genre—although they ...have long been ignored by scholars.•Most portraits displayed were of women.•Many portraits displayed had anonymous or pseudo-anonymous titles; this was previously unknown.
This essay describes a novel dataset that facilitates the quantitative analysis of eighteenth and nineteenth-century French painting. Based on titles listed in the Paris Salon livrets, the dataset assigns detailed keywords indicating the content for each of the more than 148,000 paintings shown at the Salon—the principal French art exhibition of the era—from the seventeenth to nineteenth century. To demonstrate the interest and utility of this dataset, we present a case study about a genre that has traditionally been neglected by both art historians and cultural economists: portraiture. Our analysis shows portraiture was ubiquitous, usually representing 27% of all paintings exhibited in a year—more than any other genre. We also trace the changing demographics of sitters. There were, for example, dramatic increases over time in how many images of women were displayed. We also chart the rise of quasi-anonymous portraiture, where names of sitters do not appear in paintings’ titles but audiences from certain social classes could identify subjects. We ultimately demonstrate how quantitative methods can be fruitfully applied to this art historical dataset, which is now available freely online, and is just one of many similar datasets that can be digitized and studied.
In our modern secular society, theology is capturing progressively less attention and is being granted minimal importance within the wider community. Unjustly so, as this collection of essays ...demonstrates. On the occasion of the centenary of Radboud University (1923-2023), researchers and professors from the Faculty of Theology present a series of easily comprehensible theological insights concerning both human frailties and the greatness of humanity. Using the deadly sins and a few virtues as a guiding framework, these essays explore lighthearted the boundaries, horizons, and ambiguities of human existence.This volume combines perspectives from Biblical studies, church history, systematic theology, and practical theology to address individual challenges and societal discussions. The seven deadly sins provide food for thought on what can go wrong in individual lives and in society. The classic list of pride (superbia), greed (avaritia), envy (invidia), lust (luxuria), gluttony (gula), wrath (ira), and sluggishness (acedia) still affect us. Virtues, on the other hand, are often less actively pursued, yet they inspire us to critically observe our surroundings: love (caritas), justice (iustitia), and fairness (aequitas).These insights often draw from the rich history of Nijmegen's Faculty of Theology. Not to imply that its approach is a unique breeding ground for vices, but rather to acknowledge the joyous occasion that spurred this collection. The compilation wraps up with art-historical reflections on the images that eloquently enhance the contributions.
This anthology of written sources (dating from the seventh to the twentieth centuries) explores numerous aspects of the crafts of the Middle East from the processing of raw materials to the ...manufacture of finished artefacts.
Black Matrilineage, Photography, and Representation: Another Way of Knowing' questions how the Black female body, specifically the Black maternal body, navigates interlocking structures that place a ...false narrative on her body and that of her maternal ancestors. This volume, which includes a curated selection of images, addresses the complicated relationship between Blackness and photography and, in particular, its gendered dimension, its relationship to health, sexuality, and digital culture – primarily in the context of racialized heteronormativity. With over forty contributors, this volume draws on scholarly inquiry ranging from academic essays, interviews, poetry, to documentary practice, and on contemporary art. 'Black Matrilineage, Photography, and Representation: Another Way of Knowing' thus offers a cross-section of analysis on the topic of Black motherhood, mothering, and the participation of photography in the process. This collection challenges racist images and discourses, both historically and in its persistence in contemporary society, while reclaiming the innate brilliance of Black women through personal narratives, political acts, connections to place, moments of pleasure, and communal celebration. It serves as a reflection of the past, a portal to the future, and contributes to recent scholarship on the complexities of Black life and Black joy.
New insights on the reception of Etruscan antiquity in the modernist period.
“L’Étrurie est à la mode”, French archaeologist Salomon Reinach bluntly stated in 1927. Since the beginning of the ...nineteenth century, Etruria had not only been attracting the attention of archaeologists and specialists of all sorts, but it had also been a fascinating and, in some cases, captivating destination for poets, novelists, painters and sculptors from all over Europe. This volume deals with the impact of the constantly expanding knowledge on the Etruscans and their mysterious civilisation on Italian, French, English, and German literature, arts and culture, with particular regard to the modernist period (1890–1950). The volume brings a distinctive point of view to the subject by approaching it from an interdisciplinary and comparative perspective, and by looking at a quite diverse range of topics and artefacts, which includes, but is not limited to, the study of drawings, art works, travel essays, novels, cooking recipes, schoolbooks, photographs, and movies.
By exploring a new paradigm to understand ancient cultures, beyond the traditional ideas and models of “reception of the classics”, and by challenging the alleged fracture between the so-called “two cultures” of humanities and natural sciences, Modern Etruscans will be of interest to scholars from various disciplines. Designed as a learning tool for university courses on the interplay between literature and science in the twentieth century, it is suited as recommended reading for students in the humanities.
Contributors: Francesca Orestano (Università degli Studi di Milano), Chiara Zampieri (KU Leuven), Bart Van den Bossche (KU Leuven), Lisa C. Pieraccini (University of California, Berkeley), Martin Miller (Italienisches Kulturinstitut Stuttgart), Marie-Laurence Haack (Université de Picardie Jules Verne), Gennaro Ambrosino (University of Warwick), Martina Piperno (Durham University), Andrea Avalli (Scuola Superiore di Studi Storici di San Marino).
Ebook available in Open Access.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
This book places the discourse surrounding stigmata within the visual culture of the late medieval and early modern periods, with a particular focus on Italy and on female stigmatics. Echoing, and to ...a certain extent recreating, the wounds and pain inflicted on Christ during his passion, stigmata stimulated controversy. Related to this were issues that were deeply rooted in contemporary visual culture such as how stigmata were described and performed and whether, or how, it was legitimate to represent stigmata in visual art. Because of the contested nature of stigmata and because stigmata did not always manifest in the same form - sometimes invisible, sometimes visible only periodically, sometimes miraculous, and sometimes self-inflicted - they provoked complex questions and reflections relating to the nature and purpose of visual representation.
This article focuses on a significant and hitherto unpublished icon painted around the mid-fifteenth century by the Master of the Amber-Spotted Tunic. By analysing its style and iconography, it ...furthers our understanding of history of panel painting in Ethiopia during this period. The study shows that Fǝre ṣǝyon was not the only talented artist who created works in compliance with the policies of Zär’a Ya'ǝqob and that the Master of the Amber-Spotted Tunic was an equally accomplished painter. The latter’s work was in fact capable of conveying complex theological ideas in a visually accessible manner.
