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. Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
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).
The first academic volume to theorize and historicize contemporary artistic practices and culture from Chile in the English language, Dismantling the Nation takes as its point of departure a radical ...criticism against the nation-state of Chile and its colonial, capitalist, heteronormative, and extractivist rule, proposing otherwise forms of inhabiting, creating, and relating in a more fluid, contingent, ecocritical, feminist, and caring worlds. From the case of Chile, the book expands the scholarly discussion around decolonial methodologies, attending to artistic practices and discourses from distinct and distant locations—from Arica and the Atacama Desert to Wallmapu and Tierra del Fuego, and from the Central Valley, the Pacific coast, and the Andes to territories beyond the nation's modern geographical borders. Analyzing how these practices refer to issues such as the environmental and cultural impact of extractivism, as well as memory, trauma, collectivity, and resistance towards neoliberal totality, the volume contributes to the fields of art history and visual culture, memory, ethnic, gender, and Indigenous studies, filmmaking, critical geography, and literature in Chile, Latin America, and other regions of the world, envisioning art history and visual culture from a transnational and transdisciplinary perspective.
The specifics of ecological destruction often take a cruel turn, affecting those who can least resist its impacts and are least responsible for it. Deep Horizons: A Multisensory Archive of Ecological ...Affects and Prospects gathers contributions from multiple disciplines to investigate intersectional questions of how the changing planet affects specific peoples, communities, wildlife species, and ecosystems in varying and inequitable ways. A multisensory, artistic-archival supplement to the Mellon Sawyer Environmental Futures Project, the volume enriches current conversations bridging the environmental humanities and affect theory with insights from Native and Indigenous philosophies as well as by highlighting artistic practices that make legible the long-term durational effects of ecological catastrophe. Poems, nonfiction essays, sound-texts, photographs, and other artworks invite readers and viewers to consider the less visible losses and prospects of environmental transformation. Gathering contributions from multiple disciplines, this multimodal, multisensorial volume pushes the boundaries of scholarship with an experimental, born-digital format that offers a set of responses to collective traumas such as climate change, environmental destruction, and settler colonialism. The artists and authors honor the specificity of real historical and material injustices while also reflecting the eclectic nature of such assorted feelings, working through them in creative and border-crossing modes. With contributions from Robert Bailey, Nina Elder, Erin Espelie, Hock E Aye Vi Edgar Heap of Birds, Maya Livio, Erika Osborne, Craig Santos Perez, Kim Tallbear, Julianne Warren, and Kyle Powys White. ""The compelling juxtaposition of poetry, music, video, audio, photography, printmaking, and traditional essays is among Deep Horizons' considerable strengths. I don’t know of any other project quite like this one. The subject is timely—indeed, urgent—and the innovative approach to archiving environmental change will interest scholars and artists in a range of disciplines and resonate with a wide audience."" —Jennifer Ladino, University of Idaho
The earliest painting by Rembrandt whose owner is documented depicts the prophet Balaam, on his way to blessing Israel. The man who bought it was a Sephardi Jew in the service of Cardinal Richelieu ...of France. The first known buyer of an etching plate by Rembrandt, depicting Abraham Dismissing Hagar and Ishmael, was a Sephardi Jew of Amsterdam. Seen through their eyes, Rembrandt was the creator of images with a special meaning to Jews. They have been followed through the centuries by Jewish collectors, Jewish art historians, Jewish artists who saw their own deepest concerns modelled in his art and life, and even prominent rabbis, one of whom said that Rembrandt was a Tzadik, a holy man blessed by God. This book is the first study in depth of the potent bond between Rembrandt and Jews, from his time to ours, a bond that has penetrated the image of the artist and the people alike.
Marine painting, paintings of ships and the sea, is a four hundred year old traditional Dutch art discipline. In the nineteenth century the genre had a special artistic prestige and status. This ...study explores the background, training, studio practice, stylistic development and subject matters of the Dutch nineteenth-century marine painter. A Reference List of Marine Painters, which is a new overview of the true specialists in the genre in this period, is added. The key question is how marine painting was looked at by the marine painters themselves, their fellow painters at the artists associations, in art theory and in art criticism. It turns out that within Dutch art circles throughout the nineteenth century, marine painting was perceived as a bearer of national pride. By placing the genre in a broader cultural-historical context it reveals how marine painting, together with the glorification of maritime history, was embedded in nationalist ideology.
The paper covers the history of 20th century Serbian fashion from the 1920s through the 1980s, focusing on the problem of its historization. Based on established readings submitting 20th century ...Serbian fashion to politics thus distancing it from global fashion history, I aim to structure a possible historical narrative of fashion by identifying the elements of haute couture in 20th century Serbian fashion industry. Rather than contrasting Serbian fashion figures with their Western counterparts and deepening the West / East Europe fashion divide, the paper traces similarities between them, demonstrating that 20th century Serbian fashion responded to haute couture trends simultaneously with their emergence in the West.
The field of ‘Craft Sciences’ refers to research conducted across and within different craft subjects and academic contexts. This anthology aims to expose the breadth of topics, source material, ...methods, perspectives, and results that reside in this field, and to explore what unites the research in such diverse contexts as, for example, the arts, conservation, or vocational craft education. The common thread between each of the chapters in the present book is the augmented attention given to methods—the craft research methods—and to the relationship between the field of inquiry and the field of practice. A common feature is that practice plays an instrumental role in the research found within the chapters, and that the researchers in this publication are also practitioners. The authors are researchers but they are also potters, waiters, carpenters, gardeners, textile artists, boat builders, smiths, building conservators, painting restorers, furniture designers, illustrators, and media designers. The researchers contribute from different research fields, like craft education, meal sciences, and conservation crafts, and from particular craft subjects, like boat-building and weaving. The main contribution of this book is that it collects together a number of related case studies and presents a reflection on concepts, perspectives, and methods in the general fields of craft research from the point of view of craft practitioners. It adds to the existing academic discussion of crafts through its wider acknowledgement of craftsmanship and extends its borders and its discourse outside the arts and crafts context. This book provides a platform from which to develop context-appropriate research strategies and to associate with the Craft Sciences beyond the borders of faculties and disciplines.
In the course of two successive projects, the first in 2005 and the second in 2020, work on the fragments of frescoes in Mileševa resulted in the integration of five ensembles that could be ...reconstructed into the basic outline. In addition to this, certain ensembles were integrated that we cannot present in the same way either because we lack the knowledge about the complete appearance or because it is impossible to accurately determine the edge of the scene. As for individual figures, very likely from the first zone, a face from the 13th century was partly integrated and the figure of a monk from the 16th century. Of the inscriptions, two were partly established, the first which probably indicated the name Stefan, from the 16th century, and the other inscription in the circular field beside the Mother of God, containing the phrase ‘of God’ (Serb. Б(о)жиа), from the 16th or the 17th century. A right hand was partly integrated from the ensemble of a colossal figure, belonging to which were two fragments of an eye. We believe that this was a bust of Christ that was at the top of the eastern wall of the narthex. Originating perhaps from the same ensemble is an ensemble of five integrated fragments, as well as two more smaller integrated ensembles, which could represent the lower part of Christ’s body, in the scene of the Crucifixion. The red mineral mercury (cinnabarite) was used in addition to the earth pigments in the artist’s palette, as well as ultramarine, lapis lazuli. The use of 24-karat gold leaf was confirmed on the fragment of a nimbus. Since pure gold was used only on the nimbuses in the narthex, and not gilded silver, clearly, this fragment was from the narthex, as we had assumed.
In the Principality of Serbia in the 19th century, the Orthodox Church represented a significant entity and had a privileged position as a state and national institution. This all affected its place ...in public life, as well as the public control of all the church activities regarding the churches’ construction, equipping, painting, and renovation. Thus, the aesthetical criteria, demands, and effects of the cultural and scientific public were a tremendous factor in making church art common during the 19th century. The public had an influence on art development through various forms in the Principality of Serbia, and some of the instruments were both daily and periodical (printed) press. The public’s attitude towards the church art was stated in the press and hu mongously affected the people’s consciousness of the Church and church art’s significance in relation to the state and nation, as well. Also, the ordering parties’ tastes had thus been formed, which also had an impact on the complex mechanisms of the general church art trends during the 19th century. This kind of practice was characteristic of 19th-century Europe and Russia, and from there it was also accepted and developed in Serbia. Despite the fact that in the 19th century the Serbian people had lived in the territory of three states – the Ottoman Empire, the Principality/Kingdom of Serbia, and Austria, the periodical literature and newspapers had been available to the Serbian social and cultural elite at the mentioned territories. Since the press had not been strictly limited by the state boundaries, a wider reading audience had been familiar with the information and attitudes about art presented in both the newspapers and periodical literature, which were printed in Serbia and Austria, as well. The newspapers coming out in the period 1830–1882, such as Šumadinka, Srbske novine, Novine Čitališta beogradskog, Sion, Podunavka, Golubica, Orao, and others, contained different aesthetical attitudes on the church painting and architecture, but also considered various problems on the topics of erecting and painting the churches. The public significance of the works regarding the construction and equipping of the churches had been highlighted. Certain models of the church architecture and painting had been promoted, along with the individual artists’ works. By reading the daily and periodical press, the reading public had been informed about the church heritage from the past through the reports about medieval churches and some debates on their renovation. Finally, the public of experts promoted, by using the (printed) press, certain advisable behavior models, such as the contribution activities towards the Church which were seen as the ultimate patriotic endeavor.
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