scholarly journals AWARENESS OF MATERIALITY IN TIME AND CONDITION. THOUGHTS ON THE RELATION BETWEEN ART HISTORY AND CONSERVATION

2019 ◽  
pp. 123-138
Author(s):  
Andreas Huth ◽  
Katharine Stahlbuhk
Keyword(s):  
Art History ◽  
Historical Research ◽  
Technical Knowledge ◽  
Research Needs ◽  
Research Projects ◽  
Change Over Time ◽  
History Of Art ◽  
History Of ◽  
Art And Architecture ◽  
Over Time

Art historical research needs to consider the materiality of artefacts, but the character of the material and the state of preservation of any object change over time. Today’s restoration and conservation sciences provide the basis for present research in the field of history of art and architecture. Following this premises and with some examples from current research projects our contribution tries to show how much the contemporary academic Art History can benefit from the material and technical knowledge of conservators.

scholarly journals Motivstudier. Kontinuitet og fornyelse i ornamentale hybridformer fra antikken til ca. 1600

2017 ◽  
Vol 45 (123) ◽  
pp. 109-134
Author(s):  
Maria Fabricius Hansen
Keyword(s):  
Sixteenth Century ◽  
Middle Ages ◽  
Art History ◽  
Visual Art ◽  
Medieval Period ◽  
History Of Art ◽  
History Of ◽  
Italian Art ◽  
Roman Antiquity ◽  
Over Time

Representations of hybrids of human figures, plants, and animals were prolific in all media in sixteenth-century Italian art. The motif is known back from Greek and Roman antiquity, both in poetry and visual art, which the artists of the sixteenth century – or the renaissance – claimed to revive. Yet the representations of hybrids from these two periods within the history of art differ remarkably. And at the same time they belong to an iconographic tradition that did not disappear in the medieval period, an observation which blurs the picture of these ornaments as rediscovered and revived in the renaissance. How then do motifs such as foliate heads or other phyto- or zoomorph creatures develop in visual art from antiquity to ca. 1600? The topological method can be applied to a tracking of these motifs over time in order to stress continuity and analyze the transformations which took place through the centuries. This article reflects on some methodological and historiographical aspects of studies of motifs in art history. In a double-sided strategy it both aims at challenging the persistent notion of the renaissance as a period rejecting the middle ages and reviving antiquity (i.e. it stresses the continuity of the sixteenth century with the preceding centuries); and it suggest some characteristics of the visual paradigm of sixteenth-century Italian art (i.e. it describes some of the innovations of the period).

J. A. Schmidt on the research departments of museum galleries

2020 ◽  
pp. 11-14
Author(s):  
V. G. Ananiev ◽  
Keyword(s):  
Art History ◽  
International Study ◽  
Art Museum ◽  
Research Projects ◽  
The Public ◽  
International Trends ◽  
History Of Art ◽  
History Of ◽  
Museum Practice ◽  
The Relationship

One of the most topical issues in the museum history is the question of the relationship between international and national principles in museum practice and museological thought. In this article, using the example of a report read by the curator of the Hermitage Picture Gallery, James Alfredovich Schmidt (1876–1933) at the Institute of Art History in 1926, the author shows the connection between international trends and early Soviet museological thought. Schmidt’s report is based on the idea of the need to divide the collection of an art museum (picture gallery) into two parts. One part should include the most significant works and be intended for the public. The second – the research department – should be oriented to the work of experts. We find the same ideas in the most significant international research projects in museology of the era – volumes of articles «Museums: An International Study on the Reform of Public Galleries» (1931) and «Museography: Architecture and Organization of Art Museums» (1935). The author establishes a connection between these ideas and the concept of the canon, which was forming in this period, in relation to the history of art.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

scholarly journals Evolutionary history of zoogeographical regions surrounding the Tibetan Plateau

2020 ◽  
Vol 3 (1) ◽  
Author(s):  
Jiekun He ◽  
Siliang Lin ◽  
Jiatang Li ◽  
Jiehua Yu ◽  
Haisheng Jiang
Keyword(s):  
Tibetan Plateau ◽  
Evolutionary History ◽  
The Tibetan Plateau ◽  
Change Over Time ◽  
Deep Time ◽  
Terrestrial Vertebrates ◽  
History Of ◽  
Striking Change ◽  
Time Periods ◽  
Over Time

AbstractThe Tibetan Plateau (TP) and surrounding regions have one of the most complex biotas on Earth. However, the evolutionary history of these regions in deep time is poorly understood. Here, we quantify the temporal changes in beta dissimilarities among zoogeographical regions during the Cenozoic using 4,966 extant terrestrial vertebrates and 1,278 extinct mammal genera. We identify ten present-day zoogeographical regions and find that they underwent a striking change over time. Specifically, the fauna on the TP was close to the Oriental realm in deep time but became more similar to the Palearctic realms more recently. The present-day zoogeographical regions generally emerged during the Miocene/Pliocene boundary (ca. 5 Ma). These results indicate that geological events such as the Indo-Asian Collision, the TP uplift, and the aridification of the Asian interior underpinned the evolutionary history of the zoogeographical regions surrounding the TP over different time periods.

Art History vs. the History of Art

Art Journal ◽  
1984 ◽  
Vol 44 (4) ◽  
pp. 313
Author(s):  
Jules David Prown
Keyword(s):  
Art History ◽  
History Of Art ◽  
History Of

Cheshire Cat and Mickey Mouse: analysis, interpretation and the art of the La Tène Iron Age

1970 ◽  
Vol 36 ◽  
pp. 261-279 ◽  
Author(s):  
J. V. S. Megaw
Keyword(s):  
Iron Age ◽  
Art History ◽  
Mickey Mouse ◽  
Classical Archaeology ◽  
Italian Physician ◽  
History Of Art ◽  
Prehistoric Art ◽  
History Of ◽  
Definition Of ◽  
Wilhelm Worringer

Nearly seventy years ago Wilhelm Worringer first wrote that ‘ultimately all our definitions of art are definitions of classical art’ (Worringer, 1953, 132). Today, the study of Western European art history, old or modern, the products of peasant craft-centres or urban ‘schools’, has in the course of time developed its own methodology and, almost, mystique. In contrast, the study of many branches of prehistoric art in Europe and elsewhere is all too often seen as a mere extension of the skilled but subjective approaches of classical archaeology without considering the suitability of the latter's application. The use of the classical art-historian's intuitive methods built up not just from visual exprience but a detailed background of literary, historical and philosophical studies must in fact be almost entirely denied the student of prehistoric or primitive art. It is perhaps only natural that principles of classical art history should be applied to later European prehistory, though it is often difficult to arrive at a precise definition of these principles. It was Johann Joachim Winckelmann who made the first systematic application of categories of style to the history of art (Gombrich, 1968, 319). Sir John Beazley, the greatest of all modern classical art historians followed in this tradition basing attributions ‘on the grounds of tell-tale traits of individual mannerisms’ (Carpenter, 1963, 115 ff.) a scheme first applied to painting less than a century ago by the Italian physician Giovanni Morelli (Gombrich, 1968, 309 ff.) and followed at the turn of the nineteenth century in the study of Italian painting (Lermolieff, 1892–3). With Beazley it is, however, difficult to follow step by step his methods of work.

scholarly journals The grotesque as it appears in Western art history and in Ian Marley’s creative creatures

Literator ◽  
2009 ◽  
Vol 30 (1) ◽  
pp. 31-54
Author(s):  
R. Swanepoel
Keyword(s):  
Art History ◽  
Western History ◽  
Western Art ◽  
History Of Art ◽  
History Of ◽  
The Grotesque

This article presents a theoretical exploration and reading of the notion of the grotesque in Western history of art to serve as background to the reading of the original creatures in the “Tracking creative creatures” project.1 These creatures were drawn by Marley, based on imaginary creatures narrated by his five year-old son, Joshua. The focus in this article is on the occurrence of the grotesque in paintings and drawings. Three techniques associated with the grotesque are identified: the presence of imagined fusion figures or composite creatures, the violation and exaggeration of standing categories or concepts, and the juxtaposition of the ridiculous and the horrible. The use of these techniques is illustrated in selected artworks and Marley’s creatures are then read from the angle of these strategies.

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