Art History

Relics, dreams, voyages is a closely focused sequence of studies of worldwide connections in all the arts in the baroque period. Drawing on original research in libraries, collections, and archives in five countries, and in as many languages, this book draws many astonishing, unfamiliar and beautiful texts, things and events, into a cartography of the secret and strange patterns of baroque cultures worldwide. The visual arts are examined across a wide temporal and geographical span, and many subversive iconographies are decoded: at the French and English courts, in remote Scotland, in Nagasaki, in Valladolid. This books offers a new, extraordinary cultural geography of the baroque world, opening doors to many rich and strange cultural artefacts, from 'China to Peru.'

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This is the first English-language monograph on this exceptional German artist that critically examines Therbusch's artworks and career as a history and mythological painter, portraitist, and maker of synthetic pigments within the German and international milieu that both condemned and celebrated her accomplishments. This book showcases the social and cultural practices of court cultures beyond France, with a focus on German-speaking Europe and how a provocative woman painter navigated within them. Shedding new light on the importance of the family atelier as a place of networking, collaboration, and experimentation in the eighteenth century the book provides a fresh perspective on the growing Prussian intellectual and mercantilist cultures and their impact on Therbusch's artistic production and the unavoidable fluency between painting, the minor or luxury arts, and the laboratory. Therbusch's life and art enriches our understanding of female artistic agency and the complexities of pursuing a career in the male- and academy-dominated art world of the eighteenth century.

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The significance of the media and communications revolution occasioned by printmaking was profound. Less a part of the standard narrative of printmaking's significance is recognition of the frequency with which the widespread dissemination of printed works also occurred beyond the borders of Europe and consideration of the impact of this broader movement of printed objects. Within a decade of the invention of the printing press, European prints began to move globally. Over the course of the fifteenth to the eighteenth centuries, numerous prints produced in Europe traveled to areas as varied as Turkey, India, Persia, Ethiopia, China, Japan and the Americas, where they were taken by missionaries, artists, travelers, merchants and diplomats. This collection of essays explores the transmission of knowledge, both written and visual, between Europe and the rest of the world by means of prints in the early modern period.

Combining the most recent research with detailed analyses of newly attributed paintings, the book highlights the business considerations behind Gentileschi's development of a trademark style as she marketed herself to the public across a range of Italian artistic centers. The disguised self-portraits in her early Florentine paintings are reevaluated as an effort to make a celebrity brand of her own image. And, challenging the common perception that Gentileschi's only masterpieces are her early Caravaggesque paintings, the book emphasizes the importance of her neglected late Neapolitan works, which are reinterpreted as innovative responses to the conventional practices of Baroque workshops. Artemisia Gentileschi and the Business of Art shows that Gentileschi's remarkable success as a painter was due not only to her enormous talent but also to her ability to respond creatively to the continuously evolving trends and challenges of the Italian Baroque art world.

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These 13 essays examine different media, including architecture, manuscripts, portable arts and textiles, as well as the contemporary arts of painting, photography, printmaking and video, from the early Islamic period to the present. In addition to traditional approaches to art-historical scholarship, such as textual analysis, connoisseurship, design, technical and material analysis, and archaeology, the contributors take on such newer themes as gift giving, the diaspora of Iranian art, political art, the relationship of the present to the past or vice versa, and the connections between Iranian art and the arts of the West. Some essays also deal with music and dance.

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As evidenced by the famed Book of Kells and monumental high crosses, Scotland and Ireland have long shared a distinctive artistic tradition. The story of how this tradition developed and flourished for another millennium through survival, adaptation and revival is less well known. Some works were preserved and repaired as relics, objects of devotion believed to hold magical powers. Respect for the past saw the creation of new artefacts through the assemblage of older parts, or the creation of fakes and facsimiles. Meanings and values attached to these objects, and to places with strong early Christian associations, changed over time but their 'Celtic' and/or 'Gaelic' character has remained to the forefront of Scottish and Irish national expression. Exploring themes of authenticity, imitation, heritage, conservation and nationalism, these interdisciplinary essays draw attention to a variety of understudied artworks and illustrate the enduring link that exists between Scottish and Irish cultures.

This book explores several critical connections between Black African objects and white Western aesthetics and artwork in the United States from the late 1800s until 1939. Drawing from primary source materials and various scholarship in the field (philosophy, history, sociology, anthropology, museum studied, art history, cultural studies), the book provides an analysis of the threads of white supremacy which run through early scholarship and understandings of Black African object within the United States and how scholars use the objects to reinforce narratives of "primitive" Black Africa and civilized, advanced white Europe and the United States.

A concise illustrated history of one of art's most important and elusive elements This book features historical essays and case studies that shed light on the many forms of pigments--the organic and inorganic; the edible and the toxic; and those that are more precious than gold. It shows how pigments were as central to the earliest art forms and global trade networks as they are to commerce, ornamentation, and artistic expression today. The book reveals the innate instability and mutability of most pigments and discusses how few artworks or objects look as they did when they were first created. From cave paintings to contemporary art, Pigments demonstrates how a material understanding of color opens new perspectives on visual culture and the history of art.

In the first three decades of the 20th century, the importance of Jewish artists from Central and Eastern Europe grew in the international artistic community. In Lodz, which next to Warsaw was the second largest center of Jewish life in Poland, the ideas of "new art" were realized by artists associated with the poet Moses Broderzon and the avant-garde Yung Yidish group. Three volumes of poetry, printed in 1921 by Achrid, an ephemeral publishing house, containing works of the Jewish poets Chaim Krul, David Zitman and Rahel Lipstein, with original hand-colored linocuts created by Ida Brauner, Esther Carp and Dina Matus, should also be linked to this circle. This book includes facsimiles of the original publications of the Achrid, along with English translations of the poems, preceded by articles on the environment of Jewish writers and painters in Lodz, from 1918 to 1939, and the artistic aspects of Achrid's books. The narrative concludes with a bibliographical note and brief biographies of the poets and graphic artists.

The book brings together the latest research results concerning paper used by artists. The scribe's or printer's choice for a certain kind of paper tells us about the condition of the local paper-making craft, the availability of a raw material, trade, customs and habits; where a particular paper is chosen for a drawing or a printed work of art, artistic intent of the artist is added to all the above. The book deals with all these aspects. The newly found information is relevant for both art history and conservation of art. From Renaissance till today, single aspects are highlighted and are meant to further stimulate that kind of study, combining research in conservation and (art) history.

Breaking the Bronze Ceiling uncovers a glaring omission in our global memorial landscape--the conspicuous absence of women. Exploring this narrative, the book emerges as the foremost guide to women's memorialization across diverse cultures and ages. As global memorials come under intense examination, with metropolises vying for a more inclusive recognition of female contributions, this book stands at the forefront of contemporary discussion. The book offers a panoramic view of worldwide memorials, critically analyzing grandiose tributes while also honoring subtle gestures--be it evocative plaques, inspiring namesakes, or dynamic demonstrations.

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Automimesis or the idea that “every painter paints himself” was a notion that was frequently voiced in art literature of the Italian Renaissance. It was initially thought to be an artistic flaw which threatened the faithful imitation of nature. The corporeal or spiritual similarity between an artist and his work, however, was soon to become a facet that was regarded as positive. Considering biographies of artists, art treatises, and artworks, this book explores the reasons for this paradigmatic shift and shows how ideas from the early modern period continue to shape our modern understanding of the autonomy of the arts.

Around 1600, a new style of sculpture started to evolve and flourish in the German-speaking lands. Dramatic wood and stone figures peopled the palaces, gardens and churches of Munich, Berlin, Dresden, Dusseldorf, Vienna, and Prague. These great works of art are little known outside Germany and Austria, partly because their colour and vivacity are so astoundingly different from the sculpture that was being produced in Italy, France, and Northern Europe at that time. This book explicates their history and conveys their compelling visual power to new audiences.

Eating and drinking images may seem like an anomalous notion but, since antiquity, in the European and Mediterranean worlds, people have swallowed down frescoes, icons, engravings, eucharistic hosts stamped with images, heraldic wafers, marzipan figures, and other sculpted dishes. Either specifically made for human consumption or diverted from their original purpose to be ingested, these figured artifacts have been not only gazed upon but also incorporated--taken into the body--as solids or liquids. Jérémie Koering examines this unexplored facet of the history of images through an interdisciplinary approach that ranges across art history, cultural and material history, anthropology, philosophy, and the history of the body and the senses. He analyzes the human investment, in terms of culture and imagination, at stake in this paradoxical way of experiencing images.

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This book provides a comprehensive introduction to Chinese embroidery, including its history, styles in different regions, patterns, techniques, and its appreciation. It serves as the first guidebook in the international community for scholars, students either at undergraduate or postgraduate level, artists, and other interested general audience to get a bird's-eye view of Chinese embroidery. Through this book, readers will not only acquire a general understanding of this folk art, but also learn of the sophistication and exquisiteness of a legion of embroidery works created by Chinese artists.

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In the 19th and early 20th centuries, the Indigenous peoples of the Great Plains practiced an archival art—narrating war exploits in large-scale paintings executed on animal hide robes, shirts, tipi covers, and tipi liners. Essentially autobiographical, the paintings were worn and lived in by the men whose war exploits they portrayed, and were made to be “read” by the public at large. Executed in a pictorial narrative style and documenting actual events, these paintings blend visual art and history. This book is the first comprehensive look at this important North American art form, covering the full corpus of war paintings from fourteen tribes across the plains. It focuses on 83 paintings organized into four chapters covering the paintings of tribes associated with a specific geographical sphere of artistic influence. Four appendixes feature paintings combined with “translations” by Indigenous collaborators who had intimate knowledge of the depicted events. This book illuminates distinctions between painting styles of different tribes, reveals how they influenced one another and changed over time, and conveys a deep understanding of how war painting developed in relation to profound social changes in Plains Indian cultures.

In a first, this anthology presents essays by art historians and cultural scientists from both sides of the Atlantic to rediscover, analyze and contextualize the rich and largely unknown art of Winold Reiss, opening up a new, previously untapped archive of multicultural Modernism. The German-American artist, who was born in Karlsruhe in 1886 and arrived in New York in 1913, defies instant categorization. With his dual background in fine arts and applied arts he set out to bridge the gulf between "high" and "low" art introducing a bold use of color to the American art scene and to interior design. In his portraits Reiss captured the multi-ethnic diversity of the US. His specific blend of cultural otherness, primitivism, and depictions of ethnicity challenged the conventions of the time.

Providing an introduction to the artistic and architectural traditions of the Islamic world, A Story of Islamic Art explores fifty case studies, taken from different regions of the Islamic world and from the seventh to the twenty-first centuries. The novel aspect of these case studies is that they are presented as fictional narratives, allowing the reader to imagine art and architecture, either in their original cultural settings or at some later point in their histories. These stories are supported by a scholarly framework that allows the reader to continue their exploration of the chosen artefacts and their historical context. The issues dealt with in each of the stories include iconography, attitudes towards representation, the role of script, the elaboration of geometric decoration, the creation of sacred and secular spaces in architecture, and the socio-cultural context of art production and consumption.

This book contributes to the growing body of research on the ontology of images by focusing on five main topics: ontology as a theoretical framework; the development of new concepts and methods for an ontological approach to rock art; the examination of the relationships between ontology, images and Indigenous knowledges; the development of relational models for the analysis of rock images; and the impact of ontological approaches on different rock art traditions across the world. Generating new avenues of research in ontological theory, political ontology and rock art research, this collection will be relevant to archaeologists, anthropologists, and philosophers.

Monumental sculpture was subject to profound change in the second half of the 12th century in Europe, in addition to developing in directions that were largely independent of other media. As a result, late Romanesque sculpture extends across the period from 1140 to 1220, from Saxony to Galicia, though it is still impossible to encapsulate in a single statement what this complex network represented. However, the attainment of a compelling naturalism does seem to have been a shared aspiration among Latin European sculptors. Emerging Naturalism: Contexts and Narratives in European Sculpture 1140-1220 offers a panoramic analysis of this artistic landscape, focused on a central issue in medieval European artistic production. To narrow this field of study, the book concentrates on the innovations and solutions adopted in the great church workshops of western Europe.

Art historian and curator Gwendolyn DuBois Shaw explores African American art and representation from the height of the British colonial period to the present. She engages in the process of "rememory"--the recovery of facts and narratives of African American creativity and self-representation that have been purposefully set aside, actively ignored, and disremembered. In analyses of the work of artists ranging from Scipio Moorhead, Moses Williams, and Aaron Douglas to Barbara Chase-Riboud, Kara Walker, Kehinde Wiley, and Deana Lawson, Shaw demonstrates that African American art and history may be remembered and understood anew through a process of intensive close looking, cultural and historical contextualization, and biographic recuperation or consideration. Shaw shows how embracing rememory expands the possibilities of history by acknowledging the existence of multiple forms of knowledge and ways of understanding an event or interpreting an object. In so doing, Shaw thinks beyond canonical interpretations of art and material and visual culture to imagine "what if," asking what else did we once know that has been lost.

This book reexamines the Harlem Renaissance as part of a global flowering of Black creativity. Featuring artists such as Aaron Douglas, Charles Henry Alston, Augusta Savage, and William H. Johnson, who synthesized the expressive figuration of the European avant-garde with the aesthetics of African sculpture and folk art to render all aspects of African American city life, this book also includes works by lesser-known contributors, including Laura Wheeler Waring and Samuel Joseph Brown, Jr.. The works of New Negro artists active abroad are also examined in juxtaposition with those of their European and international African diasporan peers, from Germaine Casse and Ronald Moody to Henri Matisse, Edvard Munch, and Pablo Picasso. This reframing of a celebrated cultural phenomenon shows how the flow of ideas through Black artistic communities on both sides of the Atlantic contributed to international conversations around art, race, and identity while helping to define our notion of modernism.

Hannes Meyer, who as an upstart architect in Basel, director of the Bauhaus in Germany, urban planner near the China-Russian border, and designer of social housing and hospitals in Mexico, fought to affirm the rights of all to a life of comfort and human dignity while seeking to maintain his own identity in the process. The author tells Meyer’s life story while answering: How did architecture, design and art transform from an aesthetic enterprise to serving the needs of the masses? And how did a single individual-and an outstanding representative of "radical modernism"--pursue his personal convictions in an age marked by war and totalitarianism in the name of the collective?

A wide-ranging examination of Socialist Realism that shows it extended far beyond Eastern Europe. Was Socialist Realism Global? takes up a question that was posed by art historian Piotr Piotrowski in his final book. It offers new perspectives both on socialist realism in a strict sense and on aspects of politically and socially engaged art of the twentieth century that employed broadly understood figuration. Contributors to the volume shed light on the genealogy of figuration, relate socialist art and socialist realism from Europe to analogous artistic practices in Latin America and beyond, and more. To date, they argue, the rewriting of the artistic canon of the postcolonial world has failed to sufficiently underscore the fact that through the period of decolonization and Cold War divisions internationally, artists across half the globe were educated according to doctrines of real socialism

Exhibition - Museum of Cultural History, Oslo.
Imagine a different world where humans didn’t rule over all other creatures, but people looked upon animals with awe and admiration. Fabulous Animals invites visitors on a magical journey back to Iron Age Scandinavia, a time when a different relationship with animals characterised people’s beliefs and notions and, not least, influenced the beautiful things they created, used and surrounded themselves with. The journey begins in the 5th century, a time when Northern Europe was changing after the fall of the Roman Empire. Skilled jewellers from the Roman border towns wandered north and brought their tools and knowledge of beautiful things. A Scandinavian style of its own called animal ornamentation arose in the chiefdom societies found in the north. This was a type of aesthetics that mirrored people’s beliefs and conceptual world. This is a time before Christianity arrived in Scandinavia, when the Norse religion influenced people’s worldview; a time when animals were important for gods and for humans.

Designed for individuals without formal training or previous on-the-job experience in nonprofit management or accounting, Financial Leadership for the Arts makes organizational finance simple and clear, freeing creative leaders to do their important work for communities. Governing board leaders, working professionals, and students alike will appreciate clear case studies, as well as the several chapters that examine contemporary challenges and their implications for present and future financial management, program management, and program evaluation.

In this book, Bettina Messias Carbonell examines how African American history and culture is--and historically has been--represented in culturally specific and mainstream museums. Carbonell argues that African American museums provide a corrective history that is both argumentative and pragmatic: these museums educate and enlighten, and they seek to effect change. Themes examined include settlement narratives; key movements and individuals in political, social, and military history; the treatment of slavery; the status of Africa--the continent and individual countries and regions--as a source of origins and traditions and a destination for reconnection with the past; and activism and human rights.

How does material culture become data? Why does this matter, and for whom? As the cultures of Indigenous peoples in North America were mined for scientific knowledge, years of organizing, classifying, and cataloguing hardened into accepted categories, naming conventions, and tribal affiliations - much of it wrong. Cataloguing Culture examines how colonialism operates in museum bureaucracies. Using the Smithsonian's National Museum of Natural History as her reference, Hannah Turner organizes her study by the technologies framing museum work over two hundred years: field records, the ledger, the card catalogue, the punch card, and eventually the database. She examines how categories were applied to ethnographic material culture and became routine throughout federal collecting institutions. As Indigenous communities encounter the documentary traces of imperialism while attempting to reclaim what is theirs, this timely work shines a light on access to and return of cultural heritage.

This book is a practice-based guide designed to introduce qualitative research to established and upcoming museum professionals and increase their confidence to conduct this type of research. Highlighting the work of researchers who are studying museums around the world, the book begins by explaining why there is a need for qualitative research in museums. Rowson Love and Randolph then go on to provide guidance, including theories and frameworks, on how to envision a qualitative research project that facilitates meaningful interpretation of visitor experiences. Chapters in the methodology section begin with descriptions of featured qualitative methodologies and will assist readers as they determine which are most appropriate for their projects and as they advocate for their research. The final section will prepare readers still further, by demonstrating data analysis and reporting using the examples in the book.

This book explores how recent Colombian historical memories are informed by cultural diversity and how some of the country's citizens remember the brutalities committed by the Army, guerrillas, and paramilitaries during the internal war (1980-2016). Its chapters delve into four case studies. The first highlights the selections of what not to remember and what not to represent at the National Museum of the country. The second focuses on the well-received memories at the same institution by examining a display made to commemorate the assassination of a demobilized guerrilla fighter. The third discusses how a rural marginal community decided to vividly remember the attacks they experienced by creating a display hall to aid in their collective and individual healing. Lastly, the fourth case study, also about a rural peripheric community, discusses their way of remembering, which emphasizes peasant oral traditions through a traveling venue.

This book examines how cultural institutions and their collections can support a goal shared with the scientific community: creating a climate-literate public that engages with environmental issues and climate change in an informed way. Demonstrating that archival and object-based resources can act as vital evidence for change, Sutton shows how the historical record, paired with contemporary reality, can create more personal connections to what many consider a remote experience: the changing climate. Providing valuable examples of museum collections used in discussions of environmental and climate change, the book shares how historic images and landscape paintings demonstrate change over time. Images, personal records, and professional documents have critical roles as boundary objects and proxy data.

"After twenty-eight years of desire and determination, I have visited Africa, the land of my forefathers." So wrote Lida Clanton Broner (1895-1982), an African American housekeeper and hairstylist from Newark, New Jersey, upon her return from an extraordinary nine-month journey to South Africa in 1938. During her travels, this woman of modest means circulated among South Africa's Black intellectual elite, including many leaders of South Africa's freedom struggle. How did Broner--a working class mother--come to be a globally connected activist? What were her experiences as an African American woman in segregated South Africa and how did she further her work after her return? Broner's remarkable story is the subject of this book, which draws upon a deep visual and documentary record now held in the collection of the Newark Museum of Art.

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This book investigates whether and how theoretical findings and insights in contemporary art conservation can be translated into the daily work practices of conservators or, vice versa, whether and how the problems and dilemmas encountered in conservation practice can inform broader research questions and projects. Because of contemporary art’s variable constitution, its care and management calls for a fundamental rethinking of the overall research landscape of museums, heritage institutions, private-sector organizations and universities. At first, this research was primarily pursued by conservation professionals working in or with museums and other heritage organizations, but increasingly academic researchers and universities became involved, for instance through collaborative projects. This book is the result of such collaboration.

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This book brings together innovative, multidisciplinary perspectives on contemporary museology and participatory museum practice that contribute to wider debates on museum communities, heritage, and sustainability. Set within the context of globalisation and decolonisation, this book draws upon bi-regional research that will enrich our understanding of the complex relationships between Europe, Latin America and the Caribbean through museum studies and practice. Chapters reflect upon the role of museums in defining community identities; the importance of young people’s participation and intergenerational work for sustainability; the role of museums in local development; and community-based museums and climate change.

-- Open Access eBook.
The Queer Museum examines how relationships between institutions and LGBTQ+ communities function and how they help to define queer museum practice. Analysing what it means to queer the museum in Western contexts, the book builds upon and challenges texts about inclusionary, activist museum practice and discusses the ways in which Othered communities are engaged with and represented. Arguing that an institution’s understanding of queerness is directly related to the kind, and extent, of change pursued by the museum, the author clarifies that governance structures, staff hierarchies, funding and relationships to queer communities affect the way queering might be pursued. The analysis looks critically at exhibitions and institutions and particularly forefronts the experiences of museum practitioners.

This book begins to trace the growth of the American historic preservation movement over the last 50 years. The first generation of the New Preservation (1966-1991) was characterized by the establishment of the bureaucratic structures that continue to shape the practice of heritage conservation in the United States. The National Register of Historic Places began with less than a thousand historic properties and grew to over 50,000 listings. The book uses the story of how sites associated with African American history came to be officially recognized and valued, and how that process challenged the conventions and criteria that governed American preservation practice.

- Open Access book
While museums have long focused on building digital object databases, the existing data can now become a field of application for machine learning, deep learning, and foundation model approaches. This goes hand in hand with new artistic practices, curation tools, visitor analytics, chatbots, automatic translations and tailor-made text generation. With a decidedly interdisciplinary approach, the volume brings together a wide range of critical reflections, practical
perspectives and concrete applications of artificial intelligence in museums, and provides an overview of the current state of the debate.

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This book focuses on big data analytics methods and tools that have been specifically developed for the domain of cultural heritage, as well as on experiences from the adaptation and/or application of general-purpose solutions in the domain of cultural heritage. The editors aimed to gather solutions, but also to summarise the lessons learnt, methodologies, and good practices that researchers and practitioners can use as a basis for their own work in the domain.

Open Access eBook.
Dieses Buch ist für alle, die mutig genug sind, sich selbst und das Zeigen von Kunst zu stören. Beatrice Miersch entwirft radikal-relationale Alternativen zu zeitgenössischen Ausstellungspraktiken. Um sich der gesellschaftlichen Verantwortung im Rahmen des Ausstellens von Kunst zu stellen, erprobt sie queer-feministische, kulturwissenschaftliche und selbstreflektierende Methoden in der Praxis und Theorie des Kuratierens. Momente kuratorischer Störung werden zu produktiv-schöpferischen Momenten der Unterbrechung, mit denen sie reflektierte, offene, engagierte und vulnerable Perspektiven auf das Ausstellen eröffnet und tradierte Strukturen durchbricht.

This book's content is presented by museum educators, arts administrators, occupational therapists, and school psychologists--contributors with different expertise and perspectives on the stakes of cultural arts experiences for neurodiverse visitors. Their practical goals for the reader are threefold: to understand the value of programming for neurodiverse visitors and effectively communicate this to others; to build a toolkit of strategies and resources for neurodiverse visitors to have successful visits to cultural institutions, no matter the staff size, budget, or current stages of accessibility; to develop evaluation strategies to gauge the impact of offerings for neurodiverse visitors with results that help the reader improve, grow, and refine for the future.

In 1927, Kenneth Crosthwaite Murray left England to develop the art program in the British colony of Nigeria. As he traveled the country, Murray saw the cultural practices and craft production of Nigerian visual material under threat and decided to collect these pieces to preserve, understand, and, perhaps, console during a period of great change. He and a few of his colleagues built seven museums before independence, established export policies, began calling for the return of cultural heritage, and developed excavation protocol. This book captures Murray’s life and legacy and explores the tension that arose among the colonial government, officers, and Nigerians who sought to build these cultural institutions during the transition to a newly independent Nigeria.

This book examines how creative arts and memory institutions selectively commemorate or often outright ignore stark histories of colonialism. The essays confront outdated narratives and institutional methods by investigating contemporary artistic and scholarly interventions documenting settler colonialisms including land theft, incarceration, intergenerational trauma, and genocide. Rather than dwelling simply in celebratory appraisals of Indigenous survival, this unprecedented volume tracks how massacres, disease, removals, abrogated treaties, religious intolerance, theft of land, and relocation are conceived by contemporary academics and artists.