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Contents
Volume XCVII Number 1 March 2015
Whither Art History?
The Fine Art of Being Indigen ous
Articles
The Societ.a de l 1496: Supply, Demand, and Artistic Exch ange in Re naissance Perugia
Jn May 1496 live local artists opened a shared workshop in Perugia, creating a
painters' cooperative, known as the Societa de! 1496. An analysis ofthe form ation
and operation of their enterprise, their ac tive civic roles, individual and
collaborative works and their costs, as weil as their interrelations with the
more f.amous painters ac tive in the city- Pe rugino, Pintoricchio, and
Raphael-provides a more complete picture of the society's integral position
in Renaissance Perugia. What emerges is a greater understanding of how communal
arti stic production was designed to meet the increasing demand for art
in central ltaly around 1500.
Pietro Tacca's Quatlro Mori and the Conditio ns of Slavery in Early Seicento Tuscany
Sculptural images of bound captives at the foot of a triumphant victor dat:e
back to antiqui ty, yet the portraitlike depictions of slaves in Pietro Tacca's
Quattro Mo1i in Livorno (1621-26) were un ique in transcending th eir iconographic
roots to add ress contemporary social conditions in Tuscany's most
impon ant port. The developmen t of the slave trade in Livorno and the contemporary
constru ction of the Italian coast's most important bagno (slave
prison) form the backdrop for Tacca's sympathetic and idiosyncratic treatment
of these four Muslim captives.
J oshua Reyn olds's "Nice Chymistry": Action and Accident in the l 770s
The first president of Britain's Royal Academy of A.rts, J oshua Reynolds was
described by contemporaries as a dangerously misguided chemist. Using a
secretive laboratory of fü gitive mate rials, he crafted visually striking images
that came together qui ckly and stopped audiences dead in their tracks. But,
just as rapiclly, those paintings began to deteriorate as obj ects-flaking, cliscoloring,
visibly altering in time. When framed around the "nice chymistry" he
prescribed for aspiring artists in his famous Discou.rses, Reynolcls's risky pictorial
enterprise can be situated within a broacler problematic of making ancl
thi nking with temporally evolving chemical images in the later eighteenth
century.
The Visual Cu lture of Fash ion a ncl the Classical Ideal in Post-Revolutionary France
In her li ttle-known painting A Study of a Wo111.an ajier Nature (1802), MarieDenise
Villers exploited a coruunctme be r.ween masculine-infl ected icleals of
Neoclassical art and fem inin e-infl ected idcas or fashion abili ty in the post-Revolutionary
periocl in France by making a feature of female dress while emulating
the sta nclarcls of history painting. The artist's confident synthesis of
iclioms is examined in the cont:ext ofAlbertine Clement-Heme ry's memoir of
a women 's art studio. Walter Benjamin 's noti on of" gestus is enlistecl as a means
of uncle rstanding how the quitc different imagc cultures invokcd in this work
communicated social ideas.
RICHARD W. l-JILL SR. 7
SHERI FRANCIS SI-lr'\NEYFELT 10
MARK ROSEN 34
MATTHEW C. HUNTER 58
SUSAN L. SIEGFRIED 77
Reviews
Peter S. Wells, How Ancient Europeans Saw the World: Visions, Patterns and the Shaping of the
Mind in Prehistoric Times
Henri Matisse and Pierre Courthion, Chatting with Henri Matisse: The Lost 1941 lnterview,
edited by Serge Guilbaut, translated by Chris Miller
Italian Futurism 1909-1944: Reconstructing the Universe, Solomon R. Guggenheim Museum,
New York
Gregory H. Williams, Permission to Laugh: Humor and Politics in Contemporary German Art
Reviews Online
Recent Books in the Arts listings are now available online within caa.reviews at
www.caareviews.org.
ROBERT J. WALLIS
TODDCRONAN
ANTHONYWHITE
JENNIFERA. GREENHILL
100
102
104
107
111
Objektbeschreibung
| Katkey | 7126276 |
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| Dateiformat | application/pdf |
Beschreibung
| Katkey | Inhaltsverzeichnis 1 |
| Volltext | Contents Volume XCVII Number 1 March 2015 Whither Art History? The Fine Art of Being Indigen ous Articles The Societ.a de l 1496: Supply, Demand, and Artistic Exch ange in Re naissance Perugia Jn May 1496 live local artists opened a shared workshop in Perugia, creating a painters' cooperative, known as the Societa de! 1496. An analysis ofthe form ation and operation of their enterprise, their ac tive civic roles, individual and collaborative works and their costs, as weil as their interrelations with the more f.amous painters ac tive in the city- Pe rugino, Pintoricchio, and Raphael-provides a more complete picture of the society's integral position in Renaissance Perugia. What emerges is a greater understanding of how communal arti stic production was designed to meet the increasing demand for art in central ltaly around 1500. Pietro Tacca's Quatlro Mori and the Conditio ns of Slavery in Early Seicento Tuscany Sculptural images of bound captives at the foot of a triumphant victor dat:e back to antiqui ty, yet the portraitlike depictions of slaves in Pietro Tacca's Quattro Mo1i in Livorno (1621-26) were un ique in transcending th eir iconographic roots to add ress contemporary social conditions in Tuscany's most impon ant port. The developmen t of the slave trade in Livorno and the contemporary constru ction of the Italian coast's most important bagno (slave prison) form the backdrop for Tacca's sympathetic and idiosyncratic treatment of these four Muslim captives. J oshua Reyn olds's "Nice Chymistry": Action and Accident in the l 770s The first president of Britain's Royal Academy of A.rts, J oshua Reynolds was described by contemporaries as a dangerously misguided chemist. Using a secretive laboratory of fü gitive mate rials, he crafted visually striking images that came together qui ckly and stopped audiences dead in their tracks. But, just as rapiclly, those paintings began to deteriorate as obj ects-flaking, cliscoloring, visibly altering in time. When framed around the "nice chymistry" he prescribed for aspiring artists in his famous Discou.rses, Reynolcls's risky pictorial enterprise can be situated within a broacler problematic of making ancl thi nking with temporally evolving chemical images in the later eighteenth century. The Visual Cu lture of Fash ion a ncl the Classical Ideal in Post-Revolutionary France In her li ttle-known painting A Study of a Wo111.an ajier Nature (1802), MarieDenise Villers exploited a coruunctme be r.ween masculine-infl ected icleals of Neoclassical art and fem inin e-infl ected idcas or fashion abili ty in the post-Revolutionary periocl in France by making a feature of female dress while emulating the sta nclarcls of history painting. The artist's confident synthesis of iclioms is examined in the cont:ext ofAlbertine Clement-Heme ry's memoir of a women 's art studio. Walter Benjamin 's noti on of" gestus is enlistecl as a means of uncle rstanding how the quitc different imagc cultures invokcd in this work communicated social ideas. RICHARD W. l-JILL SR. 7 SHERI FRANCIS SI-lr'\NEYFELT 10 MARK ROSEN 34 MATTHEW C. HUNTER 58 SUSAN L. SIEGFRIED 77 Reviews Peter S. Wells, How Ancient Europeans Saw the World: Visions, Patterns and the Shaping of the Mind in Prehistoric Times Henri Matisse and Pierre Courthion, Chatting with Henri Matisse: The Lost 1941 lnterview, edited by Serge Guilbaut, translated by Chris Miller Italian Futurism 1909-1944: Reconstructing the Universe, Solomon R. Guggenheim Museum, New York Gregory H. Williams, Permission to Laugh: Humor and Politics in Contemporary German Art Reviews Online Recent Books in the Arts listings are now available online within caa.reviews at www.caareviews.org. ROBERT J. WALLIS TODDCRONAN ANTHONYWHITE JENNIFERA. GREENHILL 100 102 104 107 111 |
| Typ | |
| Dateiformat | application/pdf |
