Five artworks will be removed from public view at the Kunsthaus Zurich museum in Switzerland in order to investigate whether they were looted by Nazis during World War II. The paintings are by Monet, van Gogh, Gauguin, Courbet and Toulouse-Lautrec, and come from the Bührle Foundation, which has been working with a provenance researcher for many years to determine the ownership history of the collection. Here's more from NPR.
"an impressive achievement, covers a wide range..strongly recommended."- Paul Joannides, Cambridge U
"...beautifully shot, illuminating on the painter’s relationships w/ contemporary artists, his studio & on his relations with clients." - Jane Stevenson, SRF, U of Oxford
Another excellent review of RAPHAEL: A PORTRAIT: “Sheds essential light on one of history’s greatest artists. Meticulously researched while there’s much to enjoy for even the dilettante..a thing of splendour"
Details: https://ideasroadshow.com/raphael/
Photos are coming in from the #IN2FUTURE Boot Camp, #IN2PAST's first doctoral school, which began on Saturday in Évora.
Experimentation, immersion, collaboration, sharing, reflection — that's what we are offering PhD students from the seven research centres that make up the Associated Lab.
It seems that Owen Jones, author of 'The Grammar of Ornament' (1856: https://www.nms.ac.uk/explore-our-collections/stories/global-arts-cultures-and-design/grammar-of-ornament/), felt VERY UNCOMFORTABLE at all those swole Assyrian muscleboys, (especially the 'muscles of the limbs and the rotundity of the flesh') and decided to deal with it by classifying it a SYMPTOM OF DECLINE in art, and a DESCENT IN THE SCALE OF PERFECTION.
How Victorian: to project in outward judgment an inward belief that lacked words like 'twink' and 'bear' to find expression.
These are digital #microscope photos of a camel from a 15th-century Persian manuscript in the @subugoe (Cod. MS pers. 14). The purple image was taken with ultraviolet light and the grey picture with infrared. Because infrared goes right through most pigments, it reveals the preliminary sketch of the camel underneath the pigment (which you see in the UV photo). Really interesting for the history of art!
Le numéro 78/4 des #AnnalesHSS est disponible en ligne (et bientôt dans vos boîtes aux lettres). Au sommaire, 2 dossiers et un train de comptes rendus :
👉 Histoire contemporaines et méthodes interdisciplinaires
👉 Captivité et esclavage
👉 Recensions: race et esclavage
Comment relire Pierre #Bourdieu à la lumière de ses archives, désormais accessibles? Paul Pasquali prend le dossier de la traduction et édition que Bourdieu a faite d'Erwin #Panofsky pour éclairer le concept, formalisé pour la première fois, d'habitus.
👉 Quand Bourdieu découvrait Panofsky. La fabrique éditoriale d’Architecture gothique et pensée scolastique (Paris-Princeton, 1966-1967)
The Siesta (1892) by Paul Gauguin. The artist worked on this painting over an extended period, incorporating numerous changes. The skirt of the woman in the foreground, for example, was originally bright red; there was a dog in the position now occupied by the basket at lower right; and the woman seated at the left edge of the porch was previously situated further to the left.
Inside the world of hidden #Renaissance portraits: ‘It’s very playful’
A new exhibition at #theMet looks at the practice of hiding portraits 🖼 attached to other portraits and the many reasons artists 👩🎨 chose to be secretive with their work
If Sheila Hale's massive biography of Titian seems to much, you will find Bruce Cole's smaller & more tightly focussed Titian & Venetian Painting 1450-1590 (1999) an easier read. Cole focussed much more on the painting & deploys some good sources to explore Titian's career, method & influence. Full of concise insights this is good mainstream art history, ideal if you're interested in Titian & want a quick introduction.
Der Thementeil, hg. v. Hanno Balz, widmet sich der Macht der #Farben in rassistischen & vergeschlechtlichten Diskursen. Die Autor*innen untersuchen, wie #Farben materiell & symbolisch wahrgenommen & genutzt wurden, um Bedeutung zu generieren, soziale Beziehungen zu prägen oder Differenz zu markieren:
Den Thementeil-Beitrag von Ramona Sammern (Salzburg) über die Konstruktion von #Whiteness in den Schriften venezianischer und römischer #Kunsttheoretiker des 16. Jahrhunderts gibt es übrigens als Leseprobe beim #transcript Verlag schon jetzt zum freien download:
Dominique Grisard (@unibasel) spürt dem Ursprung von #Rosa als "#Mädchenfarbe" nach. In #Märchen & #Kunst seit dem 16. Jh. stößt sie auf Topoi floraler #Weiblichkeit: Junge Frauen als blühende #Rosen und ihre rosigen, errötenden oder mit div. Rottönen geschminkten Wangen stehen dabei für Lebendigkeit, Empfänglichkeit, Verführung & Täuschung:
Beach at Beverly by John Frederick Kensett (1816-1872). Between 1859 and 1872, Kensett produced over thirty paintings of the North Shore of Massachusetts—then a popular vacation spot for Bostonians. More than twenty works were scenes of Beverly, a coastal town twenty-five miles north of Boston. In each of these works, the dominating compositional element is a large rock formation topped by bushes and small trees at the left.
The History of Art: A Global View: Prehistory to the Present by Jean Robertson et al, 2021
The History of Art: A Global View is the first major art history survey textbook -- written by a team of expert authors -- with a global narrative in mind. A chronological organization and “Seeing Connections” features help readers make cross-cultural comparisons.
Francis Ames-Lewis, The Intellectual Life of the Early Renaissance Artist (2000), is a well developed bit of synthetic #arthistory that uses its secondary sources to explore the key period between (around) 1390-1520 when the modern notion of the self-aware #artist appeared in Europe. Its stronger on the how than the why, but still offers a well-rounded & accessible account across a range of dimensions & remains a convincing narrative.
Additionally, #emdiplomats increasingly commissioned paintings themselves, often displaying them as diplomats. These paintings get more and more attention by current research. An especially famous example is Holbein’s The Ambassadors, showing the French ambassador to England, Jean de Dinteville. (5/7)
That there’s still much to learn about the way #emdiplomats wanted to be present themselves, shows this rather unusual portrait of Sir John Luttrell painted by Hans Eworth. (6/7)
Natour thus argues for more interdisciplinary cooperation between the history of diplomacy, art history, the history of music, the history of ideas as well as theatre and literary studies.
If we want to understand what #emdiplomacy was and who #emdiplomats were, we need, according to Natour, include paintings and other visual media in our considerations. (7/7)