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Patrizia McBride’s study, 'The Chatter of the Visible,' examines the paradoxical narrative features of the photo montage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity. While montage strategies have commonly been associated with the purposeful interruption of and challenge to narrative consistency and continuity, McBride offers an historicized re-appraisal of 1920s and 1930s German photo montage work to show that its peculiar mimicry was less a rejection of narrative and more an extension or permutation of it; a means for thinking in narrative textures exceeding constraints imposed by “flat” print media (especially the novel and other literary genres). According to McBride, “a close engagement with montage procedures going back to Cubism” reveals explicit inquiry into the status of objects as complex signifying entities whose “material qualities are inextricably bound up with linguistic dynamics.” She focuses on allegory as the appropriate tool for reading Weimar-era photo montage, focusing on the ways allegorical work in montage compositions foregrounds the moment of incorporation by purposefully exposing the pasted-in nature of the inserted materials. This moment of construction, argues McBride, produces a “chattering of forms that propels the distinctive experimentation of Weimar-era montage [and its experimental focus] on the ways in which perception interacts with physical forms in shaping the contours of the material world.” McBride’s contribution to the conversation around Weimar-era montage is in her situation of the form of the work as a discursive practice in its own right, which affords humans a new way to negotiate temporality; as a particular mode of thinking that productively relates the particular to the universal; or as a culturally specific form of cognition.
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The essays collected in this volume revolve around the activities of protection and preservation of the historical-artistic and archaeological heritage promoted in Italy between the second half of the 18th century and the first half of the 20th. They refer to different works in both chronology and materials analyzed (wall and gallery paintings, medieval and Renaissance sculptures, mosaics, excavated vases, entire archaeological sites), with the natural corollary of the theoretical debates and the methodological statements that accompanied these same works.The reference to Fernand Braudel in the title embodies the desire to trace a path that is not abstract, but grounded in the reality of the objects and of those who have been studying them in the past. The choice of a relatively broad time span, as well as the decision not to focus exclusively on a single type of object, seek to highlight the diachronic evolution of general concepts such as conservation and restoration, understanding links and differences between the pre-and post-unification phases of the layered national landscape. Further, they aim to retrace the conservative history of these works, hoping to also provide an interpretative tool to those who, in charge of the protection of these works, are tasked with the planning of future interventions: a proper programmatic preservation cannot, in fact, ignore the historical dimension that needs to inform any study that is to be done today on these works.
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Rosalie Gascoigne (1917–1999) was a highly regarded Australian artist whose assemblages of found materials embraced landscape, still life, minimalism, arte povera and installations. She was 57 when she had her first exhibition. Behind this late coming-out lay a long and unusual preparation in looking at nature for its aesthetic qualities, collecting found objects, making flower arrangements and practising ikebana. Her art found an appreciative audience from the start. She was a people person, and it pleased her that through her exhibiting career of 25 years, her works were acquired by people of all ages, interests and backgrounds, as well as by the major public institutions on both sides of the Tasman Sea.
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Printed images were, on one hand, material objects produced, owned or variously transformed by humans, but on the other hand, they were immaterial representations, conceived and variously received by humans as well. Certainly, such a complex relationship among things, people and images is not an exclusive feature of the premodern periods print cultures. However, the rise of printmaking challenged some established rules in the arts and visual realms. Three short insights may exemplify this rise of printmaking. The first insight s point of departure comprises material objects related to Lucas Cranach the Elders early Crucifixion; the second insight offers a human perspective, starting with Christophe Plantins working practices; and the third insight is a short story that emphasises the ambiguities surrounding what printed images represent, as epitomised by early modern depictions of wisent, a species related to the North American bison, but often confused with the Eastern European aurochs.
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Museums especially in the Anglosaxon world understand that they have to present themselves in a modern form if they want to be accepted by a younger audience. Internet, social media, virtual and augmented reality, open culture: these are keywords which receive an ever increasing importance in the museum context as well. The book presents a selection of art museums which approach the digital sphere in a creative manner. In this way they try to cope with both their mission to educate and to entertain.
Internet --- Art History --- Museum --- digital
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"This book is about a concept which is constantly used in many different ways, but also one of the most common concepts in humanities: context. However, the significance and use of this concept shifts between disciplines, and sometimes within the same discipline. All chapters in this edited volume address a concrete situation where this concept is used. The authors demonstrate how it can be applied in interpretations of images, buildings and places from different historical periods, and how it affects the ability to create meaning and knowledge. The interpretative action thus entails different forms of contextualisation. The book is primarily addressed to students of art history and others who take an interest in questions of visuality and visual practices. Offering not only a theoretical understanding of the concept, it strives to point out ways and possibilities of the practical use of contextualisation. This book constitutes the second volume of Theoretical Applications in Art History, which forms part of the series Basic Readings in Culture and Aesthetics."
Context --- Interpretation --- Methodology --- Art history
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Quandt was the builder of a first Goethe memorial site, founder of the Saxon Kunstverein and pioneer for a modern art gallery in Dresden. He promoted contemporary artists and explored Old Masters. He wanted his fellow citizens to be educated by art and tirelessly contributed to it with talks, articles and exhibitions. This study highlights the bustling personality and its work in the early 19th century. Quandt's broad commitment left deep traces in German cultural life and gave the young art history significant impulses. Therefore it is worth taking a look at his biography, his written legacies, his private collection with works of such well-known names as Overbeck, Schnorr von Carolsfeld, Friedrich, Botticelli, Fra Angelico and Cranach.
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This publication, which includes contributions from German, French and American academics, pays tribute to the multi faceted researcher Ernst Kris (1900 Vienna -1957 New York) from the perspective of different disciplines. In fact one needs three job descriptions to chart his output: art historian, psychoanalyst and communication scientist. At 22, Kris had concluded his art history studies at Vienna University with a doctoral thesis on the technique of casting from life in the late Renaissance, and had worked as a curator at the Kunsthistorisches Museum. By the middle of the 1920s he had already met Sigmund Freud and started an analysis – which made him slowly turn away from classical art history. In this period he developed his most interesting and fruitful texts, which founded his reputation as an art psychologist: his studies on the early classicist sculptor Franz Xaver Messerschmidt (1932/33), the text “On the psychology of caricature” (1934) and the small book he co-authored with Otto Kurz: “The Legend of the Artist” (1934). In 1938, immediately after the “Anschluss”, Kris followed Freud into exile in London, and in 1940 he moved with his family to New York. Here he initially devoted himself primarily to questions of communication science, setting up working groups to analyse the propaganda of the Axis alliance with astonishing speed. Later he taught at the New York Psychoanalytic Society and Institute, concentrating on child psychology. He set up research units at the Yale Child Study Center and from 1945 he edited the newly founded journal “The Psychoanalytic Study of the Child”. He died in New York, highly respected as an important advocate of Ego-Psychology. Thus Kris developed, partly through choice and partly by force of circumstance, a multi-disciplinary approach which is more in demand than ever today: due to the broadening of art history into a science of images, the questions that a psychologically aware communication science is confronted with today, and the recent understanding of psychoanalysis as a form of cultural investigation. Bearing this view of Kris in mind, the contributions to this publication review his writing in a newly critical way, place it in its historical context and highlight what it predicts. The publication opens up Kris’ work, which is still, unjustly, only known through some key terms in the disciplines he covers.
Psychoanalysis --- Psychiatry --- Art History --- Communication Science
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The concepts of art history were developed in the nineteenth century. This can inhibit dialogue with neighbouring disciplines. The concept “medium”, which belongs to the late twentieth century, can provide assistance and connect the argument of art history to the contemporary state of consciousness at least in the cultural sciences dealing with communication. At the centre of the book lie questions of the use and effect of objects. Dealing with a series of high-ranking art works, an observational method is practised that is both historically founded and compatible with modern discourses. The six case studies address the Naumburg Stifterfiguren, Pietro Lorenzetti’s frescos in Assisi, the Parament of Narbonne, the tomb of Archbishop Chichele in Canterbury, Raphael’s Sistine Madonna in Dresden, and the self-portraits of Anton Pilgram in St Stephen’s Church in Vienna.
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Soon after his death, Vincent van Gogh’s reputation grew and developed through the remarkably symbiotic relationship evident between his paintings and letters. However, the sheer bulk and complexity of Van Gogh’s complete surviving correspondence presents a formidable challenge to those who wish to read and analyze the whole text as a literary work.Reading Vincent van Gogh is at once an interpretive guide to Van Gogh’s letters and a distillation of the key themes that reoccur throughout his collected letters—foremost among them the motifs of suffering, love, imagination, and the ineffable. In this indispensable, synoptic view of the letters, Patrick Grant makes the main lines of Vincent van Gogh’s thinking accessible and displays the arresting vividness of the well-known artist’s writing.
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