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Wyszukujesz frazę "historiography of art" wg kryterium: Wszystkie pola


Wyświetlanie 1-3 z 3
Tytuł:
On Belatedness. The Shaping of Portuguese Art History in Modern Times
Autorzy:
Pinto dos Santos, Mariana
Powiązania:
https://bibliotekanauki.pl/articles/909494.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
belatedness
historiography
modernism
civilisation
eurocentrism
periphery
Opis:
Portuguese art history experienced remarkable development after World War II, especially with the work of José-Augusto França, who was responsible for establishing a historiographic canon for nineteenth- and twentieth-century Portuguese art that still endures. José-Augusto França developed a narrative that held Paris up as an artistic and cultural role model in relation to which he diagnosed a permanent delay in Portuguese art. This essay analyses França’s idea of belatedness in the context of Portuguese art historiography and political history and how it is part of a genealogy of intellectual thought produced in an imperial context, revisiting previous art historians and important authors, such as Antero de Quental and António Sérgio. Moreover, it aims to address how the concept of belatedness was associated with the idea of “civilisation” and the idea of “art as civilisation.” Belatedness also has implications in the constraints and specificities of writing a master narrative in a peripheral country – a need particularly felt in the second half of the twentieth century, to mark a political standpoint against the dictatorship that ruled from 1926 to 1974. Part of the reaction to fascism expressed the desire to follow other nations’ democratic example, but the self-deprecating judgements on Portuguese art were frequently associated with the identification of essentialist motifs – the “nature” of the Portuguese people, their way of thinking, of living, their lack of capacities or skills – and of a self-image of being “primitive” in comparison with other European countries that has antecedents going back to the eighteenth century. I will address the nostalgia for the empire and the prevailing notion of belatedness throughout the twentieth century regarding unsolved issues with that nostalgia.
Źródło:
Artium Quaestiones; 2019, 30; 37-64
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Towards the Theory of the Naïve Art – Grgo Gamulin and the Understanding of Modernism
Autorzy:
Mance, Ivana
Powiązania:
https://bibliotekanauki.pl/articles/909528.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Grgo Gamulin
Croatia
naïve art
modernism
art theory
art historiography
Opis:
The article presents the theory of naïve art of the Croatian art historian Grgo Gamulin (1910–1997), which he developed in a number of texts written from early 1960s. In his theory, Gamulin tried to explain the phenomenon of naïve art on the basis of the modernist paradigm by applying the type of argumentation that is characteristic for the discourse of high-modernity. Gamulin’s postulates on the naïve can be summarised with a few basic lines of speculation. First of all, Gamulin claims that the phenomenon of the naïve was epistemologically possible only in the context of modernism, and that it should therefore be considered an equally valuable movement of contemporary art. However, in order to defend its authenticity, he began adhering to the ab ovo theory, the notion that naïve art does not arise as a cumulative result of the historical development of art, but that it ontologically precedes that development. The naïve artist, according to Gamulin, always starts from the beginning, independent of events in the art world, and immune to influences. A naïve artist is therefore necessarily authentic, or rather original: not having any role models, he develops an individual style, independently building his own visual arts language. Gamulin further posits that the visual arts language of the naïve is not based on a naive imitation of reality, or mimesis, but on an instinctive, spontaneous symbolisation of subjective experience, and as such is completely autonomous in relation to the laws of reality, i.e. it is ontologically grounded in the artist’s imagination. Finally, in an effort to explain the social significance of naïve art, Gamulin interprets the emergence of the naïve in the context of the culture of modernism as compensation – a supposedly naïve attitude to aesthetic norms, as well as an imaginarium that evokes “lost spaces of childhood,” necessarily functions as a therapeutic substitute for the alienation of art and the modern life in general. As such, Gamulin’s theory vividly testifies to the character of naïve art as a phenomenon that is constitutive of the culture of modernism, but that also reflects a number of contemporary polemics and split opinions, not only on the topic of the naïve but of modernism as a whole. The split of opinions on naïve art, especially with regard to its genesis, partly reflects the positions of the so-called conflict on the left, discussions that were taking place between the interwar period and early 1950s with the aim of defining the relationship of leftist ideology to modernism, or rather the relationship between the values of socially-critical engagement and aesthetic autonomy. The discussion on the naïve, however, experienced a certain changing of sides– Grgo Gamulin, a one-time advocate for socialist realism, began supporting naïve art and thus rose to the defence of basically liberal understanding of modernism, while former opponents of socialist realism denounced the phenomenon of the naïve as ideologically inconsistent and aesthetically doctored. In conclusion, Gamulin’s theory, as well as the entire polemic around naïve art that was taking place during the 1960s and which the theory necessarily ties in with, demonstrates the complex contextual reality of a seemingly integral modernist paradigm, illustrating the confrontation of positions that is by no means peculiar to Yugoslav society.
Źródło:
Artium Quaestiones; 2019, 30; 191-209
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Scalanie i różnicowanie. O historiograficznych modelach dziejów modernizmu w Polsce
Merging and Differentiating. On the Historiographic Models of Modernism in Poland
Autorzy:
Juszkiewicz, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/2082063.pdf
Data publikacji:
2021
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
modernism
modernisation
regeneration
experience of modernisation
modernism in Poland
historiography
history of art
modernizm
modernizacja
regeneracja
doświadczenie modernizacji
modernizm w Polsce
historiografia
historia sztuki
Nauki Humanistyczne i Społeczne
Opis:
Tekst zarysowuje projekt badań nad modernizmem w Polsce, którego kluczowym elementem jest heu- rystyczny model modernizmu jako efekt społecznej reakcji na procesy modernizacyjne. Z jednej strony stały się one przyczyną przeświadczenia o negatywnym ich wpływie na cywilizację europejską, z drugiej wyzwoliły prze- konanie o konieczności wieloaspektowej regeneracji ludzkości i jej życiowej przestrzeni.
The text outlines a project of research on modernism in Poland, of which the key element is the heuristic model as the effect of the social reaction to the processes of modernisation. On the one hand, they caused the belief about their negative impact on European civilisation; on the other hand, they triggered the need for a comprehen- sive regeneration of humanity and its living space.
Źródło:
Rocznik Historii Sztuki; 2021, 46; 27-42
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-3 z 3

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