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Tytuł:
“1945” as a Turning Point in German Art History? Challenging the Paradigm of Rupture and Discontinuity
Autorzy:
Fuhrmeister, Christian
Powiązania:
https://bibliotekanauki.pl/articles/909534.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Coming to terms with the Nazi past
historiography
history of art history (in Germa-ny)
issues of post-totalitarian academia
art and politics
Opis:
The historiographical article looks at “1945” as a turning point, inquiring whether the end of both the Second World War and National Socialism also implied a radical break for art history in Germany. In evaluating both contemporary perspectives (like Herbert von Einem’s opening lecture of the First German Art Historians Meeting in 1948) and recent historiographical studies, the paper questions the concept of “Stunde Null” or “hour zero,” and intends to challenge the established paradigm of rupture and discontinuity. Arguing for a more nuanced and holistic understanding of the transformation processes in the postwar situation, three major reasons are identified why simplistic categorizations often prevail: (1) a very narrow definition of the art historian in the history of art history, (2) the disjunction between the humanities and the larger political context, which allow the individual to imagine himself/herself untainted and uncompromised by ideology, and (3) the high degree of continuity, in particular if compared to the radical changes that took place in 1933. The article thus resumes that the idea of “turning points” deserves further differentiation, and calls for the integration of the political dimension into historiography. Essentially, the challenge remains to distinguish between factual processes, false or fraudulent labelling, and symbolic gestures.
Źródło:
Artium Quaestiones; 2019, 30; 123-135
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Slavic” or “Germanic Spirit”? Examples of the Ideologisation of Arcades in Research on Architecture in the 19th and 20th centuries
Autorzy:
Gliński, Radosław
Powiązania:
https://bibliotekanauki.pl/articles/50670415.pdf
Data publikacji:
2022-09-22
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
medievalism
arcade architecture
arcades
art historiography
Polska
West Prussia
Silesia
Lesser Poland
Lublin Province
Opis:
Travelling across present-day Poland, it is only exceptionally possible to come across a specific type of historic urban and rural houses with a ground-level section open on three sides and supported on columns or posts. Yet still in the first half of the 20th century, in some areas of Europe this type of a house was commonly found, and already a century earlier it had intrigued researchers investigating among other things, its origins of development. Within the current borders of Poland, arcaded houses are found in greater concentration in territories that in the past belonged to different political organisms and thus their research was conducted with the adoption of different optics. It is noteworthy that arcades were easily subjected to various more or less conscious manipulations in order to justify their native character, sometimes understood as belonging to particular peoples, regions, nations or even races. The paper provides hypothesis that arcades are a construction element extremely liable to ideologisation. In order to illustrate this problem, the paper presents methods of interpreting the origin of arcades in former East and West Prussia, Silesia, Lesser Poland and Lublin Province in the period from almost the beginning of the 19th century, when researchers started to be interested in this element, until 1939 when Erich Kulke’s book was published, which was the clearest result of arcades’ ideologisation. These interpretations were divided into a few main groups, which made it possible to compare the narratives and to show how the same arguments could lead to different conclusions. Unique issues, characteristic only of particular regions, were also identified. Ultimately, an attempt was made to answer the question of what influenced the liablity of arcades to ideologisation. Since the authors of the research, often architects, promoted the preservation and use of arcades referring to old patterns in new developments, the question was also asked whether such developments actually occurred.
Źródło:
Ikonotheka; 2021, 31; 9-23
0860-5769
Pojawia się w:
Ikonotheka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Absolutyzm i legitymizacja władzy w Mediolanie pod rządami Ludovica Sforzy „Il Moro”
Absolutism and legitimacy of power in Milan under the rule of Ludovico Sforza ‘Il Moro’
Autorzy:
Tafiłowski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/689125.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Mediolan
Sforzowie
legitymizacja
sztuka
historiografia
Milan
the Sforzas
legitimacy
art
historiography
Opis:
The paper seeks to present the forms of legitimacy, as well as the means and tools that have been used for this purpose by usurping authority over Milan Ludovico Sforza. The attempts to legitimate the illegally seized power, taken by the Renaissance and early modern rulers, not only by political meanse, but also through cultural and artistic patronage are very important and interesting issues. The first part of the paper discusses the Ludovico’s road to take over the principality; in the second part Ludovico’s efforts to legalize his illegal power are described.
W tekście podjęto próbę zaprezentowania form legitymizacji władzy, a także środków i narzędzi, jakie wykorzystywał w tym celu uzurpujący sobie władzę nad Mediolanem Ludovico Sforza. Ważnym i ciekawym zagadnieniem są podejmowane przez renesansowych i wczesnonowożytnych władców próby zalegitymizowania nieprawnie zobytej władzy nie tylko środkami politycznymi, lecz także poprzez mecenat kulturalny i artystyczny. Pierwsza część tekstu poświęcona została drodze Ludovica do przejęcia władzy nad księstwem, druga zaś podejmowanym przez niego zabiegom, które miały mu pozwolić ją uprawomocnić.
Źródło:
Przegląd Nauk Historycznych; 2019, 18, 2; 189-207
1644-857X
2450-7660
Pojawia się w:
Przegląd Nauk Historycznych
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Contrastive study of the trend of metamorphosis of political activism using theatre in the twentieth and twenty-first century
Autorzy:
Yohanna, Joseph, Waliya,
Powiązania:
https://bibliotekanauki.pl/articles/890359.pdf
Data publikacji:
2017-09-28
Wydawca:
Akademia Pedagogiki Specjalnej im. Marii Grzegorzewskiej. Wydawnictwo APS
Tematy:
theatre
political activism
art historiography
Opis:
Ever since antiquities, theatre has been a medium of provoking sentimental reaction and an entertainment of the populace especially the elite. Authors of this genre do present active noble characters in their works making as if it is real. We do learn in Greco-Roman Empire how amphitheatre hosted Caesars, their officials and empiric subjects watching the gladiators and the persecuted Christians in the medieval era. Fifty years of cinema and the television as well as the new media have changed the mind-set of the global community towards life in general to form a unique interconnected universal cultural chains. In this research, we would like to use political activism theories called pluralist theories of Norris Pippa as critical lens to analyse the trend of political activism in the modern theatre of the early 21st century in comparison to that of the 20th century which led to violent revolutionary movements.
Źródło:
International Journal of Pedagogy, Innovation and New Technologies; 2017, 4(1); 80-86
2392-0092
Pojawia się w:
International Journal of Pedagogy, Innovation and New Technologies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
From Rio de la Plata to the Extreme West: Feminist Historiographies of Art and Artistic Activism in Argentina and Chile
Autorzy:
Giunta, Andrea
Powiązania:
https://bibliotekanauki.pl/articles/50672821.pdf
Data publikacji:
2024-08-02
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Latin America
Argentina
Chile
dictatorship
post-dictatorship
art feminist historiography
comparativism
Opis:
The purpose of this article is to employ a comparative approach that allows us to understand the approaches towards art historiography articulated in two countries of South America. Although women artists had organised themselves early on in societies, in women’s exhibitions, and were one of the driving forces in art, when we look at how the art canon has been configured in these countries, we must move to the end of 20th century and the beginning of 21st to find consistent work that dissociates itself from dominant patriarchal perspectives. In this article, I propose to approach this process comparatively, looking at two periods: first, the eighties-nineties and the introduction of gender studies; and second, the exhibitions, research and books produced, above all, since 2000. In both periods, I shall also consider the artistic activism that generated historiography. In the two cases studied, Argentina and Chile, the tension between democracy and dictatorship will also be considered as a relevant factor that has interrupted a process that had begun in the 1970s and would be resumed with the return of democracy.
Źródło:
Ikonotheka; 2023, 33; 145-162
0860-5769
Pojawia się w:
Ikonotheka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Letnia akademia w Marburgu poświęcona historii badań nad barokiem w okresie zimnej wojny
Marburg Summer Academy dedicated to Cold War Baroque studies
Autorzy:
Kłoda, Emilia
Powiązania:
https://bibliotekanauki.pl/articles/560118.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
historiografia historii sztuki
sztuka baroku
Europa Środkowo-Wschodnia
badania na sztuką po II wojnie światowej
letnia akademia
historiography of art history
Baroque art
East-Central Europe
studies on art after WW 2
summer academy
Opis:
The summer academy “Art History in the Cold War. Methods, scope of interests, systems of value” was organised by The Humboldt University of Berlin at The Herder Institute in Marburg on 7–14 September 2014 within the international research project “Asymmetrical art history? Research and mediation of ‘precarious’ monuments in the Cold War” chaired by Prof. Michaela Marek. The project is focused on analyses of art history texts written in East Central Europe in the time of Cold War. There were seven research coordinators and twelve participants from nine countries (The Czech Republic, Germany, Hungary, Italy, Lithuania, Poland, Portugal, Slovakia and Ukraine). The summer academy became a forum for exchange of concepts between representatives of various disciplines – history, art and architecture history, philosophy and cultural studies. The main elements of the summer academy were topic sections that based on the knowledge of the texts which had been sent in earlier (“What is Marxist art history?”, “Programmatic character of art history after the communists’ takeover”, “Sacral buildings. Religion – power – form?”, “Italy as a starting point – significance of Italian roots”, “Histories of artists – strategic personalisation?”). The schedule of the summer academy also appointed time for group work based on archive and library sources accessible within the place. A few visiting lectures were also held in the evenings. During the last day recapitulation an attempt to analysing relations among the researchers and their mutual influence, access at translations of specialist reading, decontextualisation of monuments, and unappreciated role of popular scientific publications and exhibitions in shaping our image of Baroque occurred to be the most important issues.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2015, 2(36); 122-127
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Niewidoczni w sztuce i zapomniani przez historię. Refleksje na temat sztuki jako czynnika przechowującego narodową pamięć historyczną
Invisible in art and forgotten by history. Reflections on art as an agent for preservation of the national historical memory
Autorzy:
Acosta Luna, Olga Isabel
Powiązania:
https://bibliotekanauki.pl/articles/29519326.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
sztuka kolumbijska
kolumbijska historiografia narodowa
proces zapomnienia
sztuka wykluczonych grup społecznych
Colombian art
national Colombian historiography
process of forgetting
art of excluded social groups
Opis:
Tekst stanowi refleksję nad sposobem, w jaki niektórzy artyści, przedstawiciele sztuk wizualnych od XIX wieku uwidaczniali w swoich pracach obecność zapomnianych i ignorowanych grup społecznych, takich jak potomkowie Afrykańczyków, kobiety, ludność tubylcza i chłopi, którzy odegrali zasadniczą rolę w procesach emancypacyjnych w Kolumbii zapoczątkowanych w 2. połowie XVIII wieku. Aktywność artystyczna związana z marginalizowanymi grupami była tradycyjnie ignorowana w środowiskach muzealnych Kolumbii. W tekście znalazły się przemyślenia dotyczące problemu „zapomnienia grup podporządkowanych” jako istotnego czynnika kształtowania się lokalnej pamięci historycznej, a także analiza prób ich uwidocznienia w sztuce narodowej, które podejmowano od XIX wieku. Zostały zaprezentowane trzy konkretne studia przypadku, które ukazują różne momenty w historii sztuki w Kolumbii (1845–1860, 1910–1950 i 2010). W analizie podkreślono także rolę obchodów 200-lecia niepodległości Kolumbii (Bicentenario de la Independencia de Colombia) w 2010 roku, a zwłaszcza wystawy prezentowanej w Museo Nacional de Colombia Las historias de un grito. 200 años de ser colombianos (Historia krzyku. 200 lat bycia Kolumbijczykami) w dniach 3 lipca 2010 – 16 stycznia 2011. Celem wystawy było m.in. zaradzenie „procesowi zapomnienia” i uwidocznienie wysiłków podejmowanych od końca XX wieku przez historiografię narodową w celu uzupełnienia historycznych luk.
The text reflects on the way in which some visual artists since the nineteenth century made visible in their works the presence of forgotten and ignored part of populations such as Afro-descendants, women, indigenous people and peasants who played a fundamental role in the emancipation processes that took place in Colombia since the second half of the eighteenth century. These artistic productions were traditionally ignored in museum environments in Colombia. Hence, the text highlights the oblivion of subaltern populations as an essential factor in the conformation of a local historical memory and analyzes how, since the 19th century, an attempt was made to make them visible in national art. To this end, she focuses on three particular case studies that connect different moments in the history of art in Colombia (1845–1860, 1910–1950 and 2010) and highlights how the commemoration of the Bicentennial of Colombia’s Independence in 2010, and especially the exhibition organized by the National Museum of Colombia, Las historias de un grito. 200 years of being Colombian (3.07.2010–16.01.2011), sought to address these oversights and thereby made visible the attempts made by national historiography since the late twentieth century to mend these historical gaps.
Źródło:
TECHNE. Seria Nowa; 2023, 1, 11; 117-143
2084-851X
Pojawia się w:
TECHNE. Seria Nowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Notes to Continue Thinking about Feminist Artivism in Mexico
Autorzy:
Noriega Vega, Cecila Itzel
Pardo Ibarra, Una
Powiązania:
https://bibliotekanauki.pl/articles/50673160.pdf
Data publikacji:
2024-08-02
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
feminist artivism
Mexico
feminist aesthetic-political practice
historiography of art
Opis:
Despite the large number of feminist artistic practices in Mexico that clearly ascribe to women’s rights and the fight against gender violence, there is a historiographical problem regarding the use of a term capable of accounting for the social impact of these practices. Therefore, one may suggest analysing the plurality of terms to understand the increasingly present use in Mexico in recent years of the term feminist artivism. We identify how the use of the term evokes a diversity of cultural agents that may or may not be linked to the world of art, which requires its own discussion so that we might understand the scope and limitations of these artistic practices and how we study them. One of the main problems is the development of feminist artivism in the context of neoliberalism and globalisation, where some artistic practices can be ascribed to this term but can end up contributing to mercantilist logic. Likewise, there are many subversive actions with aesthetic potential that this term omits, which force us to rethink artistic frameworks. Thereby, as a way of offering a term that seeks to account for the characteristics of current art, we propose incorporating the concept of feminist aesthetic-political practices. It is not our intention to offer an unequivocal and unstable category but rather to show the complexity that goes through the artistic and cultural practices that are positioned by feminism today. Finally, as far as methodology is concerned, we suggest writing based on situated knowledge and acknowledging the potential of oral history. Also, we try to give voice to a plurality of stories and experiences, from different disciplinary fields and to establish intergenerational dialogues, as an exercise in collaborative reflection, or accompanied thought, that allows us to raise the problem in its complexity.
Źródło:
Ikonotheka; 2023, 33; 163-182
0860-5769
Pojawia się w:
Ikonotheka
Dostawca treści:
Biblioteka Nauki
Artykuł
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:
Przyziemne potrzeby w badaniach społeczno-gospodarczych dawnej Polski
Earthly Necessities In Socio-economic Studies On Historical Poland
Autorzy:
Guzowski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/2080860.pdf
Data publikacji:
2019
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
economic history
social history
historical demography
the state of the art
historiography
historia gospodarcza
historia społeczna
demografia historyczna
aktualny stan wiedzy
historiografia
Nauki Humanistyczne i Społeczne
Opis:
The article presents the author’s perspective on the achievements of Polish historiography in the fi eld of economic, social and historical demography of the pre-industrial period. It also suggests new directions of research that would relate to trends, methods and theories prevalent in world historiography.
Źródło:
Historyka studia metodologiczne; 2019, 49; 329-359
0073-277X
Pojawia się w:
Historyka studia metodologiczne
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
Tytuł:
Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn
Autorzy:
Krispinsson, Charolotta
Powiązania:
https://bibliotekanauki.pl/articles/909475.pdf
Data publikacji:
2019-05-07
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Niccolò di Pietro Gerini
the material turn
art historiography
connoisseurship
visual culture studies
new art history
fetishism
Opis:
Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history:  the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance. 
Źródło:
Artium Quaestiones; 2018, 29; 5-23
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case
Autorzy:
Kodres, Krista
Powiązania:
https://bibliotekanauki.pl/articles/909522.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Socialist art history and historiography
Soviet studies
Thaw era and modernisation
centre (Moscow) and periphery (Estonian SSR) relations
art and ideology
progressiveness in art
Opis:
The paper deals with renewal of socialist art history in the Post-Stalinist period in Soviet Union. The modernisation of art history is discussed based on the example of the Estonian Soviet Socialist Republic (Estonian SSR), where art historians were forced to accept the Soviets’ centrally constructed Marxist-Leninist aesthetic and approach to art and art history. In the art context, the idea of progressiveness began to be reconsidered. In previous discourse, progress was linked with the “realist” artistic method that sprang from a progressive social order. Now, however, art historians found new arguments for accepting different cultures of form, both historical and contemporary, and often these arguments were “discovered” in Marxism itself. As a result, from the middle of 1950’s Soviet art historians fell into two camps in interpreting Realism: the dogmatic and revisionist, and the latter was embraced in Estonia. In 1967, a work was published by the accomplished artist Ott Kangilaski and his nephew, the art historian Jaak Kangilaski: the Kunsti kukeaabits – Basic Art Primer – subtitled “Fundamental Knowledge of Art and Art History.” In its 200 pages, Jaak Kangilaski’s Primer laid out the art history of the world. Kangilaski also chimed in, publishing an article in 1965 entitled “Disputes in Marxist Aesthetics” in the leading Estonian SSR literary journal Looming (Creation). In this paper the Art Primer is under scrutiny and the deviations and shifts in Kangilaski’s approach from the existing socialist art history canon are introduced. For Kangilaski the defining element of art was not the economic base but the “Zeitgeist,” the spirit of the era, which, as he wrote, “does not mean anything mysterious or supernatural but is simply the sum of the social views that objectively existed and exist in each phase of the development of humankind.” Thus, he openly united the “hostile classes” of the social formations and laid a foundation for the rise of common art characteristics, denoted by the term “style.” As is evidenced by various passages in the text, art transforms pursuant to the “will-to-art” (Kunstwollen) characteristic of the entire human society. Thus, under conditions of a fragile discursive pluralism in Soviet Union, quite symbolic concepts and values from formalist Western art history were “smuggled in”: concepts and values that the professional reader certainly recognised, although no names of “bourgeois” authors were mentioned. Kangilaski relied on assistance in interpretation from two grand masters of the Vienna school of art history: Alois Riegl’s term Kunstwollen and the Zeitgeist concept from Max Dvořák (Zeitgeist, Geistesgeschichte). In particular, the declaration of art’s linear, teleological “self-development” can be considered to be inspiration from the two. But Kangilaski’s reading list obviously also included Principles of Art History by Heinrich Wölfflin, who was declared an exemplary formalist art historian in earlier official Soviet historiography. Thaw-era discursive cocktail in art historiography sometimes led Kangilaski to logical contradictions. In spite of it, the Primer was an attempt to modernise the Stalinist approach to art history. In the Primer, the litmus test of the engagement with change was the new narrative of 20th century art history and the illustrative material that depicted “formalist bourgeois” artworks; 150 of the 279 plates are reproductions of Modernist avant-garde works from the early 20th century on. Put into the wider context, one can claim that art history writing in the Estonian SSR was deeply engaged with the ambivalent aims of Late Socialist Soviet politics, politics that was feared and despised but that, beginning in the late 1950s, nevertheless had shown the desire to move on and change.
Źródło:
Artium Quaestiones; 2019, 30; 211-223
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:
Vasari, Bellori, Lanzi – trzy filary włoskiej historiografii artystycznej
Vasari, Bellori, Lanzi – three pillars of Italian artistic historiography
Autorzy:
Michałowicz, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/1901962.pdf
Data publikacji:
2012
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
historiografia
sztuka włoska
historia historii sztuki
piśmiennictwo o sztuce
żywoty
cykliczny model rozwoju sztuki
historiography
Italian art
history of history of art
writing on art
lives
the cyclical model of art development
Opis:
From the middle of the 16th century, when the first edition of Giorgio Vasari's Lives of the Most Eminent Painters, Sculptors, and Architects appeared, until the threshold of modernity, the unusually influential conceptions concerning the development of art contained in the book, albeit criticized from various angles, were not in fact undermined as far as their foundations are concerned. Nevertheless, the 17th and 18th century Italian artistic historiography, as one that was formed in a different context and tried to describe and indicate the origin of art created by artists who started setting different goals, differed from the 16th century art in many details. They are shown in the article by confronting Vasari’s ideas with the visions of art presented by his great successors: Gian Pietro Bellori in his Lives of the Artists (1672) and Luigi Lanzi’s History of Painting in Italy; From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century (1796). Special attention is paid to the changing conception of art, the changing artistic ideas and the historical awareness that was being born, leaning towards reformulating the time-honored vision of history.
Źródło:
Roczniki Humanistyczne; 2012, 60, 4; 177-204
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 16

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