Journal of Art Historiography

Articles from No. 15, December

A Panofskyian Meditation on Free Will and the Forces of History: Is Humanist Historiography Still Credible? 1
Erwin Panofsky's essay 'The History of Art as a Humanistic Discipline' published in 1940 succinctly identified a web of metaphysical problems that underlie not only art historiography but the entire province of the humanities.2 The dilemma about the...
Art Fighting Its Way Back to Aesthetics Revisiting Marcel Duchamp's Fountain
Claiming that 'art is not what you think it is,' Donald Preziosi and Claire Farago recall certain deep layers of art, layers that have been forgotten, repressed, occulted, or simplified beyond all recognition but layers that are working paradoxically...
Art History and Its Machines
Daidalos, perhaps related to (ProQuest: ... denotes non-US-ASCII text omitted.), "to work artfully; to work up."1In honor of Donald Preziosi's 75th year, I offer this small contribution in the spirit of a toast. I do so by thinking about (and maybe a...
Austria as a 'Baroque Nation'. Institutional and Media Constructions
Paris, 1900When Alfred Picard, General Commissioner of the World Exhibition in Paris 1900, declared that the national pavilions of the 'Rue des Nations' along the river Seine should be erected in each country's 'style notoire', the idea of characterizing...
Banal Art History. Baroque, Modernization and Official Cinematography in Franco's Spain 1
Dictatorship, mass media and the nationalization of the massesAfter a failed military coup against the legitimate government of the Spanish Second Republic and a civil war (1936-1939) won by the rebels, the dictator Francisco Franco would rule Spain...
Baroque and the Political Language of Formalism (1845-1945): Burckhardt, Wölfflin, Gurlitt, Brinckmann, Sedlmayr
Evonne Levy, Baroque and the Political Language of Formalism (1845-1945): Burckhardt, Wölfin, Gurlitt, Brinckmann, Sedlmayr, 400 pp., 42 ills, Basel: Schwabe, 2015. euro 68, ISBN 978-3-7965-3396-9Among the theoretical patterns that shaped art history...
Baroque Images of the Saints, Their Visions and Emotions as Reflected by Popular Discourses around 1970
This article attempts to identify and describe some of the concepts that have been used in popular discourse in relation to Baroque art, architecture and visual culture on both sides of the Iron Curtain. The concepts to be studied are associated with...
Baroque in Croatia. Presentation of Baroque Culture in Croatia in the Socialist Period
IntroductionIn the Croatian art historiography of the Cold-War period, Baroque art stands out as a particular subject of interest. Defined in simplified terms as the art of CounterReformation and of Absolute Monarchy, that is to say the art of the Church...
Beyond Ideology: Representations of the Baroque in Socialist Czechoslovakia as Seen through the Media 1
As in many other countries, in Czechoslovakia the perception of the Baroque in the public sphere was far from a matter of agreement. After the 1939-1945 war, this once more led to a universal depreciation of the Baroque, eagerly integrated by the new...
Bibliography
Books:"Minoan Palace Planning and Its Origins," PhD., Cambridge (MA): Harvard University 1968.Labrys (Report on the Yale Project on Architectural & Settlement Analysis), New Haven, Charlton Press, 1970The Semiotics of the Built Environment: An Introduction...
Circulations in the Global History of Art
Approaches and challenges to a global art history Review of: Circulations in the Global History of Art, edited by Thomas DaCosta Kaufmann, Catherine Dossin, and Béatrice Joyeux-Prunel, Studies in Art Historiography, Surrey, England and Burlington, VT:...
Creating History by Re-Creating the Minoan Snake Goddess
Open most mainstream, popular cultural publications or current art history or humanities textbooks to the pre-Greek Aegean period, and an image of a faience statuette labelled Snake Goddess [Figure 1] dominates the pages. Look at advertisements for touring...
Critical Zen Art History
For twenty-odd years I have taught a course called 'Zen Meditation, Zen Art.' When I first proposed it, darts arrived from several directions. A colleague at another university assured me that I was less than qualified to teach it, my several years of...
Deferring and Materiality: Incomplete Reflections on Donald Preziosi
Putting together reflections about the work of Donald Preziosi is difficult for me, as I am, and have been for some time, engaged in an ongoing attempt to work through some of his ideas, an endeavour that has yet seen little progress. I feel as if I...
Dvorák's Pupil Johannes Wilde (1891-1970)
IN 1903 THE YOUNG Bohemian art historian Max Dvorák (1874-1921) wrote to his first teacher, a respected professor of history at the Czech-language university in Prague, Jaroslav Goll: My work on the Van Eyck Brothers and the beginning of Netherlandish...
Encountering Empty Architecture: Libeskind's Jewish Museum Berlin
PreambleIn Art Is Not What You Think It Is, Claire Farago and Donald Preziosi observe how the architecture of contemporary museums inspires active relationships between exhibitions and visitors.1 Referring to the 2006 Denver Art Museum by Daniel Libeskind,...
European Art: A Neuroarthistory
John Onians, European Art: A Neuroarthistory. New Haven and London: Yale University Press, 2016. 320 pages. ISBN-10: 0300212798. ISBN-13: 9780300212792. £40.50.What bearing should considerations of human nature have on the study of art? Many might disagree...
Exhibiting Central European Baroque Art in Cold War Britain: 'The Works Themselves Refute Geographical Separatism'
This article analyses the organization and reception of one exhibition of baroque art, Baroque in Bohemia. 1 Organized collaboratively across the Iron Curtain, it formed part of an official governmental programme of cultural exchanges between Britain...
Fragmente Zur Ausdruckskunde
Review of Aby Warburg, Fragmente zur Ausdruckskunde, edited by Ulrich Pfisterer and Christian Hönes. Berlin: Walter de Gruyter, 2015). Volume 4 of Aby Warburg: Gesammelte Schriften.When Ernst Gombrich published his intellectual biography of Aby Warburg...
Gombrich among the Egyptians and Other Essays in the History of Art
Robert Bagley, Gombrich among the Egyptians and Other Essays in the History of Art, Seattle: Marquand Books, 2016, 208 pages, ISBN-10: 0692397140 ISBN-13: 978-0692397145, 150 ills, $60.00The most memorable thing I have ever heard in a faculty meeting...
In Gratitude
I arrived at SUNY-Binghamton as a master's degree student in art history in the fall of 1984. Binghamton's reputation as a department of diverse methodological and theoretical approaches to studying art history attracted me from the great plains of Oklahoma....
In Search of the Origin of the Gothic: Thomas Pitt's Travel in Spain in 1760 *
Among the many travellers who toured Spain in the eighteenth century, there is one whose visit has gone unnoticed in the periegetic literature but who is of great interest: Thomas Pitt, First Baron Camelford (fig.1), who visited the Iberian Peninsula...
International Exhibitions as an Instrument of Domestic Cultural Policy: How Baroque Art Came to Be Honoured in Socialist Czechoslovakia
In 1969, in the small city of Chlumec nad Cidlinou, east of Prague, a museum for the 'Baroque art of Bohemia' was opened in the Karlova Koruna State Château, as a de facto branch of the National Gallery:1 not in the capital but at the time a half day's...
Interview with Donald Preziosi
Could you talk about your relationship to the institutional contexts in which you first studied or taught art history?My relationships to institutional contexts, whether as a student or later as a professional scholar, critic, and theorist, at Harvard,...
Introduction: 'The Preface of What You Shall Have Been'
In celebration of Donald Preziosi's seventy-fifth birthday and as a modest tribute to his profound influence on rethinking the disciplinary and historiographic conditions of art history, this issue of the Journal of Art Historiography brings together...
Is Art History Still a Coy Science?
In 1989 Donald Preziosi called art history a coy science, by which he meant that it was reserved and even concealing of its means of operation.1 One of Preziosi's objects of attack was a compulsion toward interpretation, which, he argued, 'is established...
'I Write Four Times.': A Tribute to the Work and Teaching of Donald Preziosi
'I write four times here, around painting.' So states Jacques Derrida in section four of the first chapter, 'Passe-Partout,' of his book Truth in Painting, published in 1978 in French and in 1987 in English (translated brilliantly by Geoff Bennington...
Julius Von Schlosser: Aesthetics, Art History and the Book
Report on the 150th Anniversary Conference on Julius von Schlosser, 6th and 7th October 2016:Julius von Schlosser (1866-1938)Internationale Tagung zum 150. Geburtstag, gemeinsam veranstaltet vom Kunsthistorischen Museum Wien und dem Institut für Kunstgeschichte...
Modernism and the Sense of History
The poet . . . is not likely to know what is to be done unless he lives in what is not merely the present, but the present moment of the past, unless he is conscious, not of what is dead, but of what is already living.1-T. S. EliotWhoever has approved...
Postnarrativist Philosophy of Historiography
Jouni-Matti Kuukkanen, Postnarrativist philosophy of historiography, Houndmills: Palgrave Macmillan, 2015. 252 pp., AIAA 2015 edition (1 July 2015), ISBN-10: 113740986X, ISBN-13: 978-1137409867, £60.00It is more exciting to write true history (or as...
Rage and Denials. Collectivist Philosophy, Politics, and Art Historiography, 1890-1947
Review of: Branko Mitrovic, Rage and Denials. Collectivist Philosophy, Politics, and Art Historiography, 1890-1947, University Park, Pennsylvania University Press 2015, 242pp.ISBN 978-0-271-06678-3Arriving in an elegant op-art dust jacket that seems...
Reception of the Baroque in US University Textbooks in Art History
The call for papers at the conference 'Baroque for a Wide Public', held at the Institute for Art and Visual History at Humboldt-Universität zu Berlin, in June 2015 noted that histories of art and artists had found a mass public thanks to publications,...
'Ribald Man with a Cranky Look'. the Sarmatian Portrait as the Pop-Cultural Symbol of Baroque Art in Poland 1
A bald-headed man with an exotic-looking moustache looks out at us from a magazine cover. The face, taken from a Baroque period portrait, is shown wearing a modern white-collar shirt. 'How Polish is a Pole?' the heading asks.2 Clearly, the ugly, round,...
Scientific Baroque - for Everyone. Constructing and Conveying an Art Epoch during the Stalinist Period in the Soviet Union and in Soviet Estonia
Thomas da Costa Kaufmann once remarked that the Princeton University library alone contains over 5000 books with the word 'Baroque' in their titles.1 On reading just a few of the writings on the Baroque, it appears that from the end of the eighteenth...
Spectres in Storage: The Colonial Legacy of Art Museums
In 1985, when I arrived in the United States to pursue graduate studies in Binghamton University, Donald Preziosi was in the process of formulating his discourse on the art museum. This thought kernel expanded into a lecture series that Preziosi delivered...
Stories Fort/da My Significant Other
Since each of us was several, there was already a crowd... To reach, not the point where one no longer says I, but the point where it is no longer of any importance whether one says I. We are no longer ourselves. Each will know his own. We have been...
The Afterlife of the Kulturwissenschaftliche Bibliothek Warburg
11 JUNE 2016Review of: Uwe Fleckner and Peter Mack, The Afterlife of the Kulturwissenschaftliche Bibliothek Warburg: Volume 12 (Vortrage Aus Dem Warburg-Haus), Berlin/Boston: De Gruyter 2015, 250 pp., 52 ill. b/w, £29.99, ISBN-10: 3110438305, ISBN-13:...
The Baroque in West Germany: Creating Regional Identity in the Post-National Federal State. Exhibitions as Mass Media 'For a Wide Audience'
Do individual countries and states develop an 'image of the Baroque' that is specific, typical of its era, clearly defined and visibly distinct from that of other nations? Is it thus possible to make a statement about the rather numerous and diverse...
The Jewish Modernist: Isaac Grünewald in Bertel Hintze's Art History
'Not for nothing is Grünewald a Semite.' (Bertel Hintze)With these words the Finnish art historian and chief curator Bertel Hintze (1901-1969) explained the 'oriental colourfulness' and captivating rhythm that was the foundation of the art by the 'incomparable...
To Betray Art History
We seekNothing beyond reality. Within it,Everything- Wallace Stevens, 'An Ordinary Evening in New Haven'To write has no other function: to be a flux which combines with other fluxes - all the minority-becomings of the world. A flux is something intensive,...
Towards a 'Polychrome History' of Greek and Roman Sculpture
Ancient and medieval sculpture was normally painted and at times gilded. Today most of the original paint is lost, but scientific methods have made it possible to trace even slight remains of paint no longer visible to the naked eye. Hypothetical reconstructions...
Were the Ancient Romans Art Forgers?
A popularly held tenet in the historical record on art is that the practice of forgery began in the ancient world. Rome provides the key exhibit, where sculptures made by craftsmen of the day were passed off as classical Greek antiques and sold to naïve...
What Does a Transition Mean?
What a module means, then, depends on answering the questions For whom? and For What End?- Donald PreziosiThis brief contribution is inspired by a 2003 essay by Donald Preziosi, 'What Does a Module Mean?'1 which referenced some of the issues in his later...
Whose Global Art (History)? Ancient Art as Global Art 1
DedicationWhen asked to write in honor of Donald Preziosi, I began rereading much of his scholarship. I started with Rethinking Art History: Meditations on a Coy Science,2 and it brought me back to the moment I purchased this book at the Museum of Modern...
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