World Art History

This contribution I think of as a little homage to John Mitchell, a long-time teacher and mentor, with whom I share a scholarly interest in the early medieval Mediterranean and England. Therefore, I thought it apposite to focus on an artefact which reveals immediate connections to the visual and material cultures of Italy and Byzantium for its iconography, but which also reveals how Christianity, its tenets, but also its alluring visual implications, had been absorbed and re-fashioned in early medieval England, often under well-travelled, culturally ambitious patrons. After describing the Deerhurst relief and its setting in the context of previous studies, I will highlight its novelty, both in iconography and materiality, which echo eigh¬th- and ninth-century developments in high-relief sculpture in central Italy. I will finally remark on how, with other unique reliefs produced in Mercia in c.800, the Deerhurst relief reveals an innovative visual thinking of the Virgin Mary in this area when compared to earlier evidence from Northumbria in which she is essentially presented as an enthroned Theotokos, that is ‘God bearer’. A re-fashioning of Mary in new visual forms between the late eighth and ninth centuries might have ultimately reinforced her status in this specific religious landscape, thus siding with the efforts of Alcuin in upholding the importance of the Virgin Mary in his opposition to Spanish Adoptionism.

This paper examines the problem of globalization in art history and the persistent issue of Eurocentrism within the discipline. Drawing on James Elkins' Is Art History Global?, it explores the possibilities and limitations of establishing art history as a global discipline, focusing on the influence of Western institutions, publishing platforms, and terminology. In the second part, the study compares Eastern and Western art historical approaches to the work of South Korean conceptual artist Kimsooja. By analyzing two texts-one by Korean scholar Whui-yeon Jin and another by Canadian researcher Lauren Lussier-the paper highlights the divergence between identity-centered and interpretive approaches. The findings suggest that globalization in art history is possible, but contingent upon valuing the quality of research over national or institutional origin.

2024 yılında bir sempozyumda sunulan bu makale, bedenin mekânı yalnızca algılamakla kalmayıp, kendi varoluşsal ve hareket temelli etkinlikleriyle mekânı ve dünyayı kuran temel bir özne olduğunu ileri sürer. Çalışma, Merleau-Ponty’nin bedenlenmiş algı yaklaşımından ve fenomenolojiden hareketle, mekânı sabit bir yapı olarak değil, bedenin duyusal-motor etkinlikleri, yönelimi ve zamansallığıyla sürekli inşa edilen dinamik bir oluşum olarak konumlandırır. Bu bağlamda, mekân yalnızca bir “anlam alanı” değil, bedenin eylemleriyle gerçekleşen ontolojik bir yaratım süreci, yani “mekân-dünya yaratımı” olarak ele alınır. Makale, bu kuramsal çerçeveyi hem felsefi hem de mimarlık ve sanat ilişkisi üzerinden geliştirerek, mekân anlayışına özgün bir ontolojik ve deneyimsel katkı sunar

Thanks to Salem sea captains, Gilded Age millionaires, curators on horseback and missionaries gone native, North American museums now possess the greatest collections of Chinese art outside of East Asia itself. How did it happen? "The" "China Collectors" is the first full account of a century-long treasure hunt in China from the Opium Wars and the Boxer Rebellion to Mao Zedong's 1949 ascent.The principal gatherers are mostly little known and defy invention. They included "foreign devils" who braved desert sandstorms, bandits and local warlords in acquiring significant works. Adventurous curators like Langdon Warner, a forebear of Indiana Jones, argued that the caves of Dunhuang were already threatened by vandals, thereby justifying the removal of frescoes and sculptures. Other Americans include George Kates, an alumnus of Harvard, Oxford and Hollywood, who fell in love with Ming furniture. The Chinese were divided between dealers who profited from t...

The adventures of an Eastern European postgraduate student during her PhD training in the UK. From finding a supervisor and a suitable research topic to financial difficulties and scholarship hunt. Transitioning from traditional memorization-heavy art history education to more research-oriented interdisciplinary approaches. Cultural contrasts between Hungarian and British academic environments, the concepts of world art and neuroarthistory at the University of East Anglia, Norwich. Acknowledging the mentorship of John Onians and Elisabeth de Bièvre.

Editor’s Introduction and TOC of the a collection of essays in art history honoring Elisabeth de Bièvre and John Onians (Archaeopress, 2025, co-edited with Isabelle Onians). The volume brings together the work of colleagues and scholars whose contrubutions celebrate the legacy and influence of this powerful art historian couple. Essays in art history, anthropology, world art, neuroarthistory, art & science, art & environment, etc. with 78 contributors including Martin Kemp, David Freedberg, Whitney Davis, Michael Conforti, Kitty Zijlmans, Ian Campbell, Lauren Golden, Stefan Muthesius, Adam Zeman, Sandy Heslop, John Mack, John Mitchell, Rodney Palmer, Cesare Poppi, Katarzyna Murawska-Muthesius, Veronika Sekules, Joanne Pillsbury, Charles W. Haxthausen, Matthew MacKisack, Michael Arbib, Simon Dell, and others.

This article appraises debates about modernism in 1930s and 1940s Australia in relation to the cultural and political traditions of settler colonialism. We theorise settler modernist and anti-modernist engagements as conditioned by a succession of negations constituting 'Australia' as what we have previously termed 'the negative Commonwealth'. Both rejections and affirmations of European modernist traditions considered the imminent arrival in Australia of the 'dangers' of modernity. One response was the attempt to keep modernity and its contradictions 'out', and to maintain the supposed advantages of being an island continent. When isolation could no longer be maintained, attempts were made to leap over the implications of imminent reconnection by asserting that Australia was always already modern. Here, we survey settler cultural expressions and their embrace or rejection of 'Old World' traditions. Beyond complex engagements with these traditions, Australian modernist and anti-modernist experiments similarly struggled to establish their own indigenising settler nationalist traditions.

The adoption of the French Hennebique system in constructing the Ananta Samakhom Throne Hall (1907-1915) introduced advanced reinforced concrete to Siam, but also imposed proprietary constraints, limiting local control over design and contractor selection. Siam's Public Works Department (PWD) engineers were relegated to supervisory roles under Hennebique's patent. Meanwhile, Bangkok's soft soil led to foundation settlement, exposing flaws in the Compressol pile system, employed by Hennebique's concessionaire. To resolve this, E.G. Gollo, an Italian engineer, employed by the Siamese government, devised a caisson foundation, stabilizing the structure and reducing reliance on Hennebique’s specialists. This article examines how Gollo’s intervention marked a crucial shift in Siam’s modernization, strengthening local agency in architectural development and technological adaptation.

Since the opening of Japan to trade with the West, a cult of Japanese aesthetics in the art and design has been created in Europe. Japonisme exerted a remarkable influence on the emergence of Impressionism and Post-Impressionism, including a recognizable individual influence on key artists within those movements. Motifs, technique, composition, colors were directly borrowed from Japanese art, especially woodcats (ukiyo-e). Japonisme also influenced some later movements in painting and design, but Impressionism and Post-Impressionism represented the initial turning point. Only by considering the imperial expansion of Europe is possible to understand the essential components of that transmission, which requires not only art criticism, but rather, in its complexity, significantly overflows into the field of social critique and anthropology of art. The aim of this study is to trace the pathways and networks of exchange and power that facilitated the spread of Japonisme in Europe – to show how elements of Japanese culture were adopted, assimilated, and to what extent the
inventions and originality of new styles and the establishment of new aesthetic standards relied on the dominant position of European culture, which could appropriate elements from other cultures. The study highlights how this transfer was marked by an exotic and Orientalist vision of Japan in Europe and examines the reception of the exoticization of Japan within Japan itself.

of the now infamous 1923 boxing match between Jack Dempsey and Luis Ángel Firpo has taken possession of a critical space in the Whitney Museum of American Art. The New York Times 2 A few days later, on 22 November, the newspaper further observe 3 Although the Whitney has moved from its original location in four very traditional brownstones on West 8 th Street to a new purpose-built and Bauhaus-inspired building at the junction of Madison Avenue and 75 th Street, Dempsey and Firpo (1924) has attract the immediate attention of the visitor. 4 But despite this continuity and centrality, the relationship of the painting to the museum is an uneasy one. The / Jamie Wood is a part-time doctoral candidate in the Department of English and Humanities at Birkbeck College, University of London. He is currently completing a dissertation Late Modernism and the Body,

e concept d'art renvoie à une pluralité d'interprétations qui ne peuvent être réduites à une seule et même définition sous peine de verser dans l'essentialisme. Il est toutefois possible d'objectiver la généalogie des processus socio-historiques qui ont façonné les idéologies artistiques de notre époque (2024) et en ce lieu (le Capc). En l'occurrence, depuis la naissance des institutions culturelles au XIX ème siècle en Occident 1 , les grandes catégories esthétiques mobilisées dans le secteur artistique et leurs applications pratiques ont fait l'objet d'analyses approfondies dès les lendemains de la révolution de 1917. Boris Arvatov 2 par exemple, proposait une compréhension historicisée de l'invention des formes de l'art bourgeois dans le déclin des formes artistiques de l'aristocratie féodale. En bon matérialiste, le révolutionnaire russe procédait à une analyse minutieuse des transformations économiques résultant de l'essor de la société capitaliste et de la bourgeoisie en tant que classe dominante qui ont conduit l'artiste « à forcer le matériau et la forme des objets au profit de ses goûts et des goûts de ses maîtres 3 ». C'est dans ce contexte que la peinture et la statuaire conjuguées à l'individualisme et à la compétition se sont établies durablement tout au long du XIX ème siècle, atteignant leur apogée au XX ème siècle et perdurant jusqu'à nos jours. Ces tâches subjectives, reflet d'une expressivité exacerbée des états d'âme et des idées des artistes mettaient définitivement fin à des pratiques de création inscrites dans la vie sociale pour devenir des pratiques de représentation symbolique d'aspects purement « émotionnels-idéologiques 4 ». En d'autres termes, ces créations de l'esprit s'agrégeaient au reste des activités des « intellectuels organiques 5 » de la classe dominante diffusées par le marché et des « appareils idéologiques d'État 6 ». Sans entrer dans le détail de ces conceptualisations marxistes, on peut identifier au moins deux structures formelles fondamentales qui sous-tendent cette « esthétique de classe » : -l'usage de formes contemplatives (régime de représentation) -le recours à des formes cognitives métaphysiques idéalistes (régime de l'abstraction) Cette normativité esthétique n'ayant pas fait l'objet de remise en cause majeure jusqu'à ce jour, ces caractérisations conservent à mes yeux leur pertinence et méritent pleinement d'être portées à la connaissance du•de•la visiteur•euse contemporain•e du Capc. 1 Après l'apparition de la muséographie au XVII e siècle, les institutions culturelles ont connu leur apogée aux XIX e et XX e siècles, voir R. Schaer, L'invention des musées, Paris, Gallimard, 1993. 2 Je souhaite ici saluer le travail remarquable de Claire Thouvenot et des Éditions Sans soleil pour avoir rendu disponible en français les écrits de Boris Arvatov.

Though this book is a delight to look through, and the text pleasantly light and welcoming to both scholar and general reader, there are important issues working under the surface of The Artists of Nathadwara: the faceoff between folk art and traditional high culture; the presence in the artists' self-image of an imposed European aesthetic; artistic integrity and individualism within a system of religious patronage. The author is present in the text, subtly directing our gaze, occasionally sharing with the reader the humanity behind the scholarship: see her description of the soliciting of an artist's works from feuding grandsons (p. 190), of examining bundles of fantasy landscapes executed by a Nathadwaran lady (p. 230), of negotiating the price for a copying out of genealogical records (pp. 272-73).

Written in English and French, this paper outlines current Canadian intellectual property legislation as it relates to Aboriginal people in Canada, and provides a general review of the implications and limitations of this legislation for protecting the traditional knowledge of Aboriginal people. An initial discussion of Aboriginal perspectives highlights the difference between sacred traditional knowledge, products, and services associated with traditional lifestyles of Aboriginal people, and innovations or new creations of an individual or an Aboriginal company. Not all traditional knowledge is considered to be intellectual property under Canadian law, therefore a web of strategies is suggested to better protect and control traditional Aboriginal knowledge. These strategies include community guidelines for researchers and businesses wanting access to traditional knowledge, codes of conduct, statutory options, and legal agreements and contracts. A section on intellectual property protection of Indigenous knowledge describes ownership, nature of rights, criteria for protection, scope of protection, duration, costs, enforcement, and international protection. A section on intellectual property rules applicable to Aboriginal contexts discusses copyrights, neighboring rights, industrial designs, trademarks, patents, trade secrets, plant breeders' rights, integrated circuit topographies, and licensing intellectual property. The conclusion points out the need for new techniques and laws that are more appropriate for protecting Aboriginal traditional knowledge and recommends educating non-Aboriginals to increase respect and understanding for Aboriginal traditional knowledge. Information sources presented include 17 federal, international, general, and Aboriginal Internet sources; 11 Table of Contents Neighbouring Rights 15 Preface

The bottom-up heritage campaigns that emerged in Hong Kong and Singapore in the last two decades challenged the governments’ prerogative to define which aspects of history are worth preserving and commemorating, since community campaigns often focus on physical sites, including housing estates and old schools, earmarked for redevelopment. Such community-led efforts also inherently undermined the governments’ legitimacy to define the physical planning of the two cities which remained driven predominantly by economic concerns. The heritage groundswell emerging in the two city-states was in part a reaction against the cities’ efficient but relentless strive for urban renewal, resulting in a sense of spatial dissonance that triggered residents’ alarm over the rapid pace and drastic alteration to their urban environment and their yearning for a city that treasured and celebrated places imbued with a sense of shared identity and deeper social meanings.

The text deals with representations of the harem and the desert. In Orientalism, both spaces serve gender-coded projections. The harem visualises a white femininity and the desert a heroic masculinity. In contemporary art, these stereotypical representations are dissected and ironised.

En este artículo relato los orígenes de la plataforma Global Visual Cultures (GVC) y del Grupo de Investigación en Arte, Globalización e Interculturalidad (AGI) de la Universidad de Barcelona, enfatizando su papel en introducción de los Estudios Globales del Arte en el campo académico hispanoamericano. El artículo aborda las conversaciones con la profesora Anna Maria Guasch a lo largo de dos décadas de trabajo.

We are looking for proposals to our panels and round table at the coming CCLA 2025 conference at Trent University in Canada. The conference will have a hybrid format allowing for some online presentation spots. Our call pertains to discussions of minor literature and the post-magical realism and the fantastical (panels) and to a discussion of fantastical literature in/after the Anthropocene (round table). The proposal languages are: English and French. Inquiries are welcome. Deadline: December 15, 2024.

The late nineteenth century witnessed the rise of a concept of art history that involved the arts of all cultures and epochs. Aimed at establishing a “World Art History” (Weltkunstgeschichte) in imperial Germany this trend coincided with a growing interest in non-Western art among scholars from various disciplines. The first comprehensive study on non-Western art was published by the German philosopher and ethnologist Ernst Grosse (1862–1927), who in later life became a well-known art collector and scholar of Japanese art. In his early writings, published in 1891 and 1894, Grosse was concerned primarily with revealing the “laws” of human creativity by including objects of nonclassical and so-called “primitive art” within the established canon of art history. He called for the application of an “Art Science” (Kunstwissenschaft) that would engage with new methodical approaches borrowed from the field of ethnology. He also sought to expand the emerging academic discipline of Art History to subsume all forms of artistic expression.

Ernst Carl Gustav Grosse was born into a Protestant family in Stendal on July 29, 1862, to Ernst Ludwig Grosse (b. 1831), a court judge and later insurance director in Halle, and Clara, née Gößling (b. 1841). The Grosse family (Ernst also had two elder sisters) moved from Stendal to Magdeburg in the 1870s, where Grosse attended the Klostergymnasium in Magdeburg until his graduation in 1882. In 1882, Grosse began his studies of philosophy, literature, history, and the natural sciences in Berlin, Munich, and Heidelberg, and completed his military service in Berlin from October 1883 to October 1884. From 1889 Grosse held a teaching position in philosophy and ethnology at the University of Freiburg. He lectured on "primitive" art and from 1896 also gave courses on Japanese art such as "Introduction to the Fine Arts of Japan" (Einführung in das Studium der bildenden Kunst der Japaner). Five years on, in 1903, Grosse published his first article on the subject, "Japanese Art in Europe" (Japanische Kunst in Europa), in the Vienna-based newspaper Die Zeit. With his interest in non-Western art, Grosse entered foreign territory with his writing, followed in later years by the experiences of travel and extensive collecting of East Asian art abroad, primarily in Japan.

Grosse's responsibilities in Freiburg included the supervision of some of the university's collections as well as the holdings of the Museum of Natural History and Ethnology (Museum für Natur- und Völkerkunde) founded by the city of Freiburg in 1895.6 Grosse was committed to expanding the collections and in 1902 was honored with the title of "Director of the Municipal Art Collection" (Direktor der Städischen Kunstsammlung). He soon put forward a new plan for the collection that included the acquisition of East Asian art objects and the art of indigenous peoples.

The original concept for establishing an ethnographic collection at Freiburg's Museum of Natural History and Ethnology was inspired by a plan by the German cultural historian Gustav Klemm (1802-1867). Klemm was known for his ideas regarding the description of an ideal Ethnographic Museum set forth in his 1843 essay "Fantasia on a Museum of Cultural History of Humankind" (Fantasie über ein Museum für die Culturgeschichte [sic] der Menschheit). The later 1895 concept for the Freiburg museum by zoologist Adolf Fritze (1864-1927) and the 1901 handwritten concept "Plan for the Establishment of the Municipal Collection of Ethnology in Freiburg" (Plan für die Einrichtung der Städtischen Sammlung für Völkerkunde zu Freiburg) were both based on Klemm's ideas.

"Ernst Gombrich and World Arts: Richard Woodfield’s Reflections on the Historiography of Non-European Arts (2009-2024)", paper to be given to the memorial symposium, Exploring the Legacy of Ernst Gombrich (in Honour of Richard Woodfield), Department of Art History, University of Vienna, 21 October 2024.

The Marquesa de Cavalcanti Collection kept at the Volkenkunde Museum, in Leiden, the Netherlands, is one of the oldest records of the existence of Brazilian objects in this museum. It is part of a broader collection created for the Brazilian Anthropological Exhibition, held in 1882, and for the Universal Exhibition in Paris, held in 1889. The main focus of this article is on the itineraries of this collection from its first exhibitions in Brazil and Paris to the Volkenkunde collection in Leiden. Despite the challenge posed by lack of documentation to understand the 'social life' of objects, we believe that the investigation of the itineraries of collections and the analysis of different social relations inscribed in objects may provide a key to understanding the history of ethnographic and archaeological collections. This article analyses how collections connected colonial regions to metropolitan areas in the second half of the nineteenth century, in the particular case of Brazil, Paris, and the Netherlands. It further discusses the role of women in the production of archaeological and ethnographic collections and, consequently, their place in the production of anthropological and archaeological knowledge.

The International Committee for Museums and Collections of Ethnography (ICME) has welcomed through the years museum professionals from around the globe, to discuss and exchange the ideas, values and aspirations that surround ethnographic museums, their communities, and territories. Each year, the conference is organized in a different country, for which a partnership is established with a local museum or cultural institution that serves as a host. ICOM's national, international committees and regional alliances are also invited to play a crucial role, providing this event with a local/international impact, and shaping the themes according to the most urgent needs of our sector.

This year, with an inclusive approach and following our desire to promote diversity in all our components, the 2024 edition of our conference will be held at the National Museum of Anthropology in Mexico City, whose development for six decades and rich collections of Mesoamerican peoples turn it into one of the largest ethnographic museums in the world, and one of the most relevant institutions for the preservation of the American continent pre-Hispanic and contemporary history.

La mostra Viaggio di Conoscenze: “Il Milione” di Marco Polo e la sua eredità fra Oriente e Occidente è l’evento principale in Cina dedicato alle celebrazioni dei 700 anni dalla scomparsa del celebre viaggiatore e mercante veneziano Marco Polo (Venezia, 1254 – 1324). Allestita al China World Art Museum di Pechino, sede che ospita il celebre bassorilievo circolare che narra la millenaria storia cinese nel quale spiccano, come unici personaggi stranieri rappresentati, gli italiani Marco Polo e Matteo Ricci. La mostra celebra anche il 20esimo anniversario del Partenariato Strategico Cina-Italia ed è organizzata e promossa dall’Ambasciata d’Italia a Pechino, dall’Istituto Italiano di Cultura di Pechino con il coordinamento dell’Istituto della Enciclopedia Italiana Treccani e con il diretto sostegno del Ministero degli Affari Esteri e della Cooperazione Internazionale, nonché il contributo del Ministero della Cultura e della Regione Veneto, con il patrocinio del Ministero della Cultura e del Turismo cinese.

Progetto Ideato da: Massimo Ambrosetti (Ambasciatore d’Italia nella Repubblica Popolare Cinese)

Comitato Scientifico: Massimo Bray (Direttore Generale, Istituto della Enciclopedia Italiana Treccani), Alessandro De Pedys (Direttore Generale per la Diplomazia Pubblica e Culturale, Ministero degli Affari Esteri e della Cooperazione Internazionale), Luciano Formisano (Socio Corrispondente, Accademia Nazionale dei Lincei), Tiziana Lippiello (Rettrice, Università Ca’ Foscari di Venezia), Massimo Osanna (Direttore Generale Musei, Ministero della Cultura), Alberto Rocca (Mons., Dottore della Veneranda Biblioteca Ambrosiana, Direttore della Pinacoteca), Pengcheng Ji (Direttore, Rivista “Meishu” dell’Associazione Cinese degli Artisti), Yanjun Weng (Direttore, Imperial Kiln Institute di Jingdezhen), Xinjiang Rong (Professore ordinario, Peking University), Mo Cheng (Professore associato, Peking University)

Curatela scientifica: Eugenio Burgio (Professore ordinario, Università Ca’ Foscari, Venezia), Antonio Montefusco (Professore associato, Università Ca’ Foscari, Venezia), Andrea Nanetti (Nanyang University, Singapore)

Curatela e coordinamento del progetto espositivo: Giorgia Cestaro (Ambasciata d’Italia a Pechino), Giovanna Fazzuoli (Istituto della Enciclopedia Italiana Treccani), Guicciardo Sassoli de’ Bianchi Strozzi (Istituto Italiano di Cultura di Pechino)

Coordinamento generale: Federico Roberto Antonelli (Direttore, Istituto Italiano di Cultura di Pechino), Marco Cerbo (Capo dell’Unità per gli IIC della Direzione Generale per la Diplomazia pubblica e culturale Ministero degli Affari Esteri e della Cooperazione Internazionale), Tommaso Giordano (Vicario dell’Unità per gli IIC della Direzione Generale per la Diplomazia pubblica e culturale Ministero degli Affari Esteri e della Cooperazione Internazionale), Ginevra Oliva (Primo Consigliere d’Ambasciata, Ambasciata d’Italia a Pechino)

Direzione artistica e allestimento: Cibic Workshop (Joseph Dejardin and Aldo Cibic)

Per gli Enti prestatori: Archivio Diocesano di Vicenza (S.E. Mons. Giuliano Brugnotto, Vescovo di Vicenza); Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana, Roma (Direttore Marco Guardo); Biblioteca del Ministero degli Affari Esteri e della Cooperazione Internazionale, Roma Capo Sezione V – Biblioteca (Domenico Iuorio); Camera di Commercio Industria Artigianato e Agricoltura di Bologna (Presidente Valerio Veronesi); Collezioni di Palazzo Thiene, Vicenza Banca Popolare di Vicenza SpA in LCA; Fondazione culturale P. Nonis di Vicenza (Presidente Mons. Antonio Marangoni); Fondazione Musei Civici di Venezia (Direttrice Chiara Squarcina); Galleria Nazionale d’Arte Moderna e Contemporanea, Roma (Direttrice Renata Cristina Mazzantini); Galleria Nuages, Milano (Direttrice Cristina Taverna); Musei Civici di Bologna (Direttrice Eva Degl’Innocenti); Museo Poldi Pezzoli, Milano (Direttrice Alessandra Quarto); Museo Stibbert, Firenze (Direttore Enrico Colle); Museo Wolfsoniana – Palazzo Ducale Fondazione per la Cultura, Genova (Direttore Matteo Fochessati); Imperial Kiln Institute, Jingdezhen (Direttore Yanjun Weng); Museum of Ethnic Costumes, Beijing Institute of Fashion Technology (Direttore Hui Tian)

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Henri Matisse was born and raised in Bóhain-en-Vermandois, where his parents had a thriving trading business. He graduated in law in Paris in 1887, and until that moment, he had shown no particular interest in art. Back in his hometown he worked as a lawyer intern, but bored by the office routine, he began attending drawing classes and perspectives at the School of Decorative Arts. In 1892, Matisse was invited to be part of the study of Gustavo Moreau, who obtained the title of professor of Fine Arts that same year.

Three years later, he entered the School of Fine Arts but did not abandon the study of his former teacher, whose teachings attracted him more than the academic classes he received at the School. He particularly detested the insistence on teaching skills to copy the appearance of things mechanically.

An elaborate description of figure-imagination of God and Goddesses, sculptural features, iconometry (standard measurement) are found in the Puranas, Samhitas, Tantras, Agamas and Silpasastras. The term 'iconology' includes the study of figure-imagination, sculptural features like pedestal, postures (hand postures, foot posture and body language), vehicle, weapon and headgear of God and Goddess and canons of sculptural art. On the basis of iconographic characteristic and canons of sculptural art the ancient artist used to create the statue of God and Goddess. So, without profound knowledge of Iconography it is difficult to specify the identity of ancient temple sculpture. In this research paper we are trying to specify the Iconographic identity of Goddess Durga found in the Brahmaputra Valley of Assam on the basis of canonical theory as described in ancient masterpieces such

Lena Yarinkura is rightly celebrated as one of the great innovators of contemporary fibre art. Her practice cuts across gender and generational lines, inviting consideration of the deeper complexities of positioning Indigenous contemporary art within broader discourses of global contemporaneity.

This sub-report attempts to confidently identify both the historical identity and context of Aberdeenshire Council HER N94NE0047 (Episcopal Meeting House, Aden Country Park) to supplement the recent archaeological work undertaken on the site by Cameron Archaeology in 2015-21.

Bei der Untersuchung kultureller Phänomene stellt sich schnell die Frage nach deren lokaler, regionaler, nationaler, transnationaler oder gar globaler Reichweite. 1 Es ist die raumbezogene Frage nach Verbreitungs-, Wirkungs-und Rezeptionsbereichen, die von Personen, Gruppen, Institutionen, Ideen, Verhaltensweisen und Techniken abgesteckt werden. So kann man für die Vormoderne beispielsweise nach der Reichweite der Devotio moderna fragen, nach derjenigen der Reformnetzwerke von Orden wie etwa der observanten Dominikanerinnen, nach der geographischen Reichweite künstlerischer Konzeptionen wie der geschnitzten Christus-Johannes-Gruppen, nach der Verbreitung des kollektiven religiösen Stiftungsverhaltens von Adels-oder Patrizierfamilien wie von ländlichen Kommunen, nach den Entstehungsorten spezifischer Formen der Manuskriptkultur wie etwa der Tauler-Handschriften im 15. und frühen 16. Jahrhundert, nach der Diffusionsdichte nominalistischer und realistischer Logikhandbücher oder nach der Ausstrahlung von Bauhütten und Werkstätten. Solche raumbezogenen Fragestellungen bieten sich etwa auch von Seiten der Musik-und Liturgiewissenschaft, der Schul-und Bildungsgeschichte oder der Inschriftenkunde, aber auch der politischen, der Wirtschafts-, der Rechts-oder der Kirchengeschichte an. Analog könnte man umgekehrt von einer bestimmten Region (z. B. dem Oberrhein zwischen Basel und Heidelberg) ausgehen und nach dominierenden kulturell-geistigen Profilen vor und nach 1500 fragen, nach ihren Einzugs-und Ausstrahlungsbereichen: Unter welchen Einflüssen und mit welchen Wirkungen entstanden hier welche technischen, künstlerischen oder literarischen Innovationen (etwa die Kupferstichtechnik)? In der Forschung stößt man einerseits auf eine Fülle von lokal eingegrenzten Detailstudien ohne den Vergleiche ermöglichenden, relativierenden Bezugsrahmen weiterer Raumkoordinaten. Andererseits herrscht nach wie vor eine starke Tendenz zu universalisierenden Aussagen über Kulturphänomene (wie etwa "Augustinismus", "Via antiqua/Via moderna", "Beginentum") ohne Raumkoeffizienten. Der Göttinger Tagungszyklus soll dazu beitragen, diese Diastase zu überwinden und Erkenntnisse

Cet article examine certains des défis rencontrés par l’ethnologie autochtone au Brésil, au Canada et en Australie au cours des dernières décennies, en mettant l’accent sur les situations où se produit le contact interethnique entre peuples autochtones et États nationaux et dans lesquelles l’anthropologue intervient au moyen de recherches politiquement engagées. La représentation des peuples autochtones dans les trois pays s’est renforcée depuis la consolidation des mouvements politiques autochtones à partir des années 1970, au moment où les grandes sociétés minières, forestières, d’élevages, agro-industrielles et hydroélectriques convoitaient les ressources naturelles sur les territoires autochtones. L’anthropologue travaille dans des contextes fortement politisés en collaboration avec des agents sociaux des communautés autochtones et de la société nationale, tant du gouvernement que des entreprises actives sur les territoires autochtones. Un des rôles joués par l’anthropologue con...

The role, the form and the author of art criticism have changed. After the experimentalism of the vanguards that broke with the canons of classic arts, a crisis of representation started in the middle of the last century. The introduction of the curator and the collector in the international art circle forced the change of the art criticism model proposed by Denis Diderot. Nowadays, art is judged in the name of the public and society is criticized in the name of art. The boundaries between the duty of the critic, the theoretical and the artist are unclear, leading to a crisis in the art's world. Simultaneously, art criticism was never so massively produced and so massively ignored. This paper intends to be a reflection about the path of criticism throughout history, intersecting the eradication of the distinctions between image and action, production and reception, with the introduction of new global art forms, in the West, and an artistic practice that wants to interfere with r...

The aim of the present paper is to show how the school of nihonga is produced institutionally by superimposing features of the traditional paradigm of art-making onto a modern art form in order to "naturalise" it in the Japanese context. It is based on the personal experience of the author as a researcher at the nihonga department of the Tokyo Geijutsu Daigaku (National University of Arts and Music) in 7995-97 and has in part been motivated by the conviction that it is far too early to proclaim the problem of "the distinctive "feel" of Japanese culture" a false problem, that the search for national identity in painting and analyzing "the incompatibility of imported styles and domestic sensibility" is still a point at stake among the Japanese artists and art-critics. This conviction is rather vividly supported by public statements of practicing artists on what the Japanese-style painting is, by the exhibitions focusing on the indigenous elements in Japanese art and by the many hours of communication with n ihonga artists and students, especially with the well-known Japanese-style painter Okamura Keizaburo whose creative work is a good testimony to the meaningfulness of the problem raised. As the pOSition of the author of this article was swinging from the critical stare of the outside observer to the empathic participation of nearly an insider; this experience will be treated as a sort of a fieldwork , though the author was not conscious of his activity as of a kind of "anthropology of art" back then. They don't speak foreign languages, they do not mingle with the students from other departments, they adhere to the traditional Japanese subjects and, if possible, to the traditional way of life, they are admired as "very Japanese" by one, and are laughed at as too dentoteki by the others. They are the teachers and the students of nihonga-the Japanese-style painting. Jfyou belong to the nihonga guild in one way or another, it is not impossible, however, to be asked a question like "What is nihonga?" or "Is nihonga something like ukiyo-e?" not only by the unenlightened foreigners but also by the Japanese themselves. It would seem that this trend of art, with its history of more than a century, dating back to early Meiji, and with thousands of paintings created in those years, still has to explain itself even on its native soil. The usual information on the subject of nihonga in such Western sourcebooks on Japan as The Cambridge Encyclopedia of Japan says this trend of art to have emerged as the opposition to yoga, the Western style painting, in

Découvrir la revue Citer cet article Baines, S. G. (2014). Politiques indigénistes au Brésil, au Canada et en Australie : Les défis de la pratique anthropologique dans divers contextes nationaux. Recherches amérindiennes au Québec, 44(2-3), 5-12.

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The life and career of the German critic and art historian Carl Einstein (1885-1940) exemplify the protracted and ultimately failed struggle of a leftist intellectual to justify modern art-to himself as much as to his readers-as a transformative social practice. Einstein demanded that art offer more than aesthetic value, expressive power, or socially engaged subject matter: what ultimately mattered was its capacity to alter human seeing, and in so doing profoundly to alter human subjectivity and our construction of reality. He believed it lay within art's power to redefine the real, to create a compelling alternate version of the world, and this was its ultimate function and justification. [# 3] This vision he articulated in the three editions of his most important work, The Art of the 20th Century, published in three successive editions, 1926, 1928, and 1931. Hugely formative for Einstein was his early encounter with Sub-Saharan African sculpture. [# 4] This was the topic of his Negerplastik of 1915, the work for which he remains best known, the first book published in any language devoted to an assessment of African sculpture as art. [# 5] Six years later, having immersed himself in the ethnographic literature, he published a second book, Afrikanische Plastik (African Sculpture), in which he declared an ambitious goal: to integrate African sculpture within the discourse of art-historical research.

Recent art historical research has increasingly paid attention to the importance of artists' transcultural itineraries regarding a postcolonial understanding of art history. It has been demonstrated how migration, contact, travel, and displacement have been essential for the emergence of multiple modernisms, composite identities, and hybrid aesthetics. This conference highlights modes of artistic exchange between European and non-European centres of modern art in the twentieth century that have been established against the backdrop of contemporary decolonisation movements. Speakers at the conference reflect on cross-cultural connections of artistic ventures, situating them in both regional and transnational art historical writing.