Book received: Antipodean Perspective Selected Writings of Bernard Smith

Antipodean Perspective

Selected Writings of Bernard Smith

Edited by Rex Butler and Sheridan Palmer

 

$29.95

Pre-PurchaseBernard Smith (1916–2011) was unquestionably one of Australia’s greatest humanist scholars and its finest art historian. His European Vision and the South Pacific, 1768–1850 (1960) was a foundational text of post-colonialism, and in Australian Painting (1962) he set out the definitive history of Australian art to that time.

Antipodean Perspective: The Selected Writings of Bernard Smith presents twenty-six art historians, curators, artists and critics, from Australia and overseas, who have chosen a text from Smith’s work and sought to explain its personal and broad significance. Their selections reveal Smith’s extraordinary range as a scholar, his profound grasp of this nation’s past, and the way his ideas have maintained their relevance as we face our future.

About the Editors

Rex Butler is an art historian who writes on Australian art and teaches in the Faculty of Art Design and Architecture at Monash University.

Sheridan Palmer is an art historian, curator and author of the biography Hegel’s Owl: The Life of Bernard Smith.

List of Contributors

Heather Barker
Peter Beilharz
Leonard Bell
Tim Bonyhady
Alisa Bunbury
Rex Butler
Peter Craven
Catherine De Lorenzo
Ian Donaldson
Jane Eckett
John Frow
Charles Green
Emma Hicks
Rüdiger Joppien
Darren Jorgensen
Greg Lehman
Janet McKenzie
Ian McLean
Ronald Millar
Sheridan Palmer
Juliette Peers
Simon Pierse
Geoffrey Quilley
Terry Smith
Catherine Speck
Anthony White
Richard Woodfield
Maria Zagala

Media Inquiries

For media inquiries, please contact our Marketing Coordinator, Sarah Cannon.

Rethinking Australia’s Art History: The Challenge of Aboriginal Art By Susan Lowish

 Rethinking Australia’s Art History

The Challenge of Aboriginal Art

By Susan Lowish

© 2018 – Routledge

Studies in Art Historiography

221 pages | 18 Color Illus. | 43 B/W Illus.

https://www.routledge.com/Rethinking-Australias-Art-History-The-Challenge-of-Aboriginal-Art/Lowish/p/book/9780815374176

 

Description

This book aims to redefine Australia’s earliest art history by chronicling for the first time the birth of the category “Aboriginal art,” tracing the term’s use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of “Aboriginal art” developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.

Table of Contents

Introduction 1. Writing a History of Encounters 2. Exploration and ‘Discovery’ 3. Searching for the Origin of Art 4. Seeing the Art of the First Australians 5. Evolutionists and Australian Aboriginal Art 6. ‘Aboriginal Art’ in the Writings of Baldwin Spencer 7. Collecting and Exhibiting: the Dawn of ‘Primitive Art’ Conclusion

 

 

Time in the History of Art Temporality, Chronology and Anachrony Edited by Dan Karlholm, Keith Moxey

https://www.routledge.com/Time-in-the-History-of-Art-Temporality-Chronology-and-Anachrony/Karlholm-Moxey/p/book/9780415347440

Studies in Art Historiography

Description

Addressed to students of the image–both art historians and students of visual studies–this book investigates the history and nature of time in a variety of different environments and media as well as the temporal potential of objects. Essays will analyze such topics as the disparities of power that privilege certain forms of temporality above others, the nature of temporal duration in different cultures, the time of materials, the creation of pictorial narrative, and the recognition of anachrony as a form of historical interpretation.

Table of Contents:

Introduction: Dan Karlholm and Keith Moxey

Part I. Historical Time

Chapter 1: Is History to Be Closed, Saved, or Restarted? Considering Efficient Art History

Dan Karlholm

Chapter 2: What Time is it in the History of Art?

Keith Moxey

Part II: Post-Colonial Time

Chapter 3: Time processes in the history of the Asian Modern

John Clark

Chapter 4: Colonial Modern: A Clash of Colonial and Indigenous Chronologies

Partha Mitter

Chapter 5: Artists, amateurs and the pleated time of Ottoman modernity

Mary Roberts

Chapter 6: The Time of Translation: Victor Burgin and Sedad Eldem in Virtual Conversation

Esra Akcan

Part III: Artist’s Time

Chapter 7: Arresting What Would Otherwise Slip Away: The Waiting Images of Jacob Vrel

Hanneke Grootenboer

Chapter 8: Twisted Time: Fernando Bryce’s Art of History

Miguel Ángel Hernández Navarro

Part IV: Narrative Time

Chapter 9: Heterochronies: The Gospel According to Caravaggio

Giovanni Careri

Part V: Ontological Time

Chapter 10: The Phenomenal Sublime: Time, Matter, Image in Mesopotamian Antiquity

Zainab Bahrani

Chapter 11: Resisting Time: On How Temporality Shaped Medieval Choice of Materials

Avinoam Shalem

Chapter 12: Sarah Sze’s The Last Garden and the Temporality of Wonder

Christine Ross

Part VI: Photographic Time

Chapter 13: Showtime and Exposure Tie. The Contradictions of Social Photography and the Critical Role of Sensitive Plates for Rethinking the Temporality of Artworks

Emmanuel Alloa

Chapter 14: ‘Objects moving are not impressed’: Reading into the blur

Amelia Groom

Monographic Exhibitions and the History of Art Edited by Maia Wellington Gahtan, Donatella Pegazzano

https://www.routledge.com/Monographic-Exhibitions-and-the-History-of-Art/Gahtan-Pegazzano/p/book/9781138712485

Studies in Art Historiography

Monographic Exhibitions and the History of Art
Edited by Maia Wellington Gahtan, Donatella Pegazzano
© 2018 – Routledge
354 pages | 80 B/W Illus.
Description
This edited collection traces the impact of monographic exhibitions on the discipline of art history from the first examples in the late eighteenth century through the present. Roughly falling into three genres (retrospectives of living artists, retrospectives of recently deceased artists, and monographic exhibitions of Old Masters), specialists examine examples of each genre within their social, cultural, political, and economic contexts. Exhibitions covered include Nathaniel Hone’s 1775 exhibition, the Holbein Exhibition of 1871, the Courbet retrospective of 1882, Titian’s exhibition in Venice, Poussin’s Louvre retrospective of 1960, and El Greco’s anniversary exhibitions of 2014.

Table of Contents
Table of Contents

List of Illustrations and Illustration Credits
Preface
Introductory
Monographic Exhibitions and the History of Art
Maia Wellington Gahtan, Donatella Pegazzano
I. Living Artist Retrospectives
1. ‘Nathaniel Hone’s 1775 Exhibition: The First Single-Artist Retrospective’
Konstantinos Stefanis
2. The Degas and Cassat 1915 Exhibition in Support of Women’s suffrage
Ruth E. Iskin
3. Braque, Gris and Léger: Cubism in Switzerland in 1933
Kate Kangaslahti
4. Bacon at Grand Palais: Echoes and Influences
Monika Keska
II. Posthumous Retrospectives
5. The First Posthumous Retrospective in France: The Paul Delaroche Exhibition, a New Perception of the　Artist’s　Work
Marie-Claire Rodriguez
6. Max Jordan’s First Monographic Exhibitions at the Royal National Gallery in Berlin – Rewriting the Canon of Art History and Creating the Artist as a National Role Model at the　Beginning of the German Empire
Saskia Pütz
7. The Courbet Retrospective of 1882. Harbinger of the Artist’s first Major Monograph and Catalogue Raisonné
Petra ten-Doesschate Chu
8. The Critical Reception of Marcello Tommasi’s Oeuvre and the Tommasi Family’s Artistic Legacy
Elisa Gradi
III. Old Master Monographic Exhibitions from before World war II
9. The Holbein Exhibition of 1871 – An Iconic Turning Point for Art History
Lena Bader
10. ‘This is the answer to those who tell us that Reynolds was a snob’: The Grosvenor Gallery Exhibition of Works by Joshua Reynolds (1883 – 1884)
Camilla Murgia
11. The Master and Siena: the 1912 Duccio exhibition
Elisa Camporeale
12.The Twelve Days of Bartolomeo della Gatta (Arezzo, October 1-12, 1930). A Regional Exhibition of an Old Master during the Era of Fascism
Luca Pezzuto
13.Titian’s 1935 Exhibition in Venice
Giuliana Tomasella
IV. Old Master Monographic Exhibitions after World War II
14. Poussin in Perspective: The Louvre Retrospective 1960 Above and Beyond
Henry Keazor
15. Rembrandt and the Polemical Monographic Exhibition: ‘Rembrandt, the Master　and His Workshop’ in Amsterdam, Berlin and London in 1991-92
Catherine B. Scallen
16. Exploring Michelangelo through Exhibitions. Closer to the Master, Closer to the scholar, Closer to the Public
Silvia Catitti
17. ‘Canaletti’ and the others. Recent Monographic Exhibitions of Venetian Veduta　Painters: Art History and the Market
Heiner Krellig
V. Monographic Exhibitions and the 21st century
18. El Greco and the Dynamics of Retrospection in Monographic exhibitions for the Anniversary of his Death in 2014
Livia Stoenescu
19. Past Institution’s Future: Monographic Exhibitions and Tate Modern’s Make-up
Evi Baniotopoulou
20. The Rise of the Monographic Exhibition: The Political Economy of Contemporary Art
Ronit Milano
Afterword
Afterword: Learning from the Artist’s Monograph: Anarchy, Quality, and the Ultimate Noumenon
Gabriele Guercio
Epilogue
Epilogue: Some Curatorial Thoughts on the Monographic Exhibition
Joaneath Spicer
Bibliography
Biographical Notes on the Contributors
Index

 

 

Ramboux Between Art and Art History

 

An online exhibition by the Photo Library of the Kunsthistorisches Institut in Florenz
beginning on 20 November 2017

Johann Anton Ramboux (1790-1866) permanently influenced art-historical research with his pioneering copies of Early Italian paintings and frescoes. Generations of art historians and artists relied on Ramboux’s Kopienmuseum, the foundations of which he had laid during his journeys in Italy between 1816 and 1843. His drawings, traces, lithographs and watercolours of mainly late medieval works of art are often the only pictorial sources from this period, before copying on site was facilitated by the development of photography. In his own time Ramboux’s plates were especially prized for their “fidelity” to their original by such art historians as Karl Friedrich von Rumohr, Franz Kugler or Johann David Passavant. Ramboux’s works are now divided between many museums and in the form of photographic reproductions are also found in large numbers in photographic archives. In the Photothek of the Kunsthistorisches Institut in Florenz these reproductions are filed together with historic and modern photographs of the painting or fresco in question, in order to permit their study over a longer time frame (covering different periods and media). Photographs of Ramboux’s watercolours, drawings and lithographs of Giotto’s frescoes in Assisi are thus to be found not in the Photothek’s section “German Painting, 19th century”, but under the artist Giotto in the section “Gothic Painting”.

The Online-Exhibition on Ramboux was prompted by the exhibition Ramboux – Italien so nah held in the Clemens-Sels-Museum at Neuss am Rhein in 2016 and is being held in cooperation with the Library of the Kunsthistorisches Institut in Florenz, Wolfgang Loseries and the Museum Kunstpalast, Düsseldorf. The latter institution, thanks to its “digital loans” of Ramboux’s  watercolours, has extraordinarily enriched the Online-Exhibition, which is concentrated instead on lithographs and photographs from the holdings of the Photothek, Library, and private collection.

 http://photothek.khi.fi.it/documents/oau/00000305

Kunsthistorisches Institut in Florenz – Max-Planck-Institut
Via Giuseppe Giusti, 44 – I-50121 Firenze
Research Coordination and Public Relations
Tel +39 055 24911-1 – Fax +39 055 24911-55

June 18 issue of journal now published

Number 18 June 2018

The emergence of the museum professional in nineteenth-century Britain

Guest edited by Elizabeth Heath.

Introduction:

Elizabeth Heath (Independent), ‘The emergence of the museum professional in nineteenth-century Britain: an introduction’ 18/EH1

Articles:

Eloise Donnelly (University of Cambridge / British Museum), ‘’A desire for the National Good’: Sir Augustus Wollaston Franks and the curatorship of Renaissance decorative art in Britain, 1840–1900’ 18/ED1

Elizabeth Heath (Independent), ‘’A man of ‘unflagging zeal and industry’: Sir George Scharf as an emerging professional within the nineteenth-century museum world’ 18/EH2

Jacob Simon (National Portrait Gallery, London), ‘George Scharf and improving collection care and restoration at the National Portrait Gallery’ 18/JS1

Jessica Feather (Paul Mellon Centre for Studies in British Art), ‘The career of Sidney Colvin: a transitional moment at the fin-de-siècle’ 18/JF1

Elena Greer (National Gallery, London), ‘Sir Frederic Burton and the controversy of art-historical expertise at the National Gallery, London, in the late nineteenth century’ 18/JG1

Charlotte Drew (University of Bristol), ‘The colourful career of Sir. John Charles Robinson: collecting and curating at the early South Kensington Museum’ 18/ED1

Elizabeth Pergam (Sotheby’s Institute of Art, New York), ‘John Charles Robinson in 1868: a Victorian curator’s collection on the block’ 18/EP1

Deborah Stein (Independent), ‘Charles Callahan Perkins: early Italian Renaissance art and British museum practice in Boston’ 18/DS1

Susanna Avery-Quash (National Gallery, London) and Corina Meyer (University of Stuttgart), ‘’Substituting an approach to historical evidence for the vagueness of speculation’: Charles Lock Eastlake and Johann David Passavant’s contribution to the professionalization of art-historical study through source-based research’ 18/AQM1

Lucy Hartley (University of Michigan, Ann Arbor), ‘‘How to observe’: Charles Eastlake and a new professionalism for the arts’ 18/LH1

Anne Galastro (University of Edinburgh), ‘‘The arduous and responsible duty of arranging, classifying, and hanging…’: William Borthwick Johnstone and the nascent Scottish National Gallery’ 18/AG1

General articles

Jessamine Batario (The University of Texas at Austin), ‘What could have been and never was: the intellectual context of Clement Greenberg’s “Byzantine Parallels”’ 18/JB1

A. Bremner (Edinburgh), ‘The expansion of England? Scotland, architectural history, and the wider British world’ 18/GB1

Victoria Horne (Northumbria University), ‘”Our project is not to add to art history as we know it, but to change it.” The establishment of the Association of Art Historians and the emergence of feminist interventions, 1974-1990’ 18/VH1

Reviews

Ann Jensen Adams (University of California, Santa Barbara), ‘Franciscus Junius:  Philology and the survival of Antiquity in the art of northern Europe’: Art and Antiquity in the Netherlands and Britain.  The Vernacular Arcadia of Franciscus Junius (1591 – 1677) by Thijs Weststeijn, Leiden and Boston: Brill, 2015 18/AJA1

Ingrid Vermeulen (Vrije Universiteit Amsterdam), ‘Challenging the myth of Pierre-Jean Mariette (1694-1774)’: Valérie Kobi, Dans l’oeil du connaisseur. Pierre-Jean Mariette (1694-1774) et la construction des savoirs en histoire de l’art, Rennes: Presses Universitaires de Rennes 2017 18/IV1

Patrick Werkner (Universität für angewandte Kunst Wien), Rezension zu: Nathan J. Timpano, Constructing the Viennese Modern Body. Art, Hysteria, and the Puppet. New York/London: Routledge, 2017 (Studies in Art Historiography) 18/PW1

Brief reviews

Axel Christoph Gampp (Institute of Fine Art, Basle University), ‘On Michel Yonan, Messerschmidt’s Character Heads, Maddening Sculpture and the Writing of Art History’: Michel Yonan, Messerschmidt’s Character Heads: Maddening Sculpture and the Writing of Art History, New York and London: Routledge 2018 18/ACG1

Richard Woodfield (Birmingham), ‘New light on sweetness: a brief review of Joseph Imorde’s book on Carlo Dolci‘: Joseph Imorde, Carlo Dolci: A Refreshment, Studies in Iconology 8, Leuven-Paris-Bristol, CT: Peeters 2017 18/RW1