Art History

Truest Art of Them All: Paleolithic Cave Paintings of ChauvetTruest Art of Them All: Paleolithic Cave Paintings of Chauvet

by kali manitu

The wall paintings of Chauvet are instinctive and emotional; they reveal a choiceless impulsiveness, unpolluted by the... more The wall paintings of Chauvet are instinctive and emotional; they reveal a choiceless impulsiveness, unpolluted by the intellect. Paradoxically, an insightful investigation also divulges intellect as the root of freedom inherent in true art. Language, conscious communication, technology, and even self-consciousness reflect the emergence of human intellect in Chauvet cave art. In its naturalness, Chauvet cave art displays instinctive impulsiveness of creativity and freedom of communication rooted in intellect that is recognizable as the substratum in all artistic endeavors.

Piranèse et les Phéniciens

by Eric Gubel

“Clan At.óowu in Distant Lands: A Survey of Tlingit Art in European and Russian Museums,” Box of Knowledge 1, no. 1 (April 2012): 1-35.

by Zachary Jones

Evaluating artificial life-based vegetation dynamics in the context of a Virtual Reality representation of ancient landscapes

by Eugene Ch'ng

Formal Analysis of the Massacre of the Innocents (Francesco Caroto)

by Galven Lee

CHURCH NEWS: NEW UNITY MOVEMENT STEPS PROPOSED

by Daniel Keeran MSW

by Daniel Keeran, MSW (distrbute freely without charge)

Against the unity prayer of Jesus in the gospel of John chapter 17, divisions within Christianity have been common... more Against the unity prayer of Jesus in the gospel of John chapter 17, divisions within Christianity have been common from the beginning. New steps for unity are outlined that provide grass-roots opportunities in local churches and communities.

Fundamental to the new unity movement are principles and a change in paradigm that give a fresh approach to the ancient problem of divisions among people who identify themselves as followers of Jesus.

MUSEUMISATION OF THE PRESENT

by Suresh Pillai

Maestro di cultura lombarda attivo tra la fine del XIII secolo e il primo decennio del Trecento - Madonna in trono col Bambino

by Luca Mor

in Scultura lignea dal Duecento alla fine del Quattrocento. Nuovi contributi, edited by V. Natale, Allemandi & C. Editore, Torino 2008, pp. 8-15, n. 1
ISBN 9788842216735

Church Space in Byzantium

by Sotiria Kordi

by Sotiria Kordi

Being a social space, the church building is a social product. This term however, does not refer to a collective... more Being a social space, the church building is a social product. This term however, does not refer to a collective product, created through a type of collective, anonymous productive procedure, but rather to a product created by certain individuals in order for it to be used, lived, and consumed by a community.

Storia dell’arte tra scienza e dilettantismo. Metodi e percorsi Rome Art History Network (RAHN)

by Valentina Locatelli

CONFERENCE PRESENTATION: “L’arte di vedere l’arte: esempi pratici e riflessioni sull’evoluzione metodologica della connoisseurship”, presentation to the first annual conference of the Rome Art History Network (RAHN), Rome, Italy, April 24

La prima giornata di studi del Rome Art History Network (RAHN) intende stimolare una riflessione sulle correnti... more La prima giornata di studi del Rome Art History Network (RAHN) intende stimolare una riflessione sulle correnti metodologiche della nuova generazione di storici dell’arte. Scienza transdisciplinare e multidisciplinare per natura, la storia dell’arte si avvale di numerosi metodi e prospettive che affondano le proprie radici nei contesti più svariati: dall’antropologia alla storia culturale, dal femminismo al post-colonialismo, dall’iconografia al connoisseurship, dalla psicanalisi alla semiologia, dallo strutturalismo al postmodernismo, dal gender ai visual studies. L’incontro mette in discussione la rilevanza dei diversi approcci metodologici al giorno d’oggi e si interroga sul ruolo e l’impatto delle nuove tecnologie nella ricerca.

Il convegno è un’iniziativa del Rome Art History Network (RAHN), una rete internazionale di storici dell’arte con sede a Roma. Fondato nel 2010 da Ariane Varela Braga e Valérie Kobi (Université de Neuchâtel), il RAHN promuove lo scambio d’idee tra i ricercatori delle accademie straniere e delle università italiane. Per ulteriori informazioni: www.romearthistnet.com

Con il patrocinio dell'Università di Roma "Tor Vergata".

In collaborazione con la cattedra di Storia dell’Architettura (prof. Claudia Conforti) del Dipartimento di Ingegneria Civile, Università di "Roma Tor Vergata", e l'Accademia Nazionale di San Luca.

Paul Gauguin’s two Tahitian manifest paintings: Mana'o tupapa'u and Where do we come from? What are we? Where are we going?

by Srdjan Tunic

In Serbian (Dva tahićanska manifesta Pola Gogena: Mana'o tupapa'u i Odakle dolazimo? Ko smo? Gde idemo?).

Key words: Paul Gauguin, Tahiti, symbolism, egzoticism, colonialism, orientalism, primitivism, feminism, gender studies

Summary:

Gauguin’s attitudes towards Tahiti and its indigenious population, colonialism and women – all the... more Summary:

Gauguin’s attitudes towards Tahiti and its indigenious population, colonialism and women – all the elements that are encoded in his work – were often contradictory and ambiguous. From his representation of Tahiti, one could encounter symbolistic utopias, personal vision and artistic project, contact with indigenious history and beliefs, the becoming of „noble savage“, sexual freedom and a lifequest for carefree life. Paintings Mana'o tupapa'u (The spirit watches over her, 1892) and Where do we come from? What are we? Where are we going? (1897-98) could both be understood as manifests of his art inspired by and produced on Tahiti, relevant for the questions raised above. Also, a deeper insight was achieved by using postcolonial and gender theories, as well as analysis of egzoticism and primitivism in the modernist art.

Of My Flesh and Of My Bone: The Incarnational Consciousness in the Work of Petah Coyne and Lynda Benglis

by Alyssa Matthews

Contemporary Issues in Art History, 1st semester graduate course, Instructor: Kelly Dennis

Pretty

by Alyssa Matthews

2012 MFA Project Statement, University of Connecticut

My figurative paintings celebrate tableaus of femininity to explore tensions between gender, sexuality, and the... more My figurative paintings celebrate tableaus of femininity to explore tensions between gender, sexuality, and the gestural mark. This project statement discusses my work throughout graduate study, which asserts a feminist language of excess and prettiness as a means to subvert established and hierarchical aesthetics of Beauty.

"Mujeres, hermanas e hijas: el mecenazgo femenino en la familia de Alfonso VI," Anales de Historia del Arte 147, Volumen Extraordinario 2 (2011), pp. 147-179.

by Therese Martin

Otto Brendel (1901-1973)

by Katharina Lorenz

In: BRANDS, G. and MAISCHBERGER, M., eds., Lebensbilder I: Klassische Archäologen und der Nationalsozialismus Verlag Marie Leidorf. 193-206.

Rembrandt - Life and Works (Ρέμπραντ - Η ζωή και το έργο του)

by Athanasios Papakostas

Taboo is dead. Long live Art.

by Eugenia Ilion

Article in "Kunstmagazin Berlin" 2008

BOOK REVIEW - The Art of Life By Sabin Howard and Traci L. Slatton

by Darrelyn Gunzburg

This book is novelist Traci L. Slatton’s eulogy to the work of her figurative sculptor husband Sabin Howard, his... more This book is novelist Traci L. Slatton’s eulogy to the work of her figurative sculptor husband Sabin Howard, his journey towards becoming a figurative sculptor and the process he has come to use in the last 29 years.

Book Review - A Laboratory for Art by By Francesca G. Bewer

by Darrelyn Gunzburg

This engaging and absorbing book, written by Francesca G. Bewer, research curator at the Harvard Art Museum’s Straus... more This engaging and absorbing book, written by Francesca G. Bewer, research curator at the Harvard Art Museum’s Straus Centre for Conservation and Technical Studies, describes the emergence of conservation practices and the application of the scientific method in America through the initiative of Edward Waldo Forbes, the director of Harvard University’s Fogg Museum. His work led to the education and training of museum professionals through the best practices of mentoring and apprenticeship.

HYPERICONICS: Hypertext and the social construction of information about the history of artistic notions

by Gerhard Jan Nauta