Western Art and the Wider World

Name: Western Art and the Wider World
Price: 3070 ISK
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Author: Paul J. Wood
ISBN: 9781118598726

Höfundur: Paul J. Wood (Útgáfa: 1)

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Útgefandi: Wiley Global Research (STMS)

ISBN: 9781118598726

Print ISBN: 9781444333923

Format: ePub

Útgáfa: 1

Höfundar: Paul J. Wood

Tungumál: English

Útgefið: 2014-01-14

Prent takmörkun á líftíma: 100

Prent takmörkun: 2

Afritunar takmörkun: 2

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Front Matter
Contents
Illustrations
Acknowledgments
Introduction
Notes
References
1 Renaissance and Old World
Introduction: The Status of the Renaissance
Changing Histories
Venice
Figure 1.1 Gentile Bellini, Procession in the Piazza San Marco, 1496, oil on canvas, 367 × 745 cm. Accademia, Venice. © 2013. Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali.
New Light on Perspective
A Portrait
Figure 1.2 Gentile Bellini, Portrait of Mehmet II, c.1480, oil on canvas, 70 × 52 cm. National Gallery, London. © World History Archive / Alamy.
Figure 1.3 Attributed to Shiblizade Ahmed, Portrait of Sultan Mehmet II c.1480, opaque pigment on paper, 39 × 27 cm. Topkapι Sarayi Muzesi, Istanbul, H 2153, fol.10a. Photo Werner Forman Archive / The Bridgeman Art Library.
Figure 1.4 Titian (studio), Portrait of Suleiman the Magnificent c.1530–1540, oil on canvas, 99 × 85 cm. Gemaldgalerie, Kunsthistorisches Museum, Vienna. © World History Archive / Alamy.
Some History Paintings
Figure 1.5 Vittore Carpaccio, Miracle at Rialto (The Exorcism) 1494, oil on canvas, 365 × 389 cm. Accademia, Venice. © 2013. Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali.
Figure 1.6 Vittore Carpaccio, St George Baptising the Pagans (Selenites), c.1507–1508, oil and tempera on canvas, 141 × 285 cm. Scuola di San Giorgio degli Schiavoni, Venice. © The Art Archive / Alamy.
Figure 1.7 Gentile Bellini, St Mark Preaching in Alexandria 1504–1507, oil on canvas, 347 × 770 cm. Pinacoteca di Brera, Milan. Photo: akg-images / Erich Lessing.
Figure 1.8 Anonymous, The Reception of an Ambassador in Damascus, between 1488 and 1516, oil on canvas, 175 × 201 cm. Musée du Louvre, Paris. Photo: akg-images / Erich Lessing.
Later
Figure 1.9 Giovanni Bellini and Titian, The Feast of the Gods (detail), 1514, oil on canvas, 170 × 188 cm. National Gallery of Art, Washington, DC, Widener Collection 1942.9.1.
Figure 1.11 Melchior Lorck, Prospect of Constantinople (detail of central section), drawing, 1559. Leiden University Library, BPL 1758, sheet 11.
Notes
References
2 Enlightenment and New World
America
Figure 2.1 Christoph Weiditz: Tractenbuch, 1529–1530 (Aztec juggler), Codex, 154 folios, paper, 99 × 14 cm (twentieth-century binding). Germanisches Nationalmuseum, Nuremburg, Hs 22474, f. 9r. Photo: Germanisches Nationalmuseum, Nuremburg.
White and De Bry
Figure 2.2 John White, The Town of Secoton, 1585, watercolor over black lead heightened with bodycolor, inscribed in brown ink with notes, 32 × 20 cm. British Museum, 1906, 0509.1.7. The Art Archive / British Museum / Eileen Tweedy.
Figure 2.3 John White, A wife of an Indian werowance or chief of Pomeiooc, and her daughter, 1585, watercolor over black lead, heightened with bodycolor, white, and gold, inscribed in brown ink, 26 × 15 cm. British Museum, 1906, 09.1.13. © The Trustees of the British Museum.
Figure 2.4 Theodor de Bry after John White, A Chief Lady of Pomeiooc, color engraving from America, 1590, plate 8. Service Historique de la Marine, Vincennes, France / Giraudon / The Bridgeman Art Library.
European Responses
Science
Figure 2.5 Albert Eckhout, Tapuya Dance, c.1645, oil on canvas, 168 × 294 cm, National Museum of Denmark, Copenhagen. Photo: akg-images.
Allegory
Figure 2.6 Giambattista Tiepolo, The Continent of America, detail from Apollo and the Continents, ceiling fresco, staircase, Würzburg, Residenz, Episcopal Palace, 1750–1753. Photo: akg-images.
Enlightenment and Empire
Pacific
Figure 2.7 Sydney Parkinson, Portrait of a New Zealand Man, 1769, pen and ink wash, 40 × 30 cm. From “A Collection of Drawings,” British Library Ms. Add. 23920, fol.54. Photo: akg-images / British Library.
Art and Visual Truth
Visual Truth and Fiction
Figure 2.8 and 2.9 Above: Alexander Buchan watercolor. Below: Francesco Bartolozzi after Giovanni Batista Cipriani, A View of the Indians of Tierra del Fuego in their Hut, engraving from A Collection of Drawings Made in the Countries Visited by Captain Cook in his First Voyage 1768–1771, British Library, London, BL Add. 23920, f. 14. © The British Library Board / Robana.
Ideas of Human Development
Complicated Paradise
Figure 2.10 William Hodges, A View of Maitavie [Matavai] Bay in the Island of Otaheite [Tahiti], 1776, oil on canvas, 137 × 193 cm. © National Maritime Museum, Greenwich, London, BHC1932.
Figure 2.11 William Hodges, View taken in the Bay of Otaheite Peha (Vaitepiha), 1776, oil on canvas, 91 × 137 cm. Anglesey Abbey, Cambridgeshire, UK / The Fairhaven Collection / National Trust Photographic Library / John Hammond / The Bridgeman Art Library.
Picturing the “Noble Savage”
Figure 2.12 Joshua Reynolds, Portrait of Omai, 1775–1776, oil on canvas, 236 × 145 cm., National Gallery of Dublin, Ireland / Private collection. Photo Courtesy of the Cecil Beaton Studio Archive at Sotheby’s.
Figure 2.13 John Webber, Poedua, 1777–1785, oil on canvas, 145 × 96 cm. Private Collection / Photo © Christie’s Images / The Bridgeman Art Library.
Art and “Curiosity”
Eurocentrism
Tupaia
Figure 2.14 Tupaia, The Costume of the Chief Mourner, 1769, pencil and watercolor, 28 × 39 cm. British Library, London, BL Add. 15508, f. 9. © The British Library Board / Robana.
Notes
References
3 Modernism and Modern World
Introduction
In the Beginning …
History and Empire
European Effects
Mughal India
Figure 3.1 Mughal, attributed to Sanvala, A Scene with European figures, c.1600, opaque watercolor, image 26.4 × 17.5 cm (page 33.5 × 21.6 cm). British Library, London, Johnson Album 16, 6. © The British Library Board / Robana.
Japan
Figure 3.2 Okumura Masanobu, Large Perspective Picture of the Kabuki Theater District in Sakai-chō and Fukiya-chō, Edo Period, c.1745, woodblock print, ink on paper with hand-applied color. Museum of Fine Arts, Boston, William Sturgis Bigelow Collection 11.19687. Photograph © 2013 Museum of Fine Arts, Boston, all rights reserved / The Bridgeman Art Library.
China
Figure 3.3 Attributed to Guiseppe Castiglione (Chinese name, Lang Shining), Jean-Denis Attiret (Chinese name, Wang Zhicheng), Ignaz Sichelbarth (Chinese name, Ai Qimeng), and Chinese court painters: Imperial Banquet in the Garden of the Ten Thousand Trees, 1755, horizontal wall-scroll, ink and color on silk, 221.5 × 419 cm, The Palace Museum, Beijing, GU6275. Photo provided by the Palace Museum / Hu Chui.
East–West Crossings
Inception of “Orientalism”
Looking Out
Chinoiserie
Figure 3.4 François Boucher, The Chinese Fishermen, c.1742, oil on canvas, Musée des Beaux-Arts, Besançon, France. © The Bridgeman Art Library Ltd. / Alamy.
Exclusivity
Hegel
Other Ideas
Orientalism
Figure 3.5 Jean-Léon Gérôme, The Dance of the Almeh, 1863, oil on panel, 50 × 81 cm. The Dayton Art Institute, Dayton, OH, USA / Gift of Mr Robert Badenhop / The Bridgeman Art Library.
Orientalism and Naturalism
Figure 3.6 Emil Jakob Schindler, Temple Ruins of Angkor Wat, Siam, c.1882–1889, oil on canvas, 190 × 380 cm. Natural History Museum, Vienna.
Orientalism Revisited
Figure 3.7 David Roberts, Fragment of the Great Colossus at the Memnonium, Thebes (also known as The Colossus of Rameses II in the Ramesseum), lithograph from Roberts Egypt and Nubia, 1844–1849, Vol. 2, pl. 48. Photo: akg-images / De Agostini Picture Library.
Figure 3.8 John Frederick Lewis, A Lady Receiving Visitors (The Reception), 1873, oil on wood, 63 × 76 cm, Yale Center for British Art, Paul Mellon Collection.
Modernity
Manet and “Japonisme”
Figure 3.9 Utagawa Hiroshige, Kinryuzan Temple at Asakusa, c.1856, from the series One Hundred Views of Famous Places in Edo, color woodblock print. Private Collection / Photo © Christie’s Images / The Bridgeman Art Library.
Figure 3.10 Edouard Manet, The Battle of the Kearsarge and the Alabama, oil on canvas, 1864, 134 × 127 cm. Philadelphia Museum of Art, John G. Johnson Collection. Inv. No. 1027. Photo: akg-images.
Figure 3.11 Edouard Manet, View of the Universal Exhibition, 1867, oil on canvas, 107 × 197 cm. Nasjonalgalleriet, Oslo, Norway / The Bridgeman Art Library.
Primitivism
Figure 3.12 Paul Gauguin: Ta Matete (We Shall Not Go to Market Today), 1892, oil on canvas, 73 × 92 cm. Basel, Kunstmuseum. Photo: akg-images / De Agostini Picture Library.
Figure 3.13 Fragment of Nebamun tomb painting of female guests at a banquet, thirteenth century bce. London, British Museum. Photo © Steve Vidler / Alamy.
The Question of Origins
Primitivism and Expressionism
Figure 3.14 Pablo Picasso, Les Demoiselles d’Avignon, 1907, oil on canvas, 244 × 238 cm. Museum of Modern Art, New York / Giraudon / Bridgeman Art Library. © Succession Picasso / DACS, London 2013.
Academy and Empire
Figure 3.16 Thomas Jules Vincotte, Pioneers of the Belgian Congo, 1921, stone monument in the Parc du Cinquantenaire, Brussels, Belgium. Photo: Paul Wood.
Benin
Figure 3.17 Max Pechstein, Bird Hunters (Erlegung des Festbratens), 1912, colored woodblock print, 22.5 × 26 cm. Collection Hermann Gerlinger in the Museum Moritzburg, Halle. © Pechstein Hamburg/Toekendorf / DACS, 2013.
Figure 3.18 Benin brass plaque, Master of the Leopard Hunt, relief plaque showing a bird hunt, 45 × 34 × 5 cm. Ethnologisches Museum, Staatliche Museen zu Berlin. © 2013. Photo Scala, Florence / BPK, Bildagentur für Kunst, Kultur und Geschichte, Berlin.
Fry and Primitivism
Later Modernist Primitivism
Figure 3.19 Adolph Gottlieb, Labyrinth No. 2, 1950, oil on canvas, 91.4 × 121.9 cm. © Adolph and Esther Gottlieb Foundation/VAGA, NY/DACS, London 2013.
Notes
References
4 Avant-Garde, Contemporary, and Globalized World
To Mid-Century
“Modernist” and “Avant-garde”
Futurism
Relativizing Representation
Dada’s Australia
Figure 4.1 Hannah Höch, Monument II: Vanity, from the series From an Ethnographic Museum, 1926, collage, 26 × 17 cm. Germanisches Nationalmuseum, Nuremburg, HZ 6899. © DACS 2013. Photo: Germanisches Nationalmuseum, Nuremburg / DACS, London 2013.
Einstein’s Africa
Schäfer’s Egypt
Surrealism and Ethnography
Exhibition
Figure 4.2 Installation view of exhibition La Verité sur les Colonies, Paris, 1931. Reproduced from Le Surréalisme au service de la Révolution, December 1931. Photo: ACRPP, France.
Mapping it Out
Figure 4.3 “The world in the time of the surrealists,” 1929. New York, Museum of Modern Art (MoMA). © 2013. Digital image, The Museum of Modern Art, New York / Scala, Florence.
Caribbean
Figure 4.4 Wifredo Lam, The Jungle, 1943, gouache on paper mounted on canvas, 239 × 230 cm. Museum of Modern Art, New York, Inter-American Fund 1. © 2002 The Museum of Modern Art, New York / Scala, Florence. © ADAGP, Paris and DACS, London 2013.
Realisms
Figure 4.5 Vladimir Tretchikoff, Balinese Girl. Photo: www.vladimirtretchikoff.com.
Figure 4.6 Semyon Chuikov, Daughter of Soviet Kirgizia, 1950, oil on canvas, 120 × 95 cm. State Tretyakov Gallery, Moscow. © RIA Novosti / Alamy.
Mexico to Michigan
Figure 4.7 Diego Rivera, Detroit Industry, detail of west wall showing Interdependence of North and South, 1932–1933, fresco. Detroit Institute of Arts, USA / The Bridgeman Art Library. © 2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / DACS.
Independence
Figure 4.8 Bruce Onobrakpeya, detail from Stations of the Cross series, 1967, Church of St Paul, Ebute Metta, Nigeria. Photo: Paul Wood.
Since Mid-Century
The Neo-avant-garde
Figure 4.9 Arman, Accumulation of Souls, 1972, accumulation of African wood masks embedded in polyester resin, 52 × 29 × 6.5 cm (20½ × 11⅜ × 2½ in). Image courtesy of the Arman Studio Archives New York.
Across the Atlantic
“Provincialism”
Conceptual Art and Conceptualism
Figure 4.10 Lothar Baumgarten, Conservatory (Tropenhaus), 1972–1974 Hans Staden (two trips to Brazil, 1548–1549 and 1550–1555) Hothouse, Botanical Garden, Cologne, 1974. Photo Courtesy of the artist and Marian Goodman Gallery, New York / Paris © DACS 2013.
Figure 4.11 Alighiero Boetti, Map of the World, embroidery on fabric, 1989, 117.5 × 222.7 cm. New York, Museum of Modern Art (MoMA). Scott Burton Memorial Fund. 1253.1999. Digital image © 2013, The Museum of Modern Art, New York / Scala, Florence. © DACS 2013.
Global Conceptualism
Consequences
Figure 4.13 Rasheed Araeen, White Stallion, 1991, mixed media, 61.5 × 79.5 in. Collection: Imperial War Museum, London. Photograph courtesy of the artist.
Figure 4.14 Ian Burn, Homage to Albert (South through Heavitree Gap), 1989, watercolor on bromide, plexiglas, wood, 30 × 23 × 10 cm. (Supplied by Ann Stephen) Estate of Ian Burn. Photograph by Paul Green.
Figure 4.15 Judy Watson, Our Bones in Your Collections, 1997. Collection of the artist. © DACS 2013. Image courtesy of Modern Art Oxford / © DACS, London 2013.
Figure 4.16 El Anatsui, Man’s Cloth, 2002, aluminium and copper wire, 297 × 374. Collection British Museum. Photo October Gallery, London.
Figure 4.17 George Nuku, Display of Power installation, plexiglas and mixed media, 2012, Museum an der Stroom, Antwerp. Photo: Reinhart Cosaert.
Figure 4.18 Romuald Hazoumè, La Bouche du roi, installation piece, 1997–2005. Collection British Museum. © ADAGP, Paris and DACS, London 2013. Photo George D. Hixson / © DACS 2013.
Display
Figure 4.19 Installation view of display of Benin bronzes in the Sainsbury African Galleries, British Museum, c.2000. © The Trustees of the British Museum.
Notes
References
5 “World Art History” and “Contemporary Art”
Introduction
Figure 5.1 Cover of the brochure The Global Contemporary, Art Worlds After 1989, exhibition at ZKM | Center for Art and Media Karlsruhe, September 17, 2011 – February 5, 2012, (c) ZKM Karlsruhe
“World Art History”
Thinking “Contemporary Art”
The Wider World Now
Figure 5.2 Chto Delat, Still from video piece The Tower: A Songspiel, 2010, The Global Contemporary and the Rise of New Art Worlds exhibition, September 17, 2011–February 5, 2012. Courtesy of Chto Delat and ZKM | Center for Art and Media Karlsruhe.
Figure 5.3 Jannis Kounellis, Untitled, 2004, installation view, Modern Art Oxford, 15 Dec. 2004–20 March 2005. © DACS 2013. Photography by Manolis Baboussis © Modern Art Oxford / © DACS 2013.
Figure 5.4 Ramingining artists, Ramingining, Northern Territory, Australia, The Aboriginal Memorial, 1987–1988 (installation of 200 hollow log bone coffins), natural earth pigments on wood, height (irregular) 327 cm. National Gallery of Australia, Canberra. Purchased with the assistance of funds from National Gallery admission charges and commissioned in 1987. © DACS 2013.
Figure 5.5 Fiona Tan, still photo image (showing back view of figure among museum showcases) from Disorient, 2009, twin screen video projection. Courtesy the artist and Frith Street Gallery.
Notes
References
Back Matter
Index