European art and the wider world 1350-1550 (2017) (original) (raw)
Related papers
Introduction: Art and Its Geographies: Configuring Schools of Art in Europe (1550-1815)
Art and Its Geographies: Configuring Schools of Art in Europe (1550-1815), 2024
The introduction to this edited collection traces the emergence of the notion of a school in artistic discourse, and the manifold ways in which it shaped our understanding of the geography of European art during the early modern period. It argues that the notion of a school was fundamentally unstable because it comprised heterogeneous definitions, was employed in a variety of media, and sparked competitive debate regarding the hierarchy of art and artists. Thus, this notion established a pluriform panorama of both distinct and interconnected artistic traditions within European art. Such a variegated panorama contrasts markedly with the essentialising fixations of the national school - including its nationalistic and racist excesses - which predominated during the modern period.
Art In Early Modern Europe, 2016
Initially, it is a well-known fact that art has been a part of our life in every aspect for as long as humanity has existed. For this reason, it is impossible to thing people who have lived without creating, looking at, criticizing and enjoying art. Morever, art has the power to take cultural practices from somewhere to transport and to integrate them into different parts of the world without losing their identity for thousands of years. There is no doubt that this is especially important in our highly globalized world. Art has played an important role in fighting against intolerance of different cultures, racism. Human beings have used art for many things, such as especially, entertainment, cultural appreciation, aesthetics, personal improvement and even social change. The Early Modern age which we will examine witnessed the rise of the arts, literature and culture. The music, artworks and writing of the era demonstrate the diverse interests of the cultural elite of Early Modern Europe and the cultural literacy of their audiences. Information and culture were spread more and more by performance, exhibitions and the writting which allowed new ideas to spread quickly. In addition to it, social change has became the cornerstone for modern European society, politics, religion and culture. After this short introduction, in this article we will give some significant information about art in Early Modern Europe.
A NEW HISTORY OF WESTERN ART - Introduction and epilogue
A New History of Western Art, 2022
A New History of Western Art deconstructs and demystifies the long history of art in Europe to reveal how and why certain works of art become iconic and enduring in their appeal. How has art evolved from the pursuit of the ‘ideal’ human form to a black square on a white canvas? Why is a banana duct-taped to a wall worth more on the art market than a beautiful seventeenth-century landscape? By taking art for what it actually is – a piece of stone or wood, a sheet of paper with some lines drawn on it, a painted canvas – this lively and accessible account shows how seemingly meaningless objects can be transformed into celebrated works of art. Breaking with conventional notions of artistic genius, Koenraad Jonckheere explores how stories and emotions give meaning to objects, and why changing historical circumstances result in such shifting opinions over time. Tracing its story from ancient times to present, A New History of Western Art reframes the evolution of European art and radically reshapes our understanding of art history.
Premodern Globalism in Art History - A Conversation
Art Bulletin 104/4, 2022
This conversation between two historians, one of Islamic art and architecture and the other of European medieval art and architecture, took place in person and virtually across the Atlantic in summer and autumn of 2021. finbarr barry flood: Let us begin with obvious questions: what is global art history, what is premodern globalism, and how do those two things relate? My impression is that, as currently conceived, global art history encompasses two quite distinct approaches. One endeavors to be inclusive by comparison, offering a synchronic snapshot of what is or was happening in various parts of the globe, for example, or taking a certain date or century as its focus. Another approach focuses on histories of transregional connectivity, which is the case with our forthcoming book Archives of Flotsam: Objects and Early Globalism. 1 However, both approaches are still very much shaped by the legacy of the European Enlightenment and thus come with specific cultural baggage, which it might not be possible to fully escape. beate fricke: The major challenge for both approaches is that art historians have very different kinds of archives and archival traditions resulting in an "asymmetry of forms of knowledge," to use Parul Dave-Mukherji's terminology. 2 In our collaboration, we considered a range of case studies of premodern connectivity for which epigraphic or textual evidence was largely lacking. We looked at objects that have surfaced on the shores of another culture-like flotsam-and have lost the traces of their culture of origin, arriving without any accompanying written information about their former origin, function, or meaning. If we compare a culture with a surviving textual tradition with a culture without preserved written sources, we tend to privilege the former and inscribe assumptions onto the latter. We can observe the ramifications of such biases, for example, in the display of Dr. Marcel Ebnöther's (1920-2008) collection at the Museum zu Allerheiligen in Schaffhausen, Switzerland, in which the art of diverse premodern cultures is understood by comparison under (Eurocentric) rubrics like portraiture (Fig. 1). 3 flood: The example brings us to the rubric of the "premodern," a category not unrelated to the idea of the global. According to some commentators, for instance, one can only talk about global art history when there is a consciousness of the entire globe, in the sense of all five continents. Such an approach, often favored by early modernists, assumes that global history begins only around 1500, effectively reinscribing Europe at the heart of things in perpetuity. 4 There is the related question of temporality, or at least temporal categories. The marginalization implied in the terms "medieval" or "Middle Ages"-with their privileging of classical