Nineteenth-century Art Research Papers - Academia.edu (original) (raw)

2025, China’s 1800s: Material and Visual Culture

Hatch, Michael J. "Tactful Relations: Networking through Touch in Early 19th-century Literati Art.” In China’s 1800s: Material and Visual Culture, edited by Jessica Harrison-Hall, 21-27. London: British Museum, 2024.

2025, Creators of Modern China: 100 Lives from Empire to Republic (1796-1912)

Short bios of the painter Qian Du and the poet Yao Xie for the publication, Creators of Modern China: 100 Lives, which was published by the British Museum to accompany its 2023 exhibition, China's Hidden Century.

2025, Convocarte, nº15 (dez. 2023): Arte e mobilidade.

One of the most outstanding figures of Portuguese artistic culture in the second half of the 19th century, Rafael Bordalo Pinheiro was a multifaceted entrepreneur treading his own path that made him travel not only abroad but his own country. This propensity for traveling and acquiring information/inspiration on the ground resulted in a viatic culture that was reflected in the works he produced, leading him to an eclectic and prolific creation that reflected the concerns of his own time. This reflection proposes to map the artist's journeys, not only within the walls but also abroad, crystallizing the resulting creative production and contextualizing it in a perspective of crossed perspectives and multiple dynamics. Inserted in an imminently rural country, the work of Rafael Bordalo Pinheiro condenses in itself an attentive and critical experience that underlines the backwardness of an agrarian and bucolic country, closed in on itself in a picturesque peasantry, resisting the technical progress that emerged from the Industrial Revolution so largely defended by the artist.

2025, Dissertação de Mestrado

Esta dissertação objetiva analisar as ilustrações de temáticas brasileiras produzidas pelo russo-ucraniano David Widhopff (1867-1933), tanto em sua passagem por Belém, entre os anos de 1893 a 1896, quanto aquelas produzidas após o seu retorno a Paris. Na Amazônia, Widhopff dedicou-se a ilustrar especialmente para os jornais O Mosquito, A Província Illustrada e Zig-Zag que, somados aos desenhos produzidos para o livro “Horto” (1910), de Auta de Souza, constituem-se enquanto principais obras analisadas no decorrer deste trabalho. Buscou-se compreender, a partir da representação de personagens e acontecimentos locais por parte do artista russo-ucraniano, a continuidade no interesse de Widhopff em representar contextos e personagens amazônicos, a atenção às temáticas e aos gêneros artísticos em voga no período, assim como as referências do movimento simbolista e art nouveau presentes em suas ilustrações. Esta pesquisa contou com uma bolsa de mestrado FAPESP (processo nº 2022/10872-4) e com uma bolsa estágio de pesquisa no exterior (BEPE-FAPESP, processo n° 2023/11441-0), entre os meses de janeiro a março de 2024, na École des Hautes Études en Sciences Sociales (EHESS).

2025, Visualizing Egypt: European Travel, Book Publishing, and the Commercialization of the Middle East in the Nineteenth Century, American University of Cairo Press

Illustrated publications and the role of market forces in shaping representations of Egypt at a time when European colonial interests in the region were at their peak, with over 70 color and black-and-white illustrations In the... more

2025

El objetivo de este curso es reflexionar sobre los Reales Sitios creados por los sucesivos reyes de la Corona de España desde finales de la Edad Media y a lo largo de toda la Edad Moderna, analizando el papel que tuvieron como espacios cortesanos y de redes de poder, la importancia del mecenazgo regio para impulsar el gusto artístico en el contexto español, el papel de la arquitectura como un instrumento para consolidar el poder de los reyes o la relación de los sitios reales con su entorno. Para ello se han seleccionado distintos casos de estudio de los Reales Sitios gestionados por PatrimonIo Nacional con la finalidad de ofrecer un panorama amplio y diverso de lo que supusieron estos espacios de poder real en el contexto de la Monarquía Hispánica. También se estudiará la creación de la Galería de las Colecciones Reales en pleno siglo XXI y su relación con los Reales Sitios a través de las colecciones artísticas que se exhiben en su interior.

2025, Anais do Ars Sexualis 2024

Seminário Internacional de Artes Visuais [livro eletrônico] : somos seres fetichistas!? / organizadores Bruno Novadvorski...[et al.]. Porto Alegre, RS : Ars Sexualis Publicações, 2025.

2025, The Economic History Review

We study art trade in New York between 1870 and 1970, analysing returns on investment by the renowned Knoedler gallery to shed light on the evolution of the American art market. A generalist art gallery should allocate investments to equalize expected returns, with differences in effective returns depending on purchase prices, number of traded works per artists, search costs, and shocks. We confirm these principles, finding that returns were higher for cheaper artworks, by more frequently traded artists, in stock for a shorter time, after solo exhibitions for the authors, or during booms and after the death of the artists. A key interest in the story of New York’s leading gallery is in its connection with the history of American art over a crucial century. We find that the returns on European old masters follow an inverse U-shape, peaking during the
First World War and declining thereafter,whilst the returns on American modern artists increase consistently throughout the century. This pattern aligns with a shift in demand towards American art that began in the 1920s and was instrumental in promoting the innovations of the New York school from Abstract Expressionism to Pop Art.

2025, Culture Matters

This article explores the interrelation between the political upheavals of the Napoleonic era, the European Restoration, and the artistic work of German Romantic painter Caspar David Friedrich. It begins with the socio-political transformations initiated by the French Revolution and Napoleon’s centralising reforms, which advanced bourgeois interests while suppressing feudal structures. Napoleon's expansionist wars and economic policies are analysed as instruments of capitalist development and imperial domination. The article then examines the German response, highlighting the rise of national consciousness and anti-Napoleonic sentiment, which profoundly influenced Friedrich’s work. Through a detailed reading of The Sea of Ice (1823–24), the author situates Friedrich’s landscape painting within the broader context of post-1815 Restoration repression, national resistance, and the thwarted liberal aspirations that culminated in the revolutions of 1848. Friedrich's use of winter and ice emerges as a powerful metaphor for political stagnation and despair. The article argues that while Friedrich’s nationalism was grounded in democratic and anti-feudal ideals, it was later misappropriated by fascist ideologies. Emphasising the importance of historical context, the article asserts that Friedrich’s oeuvre represents a radical, melancholic protest against reactionary forces and the betrayal of revolutionary hopes in 19th-century Europe.

2025, La Revue des Musées de France

Ludovic LAUGIER 4 La rénovation des salles d'Olympie et du Parthénon Pour l'amour de l'Antique, au coeur de la Grèce classique Richard DAGORNE 8 NANCY. Palais des ducs de Lorraine-Musée Lorrain Une lance d'apparat du v e siècle, sans équivalent en Europe, rejoint les collections archéologiques Élisabeth ANTOINE-KÖNIG 11 PARIS. Musée du Louvre Quatre ivoires gothiques de l'ancienne collection Kofler-Truniger Élisabeth CAUDE 16 VERSAILLES. Musée national des châteaux de Versailles et de Trianon Une dation pour Versailles : le bureau plat de la bibliothèque du Dauphin Lucille PENNEL et David NICOLAS 20 CHARLEVILLE-MÉZIÈRES. Musée Arthur Rimbaud 2016-2018 : trois acquisitions exceptionnelles ÉTUDES Sophie CARON 24 Une nouvelle Assomption pour le Louvre : entre Jean Changenet et Josse Lieferinxe Vladimir NESTOROV 39 L'Annonciation d'Orléans : un jalon pour l'oeuvre de Jérôme Francken le Vieux (1540-1610) Julie ROHOU 47 Une nouvelle acquisition du musée national de la Renaissance : L'Adoration des Bergers d'après Antoine Caron Fabienne GALLAIRE 54 Le Tableau aux Oiseaux (1619) du musée des Beaux-arts de Strasbourg Vincent LEFÈVRE 67 La jeune fille au perroquet : un thème indien dans la peinture hollandaise ? Christine LALOUE 82 Le décor des clavecins en France au xvii e siècle Michèle BIMBENET-PRIVAT 96 Deux dessins de pots à oille pour le duc de Croÿ, par Robert-Joseph Auguste

2025, «Ricerche di storia dell'arte», 145

This essay aims to provide a detailed and up-to-date study of Auguste Rodin's Jean d'Aire, which is part of the Milanese civic collection. With the support of a great deal of mostly unpublished archival documentation, the article attempts to trace the birth and definitive location of this example of the Jean d'Aire, a work intimately connected with the figure of Emilia Cimino Folliero, a painter and suffragette who worked for Rodin in the late 19th and early 20th century. It was thanks to Emilia's loyalty and services to the French sculptor that the latter decided to give the small model of one of the characters from The Bourgeois of Calais to the Italian painter, who kept the statuette over the years, using it to gain artistic recognition in her homeland.

2025

Ghent and Brussels: Museum voor Schone Kunsten in association with Mercatorfonds, 2011. 254 pp.; 205 color illustrations; 16 black and white illustrations; selected bibliography. € 30.00 (hardcover French and Dutch edition) ISBN 978-90-6153-356-6 On October 22, 1911, the Belgian symbolist poet, playwright and essayist Maurice Maeterlinck (1862-1949) was awarded the Nobel Prize in Literature. To celebrate the centenary of this occasion, the Museum of Fine Arts in Ghent held an exhibition on Maurice Maeterlinck and the artist George Minne (1866Minne ( -1941)). Both were prominent figures in the Belgian Symbolist art scene of the late nineteenth century. Symbolist art was committed to purity of form and preoccupied with matters of feeling and inner life. Symbolist artists aspired to express the core of things, the Idea.[1] They were concerned with l'au-delà, the inexpressible, a deeper truth that is to be found behind the merely external (98). Both Maeterlinck and Minne were much appreciated for their ability, each in their own way, to lay bare the innermost depths of the soul by way of a direct visual language. According to Maurice Maeterlinck (1862Maeterlinck ( -1949)), George Minne had an extraordinary talent for expressing the gestures and attitudes of sorrow (20). Maeterlinck considered Minne to be his âme soeur, his soul-mate.[2] In Minne, Maeterlinck recognized his counterpart in the visual arts. The exhibition entitled The World of George Minne & Maurice Maeterlinck explores the relationship between the author and the artist, who were both living and working in Ghent in the late 1880's. The title The World of George Minne & Maurice Maeterlinck was a clever concept for it enabled the curators to address the actual correlation between Minne and Maeterlinck, while at the same time exploring their influence on others both within and outside of Belgium. The introductory panel states the objective of the exhibition: "This exhibition follows the development of George Minne, looks for connections with Maeterlinck, and outlines the influence of both artists on the Symbolist art of their time." The curators have lived up to their aim. First, the exhibition explores the actual correlation between the writer and the artist, as well as their shared inspiration by artists like Auguste Rodin and Odilon Redon. Then, the visitor enters the "world" of Maeterlinck, who was an influential figure in the avant-garde art scene in Paris; and finally, in the three smaller spaces of the five galleries, the exhibition is devoted to Minne's "world." In each of these five galleries, artworks in several media are on display, including sculpture, printed books, graphic art, paintings, and drawings. Each room contains a monumental eye-catcher as well as one or more pieces of refined graphic art or an illustrated book that demands close attention.

2025, In: Beatriz Kushnir. (Org.). Maços na gaveta: reflexões sobre Mídia.. Niterói: EdUFF, 2009, v. , p. 11-34.

o artigo analisa a relação entre arte, colecionismo, imprensa e censura em Belém do Pará na virada do século XIX para o século XX

2025, Monument revue

Nahliadnutie do výskumu sakrálneho umenia 19. storočia v okrese Dunajská Streda - prezentácia výsledkov z revízie Ústredného zoznamu pamiatkového fondu.

2025, Stewart Carmichael - Celtic Visions

Text from a publication describing the life and career of one of Dundee’s most significant artists, the Celtic Revival and symbolist painter Stewart Carmichael (1867-1950), produced to accompany the acclaimed 2017 exhibition in the Lamb... more

2025

Gabriella Tassinari, "Gems in Greece, Egypt and Near East, Souvenirs of the Grand Tour: a Manuscript of Sir Richard Worsley", in E. M. Günther, S. Günther, E. Lafli and N. Serwint (eds.), "GLYPTICA. Current Studies on Ancient Greek, Roman and Early Byzantine Engraved Gems" (Alter Orient und Altes Testament; 474), Tecklenburg, Ugarit-Verlag, 2025, pp. 549-588

2025, Anthropology'sPhilosophy, ed by Nigel Rapport

The word ‘volume’ has at least three fields of inspiration. In geometry, it designates a container with a content. In art, it can refer to sculptures, in particular sculptures in the round. Volume also refers to a book with bound sheets. In anthropology, volume becomes a volume of being with a content, its internal components linked together - actions, emotions, gestures, role, style, and so on. They do not really leave the volume of being. In this essay we shall argue that volume is a notion that invites us to think about internal structuring rather than relational couplings between beings.

2025

Ces deux journées d’étude sont organisées par Daniele Rivoletti (Université Clermont Auvergne/Institut universitaire de France), Frédéric Tixier (Université de Lorraine, Nancy) et Christine Descatoire (musée de Cluny-musée national du Moyen Âge), et se tiendront à Paris (musée de Cluny et Institut National d’Histoire de l’art) les 8 et 9 décembre 2025. Elles sont en lien avec l’exposition Le Moyen Âge du XIXe siècle. Créations et faux dans les arts précieux, qui aura lieu au musée de Cluny du 7 octobre 2025 au 11 janvier 2026 (commissaires : Christine Descatoire et Frédéric Tixier) et avec le projet de recherche Une histoire patrimoniale transnationale de la sculpture du Quattrocento, financé par l’Institut universitaire de France (porteur : Daniele Rivoletti). Une troisième journée – le 10 décembre – est en cours d’élaboration en partenariat avec le Louvre-Lens et la New York Medieval Society. Celle-ci prendra la forme d’un workshop et d’une visite de l’exposition Gothiques du Louvre-Lens.

2025, О родословной А. К. Лядова: к 275-летию русской музыкально-театральной семьи

В статье излагаются новые биографические факты о представителях музыкально-театральной семьи Лядовых,
к которой принадлежал выдающийся композитор А. К. Лядов.
Вводятся в научный оборот сведения о неизвестных ранее предках
и родственниках Лядовых, а также об известных деятелях культуры,
которые оказались родственниками А. К. Лядова. Новые факты
позволяют считать эту семью одной из самых старинных династий,
чьи многочисленные представители имели отношение к становлению и развитию музыки и театра в России от середины XVIII в. по вторую половину XX в. Источниковую основу исследования составили метрические книги и исповедные росписи, а также архивные материалы и литературные источники.

2025, Index 4

This essay attempts a survey of the Australian artists who worked in the world’s art colonies from the late nineteenth century until the present. It also looks at the art colonies in Australia that brought together Australian artists and... more

2025, Panambí. Revista de Investigaciones Artísticas

Ernesto de la Cárcova fue un agente de suma relevancia para la institucionalización y consolidación de la educación artística en Buenos
Aires durante las primeras décadas del siglo XX. La propuesta de este trabajo consiste en analizar las iniciativas de compras de calcos escultóricos de Cárcova, caracterizar la conformación de colecciones en función de su destino institucional y examinar su efectividad en relación con sus usos en la enseñanza artística. Se identifican dos etapas, una primera en la cual se privilegió la dotación de modelos para la enseñanza del dibujo y otra para la conformación de un museo de escultura comparada para la Escuela Superior de Bellas Artes. La investigación está orientada a reflexionar sobre el lugar que ocuparon los calcos escultóricos en yeso en la educación artística del periodo.

2025, SobreLa ciudad tapada: Lima en las relaciones de fiestas virreinales, de Eva Valero Juan

Reseña sobre La ciudad tapada: Lima en las relaciones de fiestas virreinales de Eva Valero Juan.

2025, Konsthistorisk tidskrift/Journal of Art History (2025)

"The Magic Circle," painted by John William Waterhouse for the Royal Academy exhibition of 1886, features a nubile sorceress whose identity and nature are undetermined. This essay contends that to bring this figure into analytical focus it is necessary to examine the hitherto misconstrued image embellishing her gown: this is the figure of Medusa, copied by the artist from an Archaic Greek vase held in the British Museum. In adorning his sorceress with a potent figural allusion to Greek mythology and art, Waterhouse not only aligned himself with the antiquarian interests of his peers but also engaged with the portrayals of Medusa as a synthesis of beauty and horror prevalent in Romantic and Victorian art. The kinship thus forged between the sorceress and the Gorgon Medusa evokes Pre-Raphaelite paintings of Medusan sorceresses and reflects ancient and early modern texts on the female hybrid. By referring to a range of pictorial and literary references, the painting succeeds in characterizing its protagonist as a dangerous seductress whose charms are but a foil for destructiveness. In this light, "The Magic Circle" takes its place as a landmark moment in Waterhouse’s artistic development, introducing motifs reprised in his later paintings of Circe, Medea, and the sirens.

2025

Samuel Minne, « Harry Clarke », in Christine Luce (dir.), Grands Peintres féeriques, Les Moutons électriques, 2017

2025

This paper has as a subject matter the spanish professor and artist Benito Mazon Castañeda (1885-1955), who moved to Brazil in 1939 and consolidated his career as a teacher and artist linked to the Instituto de Belas Artes, where he taught from 1941 until 1955. This research it is a case study, which is based on the trajectory of Benito Castañeda as a teacher and his connection with the history of the Instituto de Artes as well. From the perspective of his career as a lecturer, the methodologies of art education in Brazil are analyzed, being examined specifically the activity period of the professor Benito Castañeda at the Instituto de Belas Artes. This research is anchored in the documents collected from the Professor-artist dossier, preserved in the Historical Archive of the Institute of Arts and are presented unprecedentedly at the end of this paper. Apart from these primary sources, this work is a result of the intersection of my research with texts already published over the pe...

2025, Anais eletrônicos do XIV Seminário do Museu D. João VI: estranhamentos na história da arte e em coleções.

Uma sesta tropical (1925), de Manoel Santiago (1897-1987) é uma obra que desafia a compreensão. Apontada como amoral, a tela foi recusada pelo júri de pintura da Exposição Geral de Belas Artes de 1925, mas foi acolhida por parte da imprensa como cena tipicamente brasileira, episódio corriqueiro da vida comum. Desviando, contudo, à coerência narrativa que permitiria inferir o fundamento da representação, a tela pronuncia ruídos na linguagem convencionada no meio expositivo, transpondo mesmo a problemática da moralidade. Dotado de uma harmonia particular, o quadro cativa o olhar ao mesmo tempo em que desperta um estado de inquietação por seu arranjo compositivo, estranhamento que nos instiga às conjecturas. Neste artigo, examinamos alguns dos lugares de sentido que despertam da obra, na busca por compreender o que ela comunica.

2025, Atelier doctoral Philomel

En 1989, le collectif Guerrilla Girls réalisa une de leurs plus célèbres affiches. Sur le slogan, on pouvait lire : « Do women have to be naked to get into the Met. Museum? Less than 5% of the artists in the Modern Art Sections are Women, but 85% of the nudes are female ».
Dans les collections publiques françaises, la situation n’a guère changé : au Louvre, seulement 663 œuvres ont été attribuées à des femmes, sur un total de 460 000. Au Musée d’Orsay, le pourcentage d’artistes femmes atteint difficilement les 7%. Les femmes sont donc sous-représentées en tant que sujets créateurs, alors qu’elles sont omniprésentes en tant qu’objet de regard des spectateur.ices.
Et pourtant, depuis les années 1970, les travaux de Linda Nochlin et Griselda Pollock ont permis, non seulement de retrouver de nombreuses figures de créatrices (noms, origines, carrières, œuvres), mais également de comprendre les préjugés sexistes et les contraintes auxquelles elles ont dû faire face dans l’exercice de leur profession.
Cette communication démontrera en quoi les études de genre et l’histoire de l’art féministe peuvent conduire à l’élaboration d’un nouveau type de médiation culturelle. Cette dernière s’applique à s’éloigner des parcours traditionnels axés sur les noms des « grands hommes » pour rendre visible la création féminine au sein de l’espace muséal.

2025, Ars Longa

Durante el último tercio del siglo XIX el progreso de la educación de las mujeres en España comenzó a materializarse en diversas iniciativas que afectaron también a la enseñanza artística femenina. Entre ellas se encuentra la fundación de la Asociación para la Enseñanza de la Mujer y el papel determinante que jugó la artista española Adela Ginés y Ortiz en la institución para la creación de nuevas vías de formación artística de carácter profesional para las jóvenes españolas.

2025

Tesi di Laurea accademica a ciclo unico, vecchio ordinamento in Pittura.

2025, Estranhamentos na História da Arte e em Coleções

Eugênio de Proença Sigaud foi aluno da Escola Nacional de Belas Artes, frequentando o curso livre e, posteriormente, ingressando em arquitetura. Com produção artística ampla, ressalta-se a pouca visibilidade conferida ao artista pela crítica da época, sendo escassas as publicações que a ele se referem. Entre o que foi publicado, há inconsistência acerca de suas participações nos Salões de Belas Artes e do Núcleo Bernardelli, o que gera contradição e reforça as tensões entre a arte acadêmica e moderna. É, portanto, do interesse desta pesquisa questionar e realocar as narrativas formuladas em torno do artista, revisitando, para isso, o que foi publicado sobre Sigaud e analisado críticas da época disponíveis na Hemeroteca Digital da Biblioteca Nacional, envolvendo tanto os Salões de Belas Artes realizados entre as décadas de 1920 e 1940, como os Salões do Núcleo Bernardelli de 1932 a 1941.

2025

Bridgerton and Philosophy. Ed. Jessica Miller. Malden: Wiley-Blackwell, 2025. 4,004 words. Print.

2025, CICANT

Carlos Teixidor Cadenas works with 19th-century photography since 1983. He is the curator of historical photography at the Institute of Cultural Heritage of Spain (IPCE), Ministry of Culture and Sports, in Madrid. He has published several books, such as "Photography in the Canary Islands and Madeira. The era of daguerreotype, collodion and albumen 1839-1900" and "The postcard in Spain. 1892-1915" (Espasa, 1999). His publications also include articles published in academic and non academic journals, as well as in conference proceedings. He has worked as a curator for exhibitions in Spain and other countries.

2025, Between

This contribution explores the representation of the myth of Endymion and Selene in specific artworks from the Global North (especially by Pier Francesco Mola and Anne-Louis Girodet de Roussy-Trioson), focusing on the interplay between light, body, and meaning. The study uncovers the complexity and evolution of Endymion's character, influenced by changing cultural and artistic contexts. It delves into the spatial dimensions of imagination, symbolic associations, semiotics of light, and evolving ideals of masculinity, emphasizing the importance of interpreting the myth through a topographic perspective. Furthermore, it examines how cultural norms and spatial constructs challenge established conventions, introducing disruptive elements within familiar narratives. Endymion's portrayal as a passive figure bathed in Selene's light serves as a focal point for exploring themes of desire, castration symbolism, and the objectification of the male body that reflects broader shifts in artistic sensibilities and cultural norms.

2025, Sibrium

L’Esposizione romana delle opere di ogni arte eseguite pel culto cristiano fu un evento straordinario che si tenne a Roma nel 1870. La rassegna fu promossa da Papa Pio IX Mastai-Ferretti e vide la partecipazione di artisti, editori, fotografi, esperti di arti applicate e collezionisti provenienti da tutta Italia e dall’Europa. Una serie di documenti d’archivio –tra cui verbali, istanze, lettere e liste– conservata presso l’Archivio di Stato di Roma e l’Archivio Storico della Pontificia Commissione di Archeologia Sacra ha permesso di ricostruire alcuni eventi legati alla partecipazione di Giovanni Battista de Rossi nelle fasi organizzative dell’Esposizione. L’archeologo romano ebbe un ruolo particolarmente significativo: egli fu membro del comitato promotore della manifestazione, valutatore nel processo di ammissione delle opere al concorso, mediatore tra i partecipanti e gli organi di governo e, infine, espositore. Lo studioso, poi, fu anche autore di alcune opere librarie ammesse all’Esposizione e presentate dal laboratorio della Cromolitografia Pontificia.

2025, Interfaces

As one of the most important components of modernism , the symbolic thinking appears as a dominant orientation within the visual arts and literature. The compulsory modernization imposed by industrialization would compel a rapid transformation of the modernity inhabitant ' s mental structure , and therefore , a new perception towards symbolic references. The hat and the horse , would come to embody a symbolic humanity-due to the individual ' s depersonalization among the 19 m Century urban multitude. These signs ' presence in works of Russian writers and in works of the Brazilian writer and art critic , Gonzaga Duque, shows how these symbologies got internationalized. Hats and horses are presented as antithetic symbols of modernity : the first by representing the urban standardization , which simultaneously seeks anonymity and distinction in modern cities : the later , by representing the possibility of rebellion against the domination imposed by rationalism , which kept the individuals from giving full rein to their imagination. Nu , exposto ao frio desta época calamitosa , com uma carruagem que é terrestre e cavalos que não o são Como um dos componentes essenciais do Modernismo , a estética simbolista surge como tendência dominante dentro das artes visuais e da literatura durante as últimas décadas do século XIX. Buscando inspiração no esp írito romântico e contrapondose à visualidade pura dos impressionistas , as idéias simbólicas de pintores franceses como Puvis de Chavannes (1824 -98) , Gustave Moreau ( 1826 -98) e Odilon Redon ( 1840 -1916) serviriam como base para os pós-impressionistas , permeando as obras de Paul Cézanne (1839-1906) , Paul Gauguin (1848 -1906) , Georges Seurat (1859 -91) e Vicent Van Gogh (1853 -90).

2025

This comparative study explores the radically divergent aesthetic, psychological, and philosophical dimensions embedded in The Four Trees by Claude Monet (1891) and Cypresses by Vincent van Gogh (1889). Though both works engage with the seemingly neutral motif of trees within a landscape and were painted within a brief temporal proximity, the paper reveals how these canvases are manifestations of entirely distinct worldviews, emotional states, and artistic strategies. Monet's poplars, painted from a floating studio amid rural serenity, embody geometric harmony, chromatic equilibrium, and compositional control — a visual articulation of stability, modernity, and national identity. In contrast, Van Gogh’s cypresses, composed within the confines of an asylum, express a turbulent, metaphysical vision of existence, rendered through convulsive brushwork and symbolic density. Through close formal analysis, contextual inquiry, and interpretive reflection, the paper positions these two works as painterly meditations on light and shadow, vitality and mortality, order and rupture — and ultimately, as revelations of the artist’s living condition. The essay concludes by suggesting how seriality, symbolic intent, and the philosophical tensions between nature, perception, and expression, unite and divide these masterpieces of late 19th-century modernism.

2025, Imagem: Revista de História da Arte

Este artigo investiga como dois textos pouco estudados de Hanna Levy, “Bruno Giorgi” (1941) e, sobretudo, “Velhos santos” (1946), abordam temas e métodos recorrentes em outros artigos sobre arte brasileira publicados por ela no Brasil... more

2025, Imagem: Revista de História da Arte

Em 1888, o crítico de Arte carioca Luiz Gonzaga Duque Estrada (1863-1911) publicou seu livro de estreia, A Arte Brasileira, em que buscava compreender aspectos da pintura e da escultura no país, desde os tempos coloniais. Objeto de estudo... more

2025, Félix Fénéon: The Anarchist and the Avant-Garde

2025

Dammi mille baci, poi altri cento, poi altri mille, poi ancora cento, poi senza fermarti altri mille, poi cento. In ne, quando ne avremo dato a migliaia, mescoleremo il conto, per non sapere, o perché nessun malvagio possa invidiarci, scoprendo l'esistenza di così tanti baci" Catullo, Dammi mille baci, carme 5. Si sa -come hanno insegnato gli antropologici[1] -che i baci possono essere di tanti tipi: di gioia, di passione, di piacere sessuale, di tenerezza, di amore, di attaccamento, di conforto, di cortesia, di necessità, di rincrescimento, di supplica, e altro ancora. Il bacio appartiene al linguaggio non verbale e serve appunto a comunicare alcuni dei sentimenti più profondi dell'uomo; è il gesto in cui le labbra di qualcuno si posano su qualcun altro o qualcos'altro. Il bacio d'amore è senza dubbio il più intenso, il più pregnante di conseguenze. D'altra parte, l'homo sapiens dispone di labbra estro esse, in primis, per il nutrimento; il primo gesto del neonato, infatti, è quello di suggere il latte materno grazie proprio alla conformazione delle labbra. La vita di un essere umano inizia -si può dire -con un bacio "nutritivo". Italo Calvino, in Il barone rampante, riferendosi ai due principali protagonisti del suo romanzo, Cosimo e Viola, così descrive con grande precisione l'effetto del "bacio amoroso": "Lui conobbe lei e se stesso, perché in verità non s'era mai saputo. E lei conobbe lui e se stessa, perché pur essendosi saputa sempre, mai s'era potuta riconoscere così".[2] Pur conoscendosi n da bambini Cosimo e Viola, per diverso tempo, si sono persi di vista. Quando nalmente si ritrovano dopo anni di peripezie, avventure e varie esperienze di vita, riprendono a parlarsi ed è lì che il bacio dell'amore produce il "miracolo": diventano tutt'uno, uniti l'uno nell'altro, e attraverso questa compenetrazione riconoscono se stessi nella propria totalità. Il bacio, insomma, è lo strumento più potente e più affascinante di libertà esistenziale: la più alta sintesi di quell'unione da cui scaturisce il vero amore, garante della vita che continua. Lungo il corso della storia il bacio è stato oggetto di molte raf gurazioni pittoriche e scultoree. In questo saggio l'attenzione si soffermerà essenzialmente su uno scultore, Constantin Brâncuşi, che al tema del bacio ha dedicato gran parte della sua esperienza umana e artistica, 06/05/25, 22:06 "Il bacio è stato per me il cammino di Damasco" -Insula europea

2025, Musei lombardi a tre colori tra storia e arte

Nella ricca collezione di disegni dei Musei Civici proveniente dalla Scuola di Pittura (attiva a Pavia dal 1842 al 1934) o riferibile ai suoi allievi è possibile rintracciare un nutrito corpus di opere che riflette l'attenzione degli artisti per la storia e per gli avvenimenti legati al Risorgimento. Giuseppe Mazzini, nel saggio "La Peinture moderne en Italie", scritto durante l'esilio di Londra e pubblicato nel 1841, aveva auspicato l'avvento di un'arte nuova, degna dei maestri del passato che avevano fatto grande l'arte italiana, che fosse in grado di esprimere il sentimento patriottico e la libertà dall'oppressione straniera, in modo che al rinnovamento sociale si accompagnasse un rinnovamento del linguaggio artistico. Le due componenti fondamentali della moderna pittura di storia sono da un lato la passione civile di matrice romantica, fino a quel momento orientata a vicende lontane nel tempo ma dense di rimandi all'attualità; dall'altro l'interesse per l'indagine sul vero, con la registrazione di episodi di vita quotidiana e brani di paesaggio, destinati a diventare terreno privilegiato di sperimentazione.

2025, cadernos de sociomuselogia, v. 41

A temática dos direitos autorais possui uma importância
central para o trabalho executado pelos museus. Neste sentido, este
texto aponta algumas questões que o processo de musealização
deve enfrentar no trato com as obras, com a autoria e os processos
museais. O objetivo da reflexão não é definir procedimentos e
normatizações, mas sim apontar questões conceituais para o debate
sobre direitos autorais em um contexto de mutações dos
mecanismos de reprodutibilidade técnica e de alterações da
legislação. Para isso, o trabalho é composto de: i) uma análise da
construção social dos conceitos de obra e autor e da teia de relações
onde assumem sentido; ii) uma interpretação das formas pelas quais
a temática dos direitos autorais irrompe no brasileiro Estatuto dos
museus; e iii) um estudo de caso sobre a circulação da imagem do
quadro A noite, do pintor Pedro Américo, que é abrigado pelo Museu
Nacional de Belas Artes, do Rio de Janeiro, e que passou por um
processo de apropriação e ressignificação por parte de uma
empresa de queijos de Minas Gerais.

2025

Aqui estão alguns dos documentos, cartas, textos e críticas que constam do segundo volume do trabalho Revendo Almeida Junior de Maria Cecília França Lourenço apresentado à Escola de Comunicação e Arte da USP como Dissertação de Mestrado... more

2025

Nel 1907 il medico positivista ed anticlericale, vivace divulgatore Gustave Joseph Witkowski indica, al primo posto, proprio Raffaello quando stigmatizza quei pittori «poco cattolici» che hanno decorato le «dimore della preghiera», e cioè... more

2025

Il Tempio neoclassico di Frasassi

2025

opere d'arte e strumenti della diplomazia

2025, Imagem: Revista de História da Arte

Este texto busca investigar a prática do colecionismo do brasileiro José Salgueiro Esteves Brandão, que ainda criança foi com os pais para Portugal e ao longo de sua vida constituiu uma coleção de arte denominada por ele como "Pinacoteca... more

2025

In nineteenth-century Havana, Cuba, ritual drawing was a ubiquitous technology of power that transcended the boundaries of ethnicity, race, and class. These drawings—signatures, seals, and scribal flourishes—enslaved and freed, empowered and constrained, and afflicted and healed. Inscribed on documents, floors, bodies, and drums in ink, charcoal, and chalk, ritual drawings summoned supernatural and natural forces to forge their makers’ authority in Cuba. This dissertation examines two entangled traditions of ritual drawing commonly framed as discrete: bureaucratic signatures and seals, seen as “secular,” and the typically ephemeral signatures and seals associated with Santería, Palo Monte, and Abakuá, categorized as “religious.” Yet, I show that in the nineteenth century these practices formed a single dynamic and contested field constructed by enslaved and free Afro-descendants as well as white colonial officials. This dissertation centers on a corpus of ritual drawings created by men of African descent and recorded on paper between 1812 and 1884. By analyzing these images, I illuminate the formation of a ritual drawing aesthetic that persists in Cuban ritual practice today and how it cohered diverse groups of ritual specialists during the colonial period. Ultimately, this dissertation broadens the scope of Caribbean, Latin American, and African art histories, demonstrating how Africans and Afro-descendants reconfigured the visual, social, and political horizons of Spanish imperial hegemony and the Atlantic world more broadly.