Art History Research Articles

Bruket av revolutionär historia i rysk protestkonst (2008–2012): ett funktionellt perspektiv

The article addresses uses of revolutionary history in the Russian protest art created during Dmitry Medvedev’s presidency (2008–2012) and reception of these uses. Since the protest art is considered by many as an arena where dissatisfaction with the ruling regime, expressed in the mass protests of the winter 2011–2012, was fueled, the article seeks to define whether the uses of revolutionary history have played a role in consolidation of those dissatisfied with the regime. Focusing on the protest artworks created by collectives Vojna and Pussy Riot, the article answers the question by using and developing Klas-Göran Karlsson’s ideas on functionality of the uses of history. The results show that although many recipients understood the meaning conveyed by the artists, the uses of revolutionary history were most of the time dysfunctional due to the existence of “antirevolutionary consensus” in the Russian society. The article offers new answers to the question as to why the protest art failed to engage the Russian society.

Decolonizing Ukrainian Art History

Abstract In this article, we analyze the influence of the colonial policy of the Russian Empire and the Soviet Union on Ukrainian art-historical writing. As we shall reveal, the mechanisms of knowledge production created during that period continued to operate after the Declaration of Independence of Ukraine in 1991. The limitations that were imposed on the art-historical community, which can be regarded as colonial, shaped the crucial narratives (of the “triune nation”) and dictated the thematic scope of Ukrainian scholarship. The new notion of “mysteztvoznavstvo,” introduced in 1937 instead of the previously established Theory and History of Art, eventually led to a profound rift between Soviet Russian and Ukrainian scholarship and the Western world more generally. “Mysteztvoznavstvo” was supposed to be an umbrella term for art history, theory, and art criticism but ended up doing a disservice to each domain. Art theory in Ukraine was virtually nonexistent, whereas art history was mixed with art criticism, resulting in writing that did not meet widely accepted academic standards. This led to the isolation of Ukrainian scholars, who were confined to the Russian-speaking community and had very limited access to foreign scholarship. We also analyze the decolonization processes in the history of Ukrainian art prompted by the invasion of the Russian Federation into Ukraine after 2013, such as The Revolution of Dignity and “decommunization.” We argue that horizontal art history and decolonial approaches cannot adequately be applied if colonial tools are still used by the discipline. Epistemic decolonization can only be achieved after challenging the standards of “mysteztvoznavstvo” and, thus, by dividing art studies into three separate domains: art history, art theory, and art criticism, as each discipline has its own goals and methods.

Heritage research at the PUMA beamline

The PUMA beamline, created for the heritage community and accessible by all fields of science, welcomed its first users in 2019. Its optical layout uses a horizontal focusing mirror to prefocus the light emitted from the wiggler source for the experimental endstation. It provides a 5 µm × 7 µm microbeam for XRF, XAS, XRD and XEOL analysis or a wide 20 × 5 mm full field when the beam is defocused, and the KB mirrors are retracted. An extremely stable fixed-exit Si(111) monochromator is used to select the wavelength. Many experiments have been performed at PUMA, particularly in archaeology, paleontology, conservation, art history and in identifying safer conditions of irradiation for precious heritage samples. XRF analysis has been used, for example, to show the effects of the interaction of Palaeolithic ivory with soil; to identify the elemental composition of mineralized textiles and to reveal hidden morphologies of fossils.

On the Dynamism of Paintings Through the Distribution of Edge Directions

The digitization of artworks has recently offered new computational perspectives on the study of art history. While much of the focus has been on classifying styles or identifying objects, the analysis of more abstract concepts, such as the perception of motion or dynamism in still images, remains largely unexplored. Semioticians and artists have long explored the representation of dynamism in still images, but they often did so through theoretical frameworks or visual techniques, without a quantitative approach to measuring it. This paper proposes a method for computing and comparing the dynamism of paintings through edge detection. Our approach is based on the idea that the dynamism of a painting can be quantified by analyzing the edges in the image, whose distribution can be used to identify patterns and trends across artists and movements. We demonstrate the applicability of our method in three key areas: studying the temporal evolution of dynamism across different artistic styles, as well as within the works of a single artist (Wassily Kandinsky), visualizing and clustering a large database of abstract paintings through PixPlot, and retrieving similarly dynamic images. We show that the dynamism of a painting can be effectively quantified and visualized using edge detection techniques, providing new insights into the study of visual culture.

Analyzing Dwelling in the Fuchun Mountains from a Pictorial Perspective

From the perspective of iconography, this paper presents an in-depth analysis of Dwelling in the Fuchun Mountains, a classic work of traditional Chinese landscape painting. This work has been highly respected since the Tang Dynasty and is regarded as one of the important representatives in the history of Chinese painting. Its rich connotation and artistic value have always been the focus of scholars' research. The thesis aims to deeply interpret the historical and cultural connotations and artistic symbolism embedded in Dwelling in the Fuchun Mountains through the iconographic method, from the levels of ex-iconography, iconography and iconographic analysis, to reveal its important position and value in Chinese traditional art. Adopting the iconographic method, the analysis is divided into three main levels. First, through pre-imaginative analysis, we focus on the physical facts and visual representations on the surface of the work; second, we use imaginative analysis to explore the information of the specific objects in the work and explore their connections and themes; and finally, we carry out imaginative analysis to reveal the deeper historical and cultural connotations and symbolic meanings of the work. Through in-depth iconographic analysis, Dwelling in the Fuchun Mountains demonstrates the core values of traditional Chinese landscape painting, presenting a fusion of natural landscapes and humanistic emotions. It is not only a work of art, but also a vivid expression of traditional Chinese culture and aesthetics. The findings of this dissertation will contribute to a better understanding of the profound historical and cultural connotations embedded in Dwelling in the Fuchun Mountains, as well as its important position and value in the history of Chinese art.

Aquatic Art Histories of the North Atlantic: Frida Zachariassen and the Faroe Islands Fisheries

Aquatic Art Histories of the North Atlantic: Frida Zachariassen and the Faroe Islands Fisheries

Maharashtrian Dalit Jalse as an Inspiration to Anti-caste Movements: A Reply from Subaltern to Subalternity

This article focuses on the Maharashtrian Dalit representation in the popular traditional art form of jalsa and aims to know how Marathi Dalit rangbhoomi/theatre has been used as a source to present stereotypical Dalit untouchability and caste-based issues. A long history of Dalit art from the 1930s to the twenty-first century has been transformed into a creative form for social awakening. Various forms of jalse (like ‘ Amberkarite jalse’ and ‘ Amberkarite Shahiri’, Powade, Ovi or Lavani later became mostly part of Ambedkari jalse) and their response to subalternity have a significant role in inspiring anti-case movements. These forms have influenced Dalit artists and activists not only in Maharashtra but also across India. Visiting the history of Dalit rangbhoomi demonstrates subalterns’ response to a Dalit subalternity. In addition, this study is very substantial to touch on the uncovered area of Dalit jalse and Qawwali as an anti-caste movement. Only countable articles have been published in English on Maharashtrian jalse. Thus, this research is essential to know the world about Dalit’s contribution to art creativity. This article concludes that oral traditional forms have their own representation style, and their aim is to express Dalits’ pain, injustice and struggle through traditional and modern forms of untouchability.

Jewish Art Studies in the Lithuanian Yiddish Press of the Interwar Period (1918–1940)

Summary Lithuanian art studies as an independent branch of science began to take shape in the First Republic of Lithuania between year 1918 and 1940. During 22 years in a multinational free state, it followed a winding path of mastery, professionalism, and the formation of a critic’s thought. However, if the origins, development, and forms of interwar Lithuanian art studies already are being explored, the Jewish art studies are still waiting for its first investigations. The purpose of this article is to broaden the scope of Lithuanian art research by incorporating the layers of interwar Jewish art studies conducted in the Yiddish language. Using the combined methodology of research as method of source studies, the aspects of social history of art and the comparative method, the Jewish art studies were analysed as a specific phenomenon which functioned alongside Lithuanian art studies. Throughout this research, over 1,000 Yiddish publications were reviewed to find the answers to the never previously discussed questions – how many Jewish art historians and critics contributed articles to the Yiddish press, what kind and quality of publications about Jewish art were featured, what aspects of Jewish art, artists, and society did Jewish art critics emphasise, and what kind of relationship existed among art critics, artists and public. The article also encompasses the short biographies of the most prominent Jewish authors in the field of art criticism.

Plastic Surgeons and Portraits Before the Invention of Photography.

The aim of this paper is to review portraits from the Renaissance to the Romantic eras, created before the invention of photography, and to discuss their usefulness to plastic surgeons. Before photography and film were invented, portraits played a critical role in documenting individuals, conveying power, and immortalizing people's appearance and identity. Portraits were not merely simple representations of a person's physical appearance; they played a crucial role in conveying the subject's inner qualities and social position, as well as the cultural values of the era. Artists often idealized or embellished certain features to align with the cultural and aesthetic ideals of their time. Portraits of the Renaissance to Romantic eras could have a significant impact on plastic surgeons' understanding of beauty and aesthetics. A plastic surgeon drawing on Renaissance ideals might prioritize symmetry and balanced facial features, which continue to be regarded as attractive in contemporary beauty standards. Beauty standards during these times favored curvaceous and lively figures, potentially inspiring modern plastic surgeons to focus on creating more dramatic or unique appearances. A plastic surgeon inspired by Romantic art might value uniqueness and avoid rigid beauty standards, focusing instead on enhancing a person's natural traits rather than conforming to a singular "ideal" appearance. Plastic surgeons could gain a richer, more classical perspective on aesthetics by studying historical art, potentially leading to more personalized and balanced outcomes. However, integrating these classical ideals into modern practice must also consider the diverse and varying definitions of beauty prevalent in today's multicultural society.

Подходы к изучению текстов культуры в работах В. В. Нарциссова

The aim of the research is to identify the peculiarities of perception of cultural texts by V. V. Narcissov, a prominent art historian, staff member of the House-Museum of P. D. Korin, lecturer whose approach helped to form several generations of scholars in the field of Russian culture and medieval Christian culture. The scientific novelty of the work is derived from the analysis of relevant biographic and academic papers on art history. Biographic material helped to identify the characteristics of the culture of Moscow intelligentsia in the second half of the 20th century. Papers on art history were central in uncovering the author’s approach to monument study. Likewise, general artistic principles of fine art have been considered. As a result of the conducted research, through consideration of the available scientific papers by V. V. Narcissov on Russian art it became possible to note specific research approaches and the overall continuity in the Russian art history tradition during the 20th and 21st centuries.

Iconografía precolombina en el arte urbano y el grafiti en Bogotá. Un acercamiento a la prácticade pintura mural precolombina en espaciosconvencionales y no convencionales

The past, far from being a remote time framed in remi-niscence and faint imagery, is latent and susceptible to change. The main objective of this paper was to applymethodologies provided by fields of knowledge such asethnography, sociology, and art history, in order to capture and delve into the presence of pre-Columbian iconography in urban art and graffiti in the city of Bogotá, in both conventional and unconventional spaces; taking an epistemological approach to the practice of mural painting with allusions to pre-Columbian elements. In this way, through urban drifts, iconographic and iconological visual analysis, mapping, and qualitative interviews, we examined over twenty mural paintings, from which theoretical approaches were derived in relation to the use of public space, on the one hand, and the use of symbols, on the other. The conclusion reached is that artistic interventions, by participating in the construction and reconstruction of the social fabric, allow us to understand space as a volatile phenomenon; likewise, in the exercise of reflecting on the presence of art in the city, it is critical to pay attention to the conditions of production under which a piece is made, insofar as images have historically been powerful semantic toolsthat embody a purpose. Finally, the paper is an argument in favor of observation as a space of learning. The present reflections were part of a research process developed for the class “Uses of the past in the present: The Iconography of Antiquity in the Contemporary Culture”, at the Universidad de los Andes, first semester of 2023.

Representing and translating art speak in films and TV

The term “artspeak” was first popularised by art historian Robert Atkins (1990). According to those who are sceptic of the necessity and value of artspeak, its function has been little more than that of creating “a mystique surrounding the work of certain artists” (ibidem: ix). This suspicion towards the act of verbalising and conceptualising art is also reflected in the representation of artspeak in film and TV dialogue. This article offers some insights on the representation of artspeak in original and translated audiovisual dialogue focusing on a case study – the film Velvet Buzzshaw (2019) – in which the language of contemporary art has been believably represented.

Роль китайских пушкинистов в популяризации русской литературы в культурном континууме КНР

The aim of the study is to assess the scale of research and educational activities of Chinese scientists, whose focus is Russian literature, namely the work of Alexander Sergeevich Pushkin. To do this, the authors of the article identify and systematize the scientific works of Chinese scientists using the information capabilities of the scientific platform CNKI (China National Knowledge Infrastructure, “Zhongguo Zhiwan” – hereinafter Zhiwan). Various scientific materials are posted here, including those that provide an opportunity to get acquainted with the most popular works of Chinese Pushkin scholars. An analysis of the entire volume of publications on this site made it possible to highlight the names of outstanding Chinese scientists who devoted their lives to the study and popularization of Russian culture and literature among their com-patriots. The characteristic features of the activities of Chinese Russian scholars are highlighted and described. The authors identified and systematized, according to the degree of publication activity, Chinese printed publications that posted materials on the Zhiwan website that, to one degree or another, related to the study of the works of the great Russian poet and prose writer. Particular attention is paid to the systematization of monographs and articles not only by philologists, but also by representatives of other scientific fields. The authors presented a brief description of public events (conferences, competitions, etc.) held in China by scientific and educational institutions to popularize Russian spiritual culture. The research results reflected in the reports of Chinese Pushkin scholars can be found on the Zhiwan website. The methodological basis is the dialectical method of scientific knowledge, which made it possible to trace the continuity of the scientific research of Chinese Pushkinists. The systematic method revealed the wide capabilities of the CNKI scientific platform. The statistical method for identifying and processing textual information provided a quantitative description of the scale and depth of the study of Russian literature abroad. Thanks to the analytical-synthetic method, not only was a database of scientific works created by Chinese researchers of the life and work of A.S. Pushkin, but also their role in the popularization of Russian culture in China was revealed. The conducted research is interdisciplinary in nature and may be in demand by domestic and Chinese Pushkin scholars (philologists, historians, cultural experts, specialists in the field of art history).

A long look at Copley's A Boy with a Flying Squirrel: implications for the default mode network.

What happens in the brain when a person spends 3 hours viewing a single painting? Geoffrey Schott examines the account of an art history professor who did just that, and considers what their observations reveal about the differences between seeing and looking, and between looking and perceiving.

Provision of "Isms" and Spontaneous Art: From the Development of Art History

This paper explores the development of art from early cave paintings to modern Provisionism and spontaneous art, analyzing how art, as a significant form of human cultural expression, has continuously evolved with changes in society and technology. As time progresses, the definition and boundaries of art are no longer fixed but have expanded along with the shifting roles of artists. The rise of Provisionism indicates that artists are no longer merely creators of works but designers of audience experiences, with the meaning of artworks further extended and enriched through audience participation. At the same time, spontaneous art blurs the line between art and everyday life, suggesting that ordinary actions and improvisations can be considered art in the right context. This paper also discusses how these emerging art forms challenge traditional art concepts and provide new perspectives for the future development of art.

Modern Criticism of Rococo Chinoiserie: Visual Narrative and Their Written Variations of Singerie

Chinoiserie (“ 中国风”) began to appear in Europe in the 13th century, and gradually exerted more and more influence on its art and culture. By the 19th century, it had become an academic term, specifically refers to European art trends influenced by Chinese or more broadly Far Eastern culture. Rococo Chinoiserie (“ 洛可可式中国风”) is a representative art form during the peak period of the development of Chinese style. Singerie(“ 猴戏画”)is a typical representative of Rococo Chinese style. As a humorous painting theme, Singerie depicts the imitation of human activities by apes. It originated from Flemish painting in the 16th century. It became famous with the popularity of French court culture in Europe in the 18th century, and is regarded as an important type of painting in Rococo art. This pattern is a typical representative of “Rococo Chinese style”. It is the result of the convergence of developments in art history, iconography, and biology. However, this result,this creation is based on a voyeuristic visual narrative and a written variation of allegorical painting. This type of drawing constructs space, controls timing, and guides sight in a specific painting form. The realization of its value and function depends on the writing variation of the allegorical painting from “appearance-concept-picture” to “appearance-idea-picture”.

Expanding Understandings of Curatorial Practice Through Virtual Exhibition Building

This article reflects on the translation of gallery space into a virtually immersive experience in an era of remote access. Curators and scholars such as Mary Nooter Roberts, Susan Vogel, Carol Duncan, Tony Bennet, Stephen Greenblatt, Judith Mastai, and Barbara Kirshenblatt-Gimblett have discussed the myriad of ways in which the experience of culturally significant objects and sites in person has been critical to the study of art and its history. Focusing on theories of curation and display, I utilize practice-based examples from six virtual reality (VR) exhibitions produced in three different institutional contexts: the International Journal of Digital Art History’s online gallery, the European Cultural Center’s Performance Art program, and the Digital Humanities program at the University of California, Los Angeles. By documenting and analyzing the extended reality (XR) methods employed and the methodological approaches to the digital curatorial work, I address some of the challenges and opportunities of presenting objects in virtual space, offering comparisons to those faced when building physical exhibitions. I also consider how digital modalities provide a distinctly different paradigm for epistemologies of art and culture that offer greater contextualized understandings and can reshape exhibition documentation and the teaching of curatorial practice and museum studies.

The Framework of Modeling Buddhist Head in 3D with Semantic Information

Abstract. Buddhist statues hold profound spiritual and cultural significance, yet their comprehensive analysis and identification remain largely reliant on manual annotation and expert scrutiny. Despite advancements in 3D modeling, the nuanced representation of these statues, essential for automated analysis, remains elusive. Integrating semantic information such as symbolic and cultural elements poses a further challenge. There currently exists no standardized method for modeling Buddhist heads in 3D with semantic information. This paper proposes a framework for the component-based analysis of Buddhist statues, particularly focusing on their heads, to bridge this gap. Drawing from diverse disciplines including archaeology, art history, and conservation, the framework leverages advancements in 3D reconstruction to provide a detailed depiction of intricate features. Building upon existing research outcomes, the framework facilitates the seamless integration of semantic information, capturing not only the physical attributes but also the cultural, historical, and spiritual dimensions of these sculptures. This approach aids in overcoming challenges in automated analysis and virtual restoration, providing a dynamic tool for exploration, preservation, and interpretation of cultural heritage. By enabling interdisciplinary synergy, the framework emerges as a dynamic tool for exploring, preserving, and interpreting the profound heritage of Buddhist art with unprecedented depth and clarity.

The Pictorial Turn and Visual Rhetoric: Analyzing Image Agency and Persuasion in Contemporary Media

In a time where the role of the image within academic and cultural contexts is undergoing a paradigm shift, especially since the notion of the pictorial turn proposed by the American art historian W J T Mitchell, the following paper will argue that the image is not only a passive representation, but has also become an active force in the construction of social realities, public opinion and the formation of subjectivity. The theory of image agency by Mitchell will be discussed in order to explain how images in political propaganda, social movements and advertising are used to either reaffirm or challenge hegemonic decisions. Examples such as the poster Rosie the Riveter and the advertisement If Youre Not Fast, Youre Food by Timberland will be used to illustrate the persuasive power of the image in modern communication. The proliferation of digital platforms such as Instagram or TikTok, which support a predominantly visual mode of communication, will be discussed in order to demonstrate how images come with an expanded force of impact. In this manner, the conclusion will underline that image studies and visual rhetoric are of utmost importance to an understanding of the contemporary information dissemination.

Design and Art Tools Formation of Visual Context in Modern Anthropogenic Environment

The purpose of the article is to establish the design and artistic means of forming the cultural-artistic context of modern anthropogenic space. The research methodology involved the use of synthesis and analysis methods with the involvement of interdisciplinary connections (architecture, art history, cultural studies, psychology, design), which made it possible to develop the available theoretical and practical experience on the subject of the article; the method of theoretical generalisation was used to formulate conclusions regarding the outlined problem. The scientific novelty of the article lies in the fact that it actualises the issue of the role of the visual and plastic language of design in the formation of the communicative and cultural content of the anthropogenic environment. Conclusions. With the change of socio-cultural, political and economic conditions, people's requirements for their environment also change. Design and artistic techniques make it possible to dynamically adjust the visual context of the space, to modernise it. The visual plastic design language of the modern anthropogenic environment is presented in artistically decorated stationary and moving objects, their parts, which add character and individuality to it, cause certain emotions in people who interact with such a space. The presence of murals, graffiti, street stencils, sticker art, aerosol art, posters, photo wallpapers, knitted graffiti, mosaics, LED art, media facades, sculptures, video mapping contributes to the formation of a new visual context of the environment, 3D images. Unsystematic, chaotic formation of the visual context of the space can disrupt its artistic integrity. It is worth considering the location of the object, its role in the general structure of the environment, architectural, historical or ethnic context.