Art Association Research Articles

Hilary Robinson Reports on the Conferences of the Women's Caucus for the Arts and the College Art Association (Seattle, Washington February 1-6 1993)

Hilary Robinson Reports on the Conferences of the Women's Caucus for the Arts and the College Art Association (Seattle, Washington February 1-6 1993)

Jean de Castro, the Pense partbooks and musical culture in sixteenth-century Lyons

The city of Lyons enjoyed its heyday in the sixteenth century. Favourably situated along the great trade routes connecting Italy and the north, Lyons was a busy commercial centre that saw a constant flow of goods and people through its marketplaces and fairs. Its large population was polyglot and cosmopolitan: many of its most prominent citizens were recent immigrants or members of one of the foreign ‘nations’ that wielded so much financial power through their connections with banks in Italy. The city boasted a flourishing book trade and an active cultural life, and its culture was in many ways as international as its citizenry. Trade links with other great economic centres of the time were often mirrored in art and music. Although artistic ties with Italian cities were perhaps the strongest, connections with Antwerp and other northern cities existed as well. A newly identified set of manuscript partbooks in the Bibliothèque Nationale is an example of one such economic and cultural link. Commissioned by a young merchant of Lyons from a composer in Antwerp, they testify to the vitality of cultural exchange along the major trade routes of the Renaissance. Furthermore, they shed new light on the careers of the copyist Jean Pollet, who worked at the Bavarian court with Lassus, and the Netherlands composer Jean de Castro, and provide a unique and fascinating view into the life of Justinien Pense, the patron who commissioned them.

Mavis Gallant’s Apprenticeship Stories, 1944–1950: Breaking the Frame

MAVIS GALLANT’S APPRENTICESHIP STORIES, 1944-1950: BREAKING THE FRAME LESLEY CLEMENT Medicine Hat College in his 1977 interview with Mavis Gallant, Geoff Hancock, remarking on the visual quality of her stories, conjectured that Gallant “might [have] liked to have been a painter at one time.” To this observation Gallant replied that she often imagines how she would respond to a scene were she recreating it on canvas (55). The daughter of Stewart Young, an artist whom she has described as having “an incredible sense of vocation” but “no talent,” and as painting “like a provincial, minor late-impressionist” (Corbeil 21), Mavis Gallant embarked on her chosen vocation as a writer offiction while working as a journalist in Montreal from 1944 to 1950. This was a period when Quebec art, breaking the stranglehold that Paris’s academies and Ontario’s Group of Seven had exercised over Canada’s art scene, was discovering its own force as an essential medium for a unique culture. The articles Gallant wrote for Harper’s Bazaar and the Montreal Standard describing the cultural milieu of Montreal during the 1940s reveal her fascination with this local art scene, particularly with the changes that Quebec art of the 1940s was undergoing. Gallant never embraced any ofthe aesthetic principles espoused and practised by the various factions that became prominent during this period; however, the exposure to painterly forms and techniques that she experienced can be observed in the evolution of a visually powerful and evocative style within those short stories she wrote during her apprenticeship years. Gallant’sframingofstories such as “Good Morning and Goodbye,” “Three Brick Walls,” “Thank You for the Lovely Tea,” “Jorinda and Jorindel,” and “Up North,” all written or first drafted during this apprenticeship period, resembles the modernist tendency to enclose characters in a suspended or caught moment. This tendency is more characteristic of Joyce in Dublin­ ers and Eliot in “The Love Song of J. Alfred Prufrock” than of Chekhov and Mansfield, two writers Gallant has acknowledged reading “enormously” when she was young (Martens 169). But already these early stories provide evidence ofother elements borrowed from the visual arts — colour, light and dark, line, composition, and, ultimately, fluidity — elements that, through structure, perspective, and metaphor, would find full expression in her 1959 novel, Green Water, Green Sky,1 and eventually become a trademark of E n g l ish St u d ie s in Ca n a d a , x v iii, 3, Septem ber 1992 Gallant’s style. Like modern painters and writers before her, Gallant ex­ perimented with techniques borrowed from Cubist, Surrealist, and Kinetic art to attain fragmentation, distortion, and mobility; consequently, these apprenticeship stories become increasingly analogous to visual compositions attempting to break free from their spatial and temporal frames. In a 1988 interview with Linda Leith, Gallant conveys the vibrancy of the Montreal life she experienced during the 1940s when she was establishing herself, first as ajournalist, and then as a writer of fiction: Montreal was a city in transition. All the old conservative dead weight was still there, and of course French Canada was still locked, but there were elements breaking out, and that was what was so exciting. I’m thinking of the painters particularly, and in a city that size you tend to till know one another, the bohemia. (4) As a journalist, Gallant usually chose subjects on which to report, rather than having them assigned to her (Baele Cl). Although covering a great diversity of subjects for her Montreal Standard articles, Gallant gravitated toward those cultural stories involving current topics and issues from the arts. Short pieces include sketches oflocal personalities such as Eldon Grier, who held fresco painting classes at Montreal’s Art Association; Mary Filer, a nurse who gained celebrity in Montreal with her annual painting of Nativity scenes on the city’s Neurological Institute windows; and Dr. George Hall, a collector of early Canadian art.2 Some of Gallant’s feature stories for the Standard Magazine are of broader interest: for example, “Art Hoaxes that Baffle the Highbrow Critics” (23 July 1949: 17) and “Art for the Family Pocketbook” (6 Nov. 1948: 5-f). The articles that best reveal Gallant’s...

Shui-mo Painting and“Gutai Bijutsu”Group

“_??__??__??_”(shui-mo painting) is the short term of“_??__??__??__??_”which means watering the ink and describing the motifs through gradations of light and dark ink. This shui-mo painting has been changed and developed from the i-p'in style (untrammeled class) of the middle T'ang dynasty. Concerning the i-p'in style, nothing can be added to the essay written by Professor Shimada Shujiro. It can be imagined with ease that it had took time for the i-p'in style to develope into the shui-mo painting after much complications.As Wilhelm Worringer said, the Chinese painting (I imagine) is indeed abstractive in part. However, following the similar painting process to that taken by Shiraga Kazuo, a member of Concrete Art Association (Gutai Bijutsu Kyokai), the abstract expressive style akin to the action painting represented by Jackson Pollok evolved to the abstract expression in the monochrome ink. This is one of the inevitabilities of the art history of T'ang dynasty. At the same time, to represent the figurations which the Chinese painting essentially had done and even the i-p'in style painting could not eliminate, the tonal variations were given to the monochrome ink through the technique of“_??__??_”(water-ink), which led to the shui-mo painting formulated in the beginning of Sung dynasty.

Carl Hoerman, Painter of the Desert

Research Article| October 01 1991 Carl Hoerman, Painter of the Desert Peter C. Merrill Peter C. Merrill Search for other works by this author on: This Site PubMed Google Scholar Southern California Quarterly (1991) 73 (3): 279–286. https://doi.org/10.2307/41171582 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Peter C. Merrill; Carl Hoerman, Painter of the Desert. Southern California Quarterly 1 October 1991; 73 (3): 279–286. doi: https://doi.org/10.2307/41171582 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentSouthern California Quarterly Search This content is only available via PDF. Copyright 1991 Historical Society of Southern California Article PDF first page preview Close Modal You do not currently have access to this content.

The Scene of the Crime

This article was originally delivered as the keynote address at the seventy-ninth annual convocation of the College Art Association, February 22,1991, in Washington, D.C. The author, director of the Contemporary Arts Center, Cincinnati, was indicted in 1990 and subsequently acquitted on charges of pandering to obscenity and the illegal use of a minor in nudity-oriented materials in an exhibition of photographs by the late Robert Mapplethorpe, titled “The Perfect Moment? (See pp. 14–28 for some of the images from that exhibition.)

In the Vice

This paper was originally prepared for the panel titled “The Thought Police Are Out There” at the College Art Association annual meeting, New York, February 15, 1990. Although some of the legal cases mentioned have since been resolved, and the Helms amendment to NEA reauthorization legislation has been removed, restrictive wording remains in the NEA reauthorization, and the political climate has not improved for the First Amendment rights of artists—eds.

Content and Context of Visual Arts in the Islamic World, edited by Priscilla Soucek. (CAA Monographs on the Fine Arts, no. 44.) Papers from a Colloquium in Memory of Richard Ettinghausen, Institute of Fine Arts, New York University, 2-4 April 1980, planned and organized by Carol Manson Bier. 288 pages. For the College Art Association of America; Pennsylvania State University

Content and Context of Visual Arts in the Islamic World, edited by Priscilla Soucek. (CAA Monographs on the Fine Arts, no. 44.) Papers from a Colloquium in Memory of Richard Ettinghausen, Institute of Fine Arts, New York University, 2-4 April 1980, planned and organized by Carol Manson Bier. 288 pages. For the College Art Association of America; Pennsylvania State University

Priscilla P. Soucek (ed.): Content and context of visual arts in the Islamic world. Papers from a Colloquium in Memory of Richard Ettinghausen, Institute of Fine Arts, New York University, 2–4 April 1980. Planned and organized by Carol Manson Bier. [xx], 277 pp., front. University Park, Penn. and London: Pennsylvania State University Press for the College Art Association of America,

Priscilla P. Soucek (ed.): Content and context of visual arts in the Islamic world. Papers from a Colloquium in Memory of Richard Ettinghausen, Institute of Fine Arts, New York University, 2–4 April 1980. Planned and organized by Carol Manson Bier. [xx], 277 pp., front. University Park, Penn. and London: Pennsylvania State University Press for the College Art Association of America, 1988. $42.50. - Volume 53 Issue 2

Book Review

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsJoel IsaacsonJoel Isaacson is professor of art history at the University of Michigan. He served on the board of directors of the College Art Association from 1984 to 1988 and is the author of several books and essays on various aspects of Impressionism.

Strategic organization planning: downsizing for survival

Principles and Techniques of Organization Planning What Is Organization Planning? The Chief Executive's Personal Role in Organization Planning Managing the Organization Planning Staff How to Develop a Sound Organization Structure Cases in Organization Planning and Control Rebuilding a Small Industrial Enterprise: The Hard Rubber Company Divisionalizing a Large Corporation: The Automobile Company Divisionalizing a Medium-Sized Corporation: The Recreation Company Establishing a Division in the Recreation Company A New Organization for an Old Church: The Church Diocese Rejuvenating an Unpaid Organization: The Management Association Chapter Rescuing a Small Non-Profit Organization: The Art Association The Future The Future of Organization Planning Making Knowledge Organizations Fully Effective Bibliography Index

(H.) Maguire Earth and ocean: the terrestrial world in early Byzantine art. (Monographs on the fine arts sponsored by the College Art Association of America, 43.) University Park and London: Pennsylvania State University Press (for the College Art Association of America), 1987. Pp. xiv + 109, [50] plates. $30.00.

(H.) Maguire Earth and ocean: the terrestrial world in early Byzantine art. (Monographs on the fine arts sponsored by the College Art Association of America, 43.) University Park and London: Pennsylvania State University Press (for the College Art Association of America), 1987. Pp. xiv + 109, [50] plates. $30.00.

Book Reviews

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsDanielle RiceDanielle Rice is Curator of Education at the Philadelphia Museum of Art and Chair of the Education Committee of the College Art Association. Her commentary “On the Ethics of Museum Education” appeared in the June 1987 issue of Museum News.

A Re-evaluation of Some of the Documentary Evidence Concerning Louis the Duke of Orleans as a Patron of Tapestry Makers

A Re-evaluation of Some of the Documentary Evidence Concerning Louis the Duke of Orleans as a Patron of Tapestry Makers Sue-Anne Wallace Sue-Anne Wallace Department of Art History Australian National University Appendix Reference to the manuscripts is found in the List of Additions to the Manuscripts in the British Library, particularly the volumes covering the years 1836-1840 and 1854. For the study of the patronage of Louis, the Duke of Orleans, the relevant documents held by the British Library are: — Inventory of the Archives of M. le Baron de Joursanvault, nos. 1-1350. XVIIIth cent. Folio. (Add. Ms 11539) — Inventory of the Archives of M. le Baron de Joursanvault, containing tides from 1351-1396. 18th cent. Folio. (Add. Ms 11540) — Inventory of the jewels, vessels of gold and silver, books, tableaux of the Duke of Orleans, delivered 27 Sept 1396 to Denis Mariete, his argentier. On vellum. Folio. (Add. Ms.11541) — A collection of pieces relating chiefly to Normandy and other parts of France, whilst in the possession of the English ... incl: Inventory of tapestries found in various residences of the Duke of Orleans. 15th cent. Folio. (Add. Ms.11542) — Inventory of tapestries belonging to Valentina Visconti in 1408 (Eg. Ms. 1639) — Order to J. le Flament, for payment for his journey to Calais, 10 October 1396 (Add. Ch. 1517) — Five hundred and thirty five original documents, consisting of charters, warrants, payments, acquittances, inventories etc. illustrative of the Costume of France from the year 1355-1667. (Add. Ch. 2028-2561) One hundred and twenty nine similar documents, illustrative of the use of Armour, offensive and defensive, and of equipments, from the year 1315-1636. (Add. Ch. 2562-2689) — One hundred and thirty nine similar documents, illustrative of Furniture, Tapestry etc. used in France from the year 1327-1698. (Add. Ch. 2690-2829) — Three hundred and sixty similar documents, illustrative of Goldsmiths' work, Jewellery, Ornaments of dress etc. 1355-1578. (Add. Ch. 2830-3191) — One hundred and two similar documents, illustrative of the Coinage and Commerce of France, from the year 1297-1700. (Add. Ch. 3192-3293) — Four hundred and sixty eight similar documents, illustrative of the expenses of the Royal Family of France, and the house of Orleans, with various other miscellaneous matters, from 9th-17th cent. (Add Ch. 4124-4578). Footnotes 1. An earlier version of this paper was given at the Art Association of Australia Conference in 1986. The author wishes to thank Dr. A.D. Grishin for his encouragement with this research, and gracefully acknowledges the assistance given by the Department of Art History, Australian National University, in obtaining microfilm of the relevant documents from the British Library. Professor Michael Greenhalgh, Department of Art History, read the paper and made a number of useful suggestions. 2. For tapestries belonging to the other Dukes see J. Guiffrey, Inventaires de Jean Duc de Berry (1401-1416), vol 11, Paris, 1896; B. Prost, Les Tapisseries du Duc de Berry, Archives Historiques, Artistiques et Littéraires 1, 1889-1890; P. de Winter, The Patronage of Philippe le Hardi, Duke of Burgundy (1364-1404), Michigan (unpublished thesis), 1976; for an incomplete reference to the tapestries owned by Charles VI see J. Guiffrey, Inventaire des Tapisseries du Roi Charles VI vendues par les Anglais en 1422, Bibliothèque de l'Ecole des Chartes 48, 1887, 59-110, 396-437. For the tapestries belonging to Louis, the Duke of Orleans see A. Champollion-Figeac, Louis et Charles, Ducs d'Orléans. Leur influence sur les Arts, La Littérature et l'Esprit de leur Siècle, Paris, 1844; F.M. Graves, Quelques Pièces Relatives à la Vie de Louis 1, duc d'Orléans et Valentina Visconti, sa Femme, Paris, 1913 (hereafter, Graves, Quelques Pièces); F.M. Graves, Deux Inventaires de la Maison d'Orléanw. 1389 et 1408, Paris, 1926 (hereafter, Graves, Deux Inventaires); J. Roman, Inventaires et Documents Relatifs aux Joyaux et Tapisseries des Princes d'Orléanw-Valois. 1389-1481, Paris, 1896; C.R. Shultz, The Artistic and Literary Patronage of Louis of Orleans and His Wife, Valentina Visconti, 1389-1408, Michigan (unpublished thesis), 1980; W.G. Thompson, A History of Tapestry, London, first ed. 1906...

Danish Medical Doctors' Arts Association.

Every day many doctors face events and decisions that are emotionally demanding as they are inevitably concerned with the intimate aspects of people's lives. By controlling their own feelings doctors are expected to help and comfort others. So, not surprisingly, many doctors participate in the creative arts, which they find a rewarding and therapeutic alternative to their demanding and stressful professional lives. Some years ago we realised that many Danish doctors shared this view and we founded the Danish Medical Doctors' Arts Association with the idea of gathering together doctors with a common interest in the arts and spreading this interest among our colleagues.

Editor's Statement: The Political Unconscious in Nineteenth-Century Art

The session on the Political Unconscious in Nineteenth-Century Art at the 1986 Annual Meeting of the College Art Association, which served as the basis of this issue of Art Journal, owed its genesis to two rather different sources. First, the notion of an unconscious as opposed to a conscious inscription of the political in the work of art or in artistic institutions or within the processes of art making seemed to me to provide a necessary antithesis to those consciously formulated political programs or commissions which had been considered in the volume Art and Architecture in the Service of Politics, edited by Henry Millon and myself in 1978 (Cambridge, Mass., M.I.T Press). Second, I had been inspired by a reading of Fredric Jameson's magisterial text, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, Cornell University Press, 1981).

W. Tronzo: The Via Latina Catacomb. Imitation and Discontinuity in Fourth-Century Roman Painting. (Monographs on the Fine Arts sponsored by the College Art Association of America, 38.) Pp. xiv + 88; 114 figs. Pennsylvania: Pennsylvania State University Press, 1986. $30.

W. Tronzo: The Via Latina Catacomb. Imitation and Discontinuity in Fourth-Century Roman Painting. (Monographs on the Fine Arts sponsored by the College Art Association of America, 38.) Pp. xiv + 88; 114 figs. Pennsylvania: Pennsylvania State University Press, 1986. $30. - Volume 37 Issue 2

African Borderland Sculpture

African Borderland Sculpture

Editor's Statement: Style and the Aging Artist

The 1985 annual meeting of the College Art Association of America introduced new format for the program: sympoia. These were conceived as “large essions addressing fundamental probems, with participants potentially coming from several fields of Art History and from other disciplines.”

Editor's Statement: Mysticism and Occultism in Modern Art

The articles in this issue of Art Journal were chosen from the more than thirty papers proposed for the session on “Mystical and Philosophical Themes in Modern Art” at the 1986 Annual Meeting of the College Art Association. The overwhelming response to that call for papers documents the growing activity in a field pioneered in the late 1960s by such figures as the Mondrian scholar Robert Welsh and the Kandinsky scholars Sixten Ringbom and Rose-Carol Washton Long. To choose from among that group of possible articles the small number for which there was space was extremely difficult; my choices in the end were made in order to present an overview of the period from 1885 to 1930 and, where possible, to use texts by young scholars who had recently completed dissertations on a relevant topic (e.g., Kosinski, Benson, Gibson, and Warlick). This group of articles also complements the catalogue of the Los Angeles County Museum's Fall 1986 exhibition, The Spiritual in Art: Abstract Painting 1980–1985, organized by ...