The Art Bulletin articles from December 1 1994

The Art Bulletin archives from December 1 1994

We lost it at the movies. (A Range of Critical Perspectives)(The Subject in/of Art History)
December 1, 1994... Thursday, April 21, 1994, 7:00 A.M.--Alternating between coffee and newspaper, I am sloughing off night and sleep, and rising toward the day ahead. If it's Thursday--I think--it's a day of classes and meetings, of letter writing and phone calls....

On the histories of artifacts. (A Range of Critical Perspectives)(The Subject in/of Art History)
December 1, 1994... The subject of the history of art should include all human making. I will argue that primary concern with making raises the possibility of any number of histories of art, each pursuable in its own terms, but all comparable to one another as...

The Palace of the Sun: The Louvre of Louis XIV.
December 1, 1994... Peter Burke's encompassing look at royal imagery during the reign of Louis XIV is the work of a historian. It is informed by new methodologies, yet it is an accessible account that reminds us of the advantages in certain cases of standing on the...

The Last Descendant of Aeneas: The Hapsburgs and the Mythic Image of the Emperor.
December 1, 1994... When Dame Frances Yates, back in the 1950s, studied the Renaissance revival of universal imperialism in the reign of Charles V, she did so with reference to the famous emblem of the emperor, which featured the pillars of Hercules and the motto...

Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought.
December 1, 1994... Does vision have a history? If it does, are works of art the best access we have to historical modifications of sight? How might a history of vision be related to histories of social forms, language, religious belief, or philosophical...

In the Theater of Criminal Justice: The Palais de Justice in Second Empire Paris.
December 1, 1994... In late September 1869, tens of thousands of Parisians set out for a new weekend tourist spot. Traveling in family groups with dogs from the Care du Nord, and carrying picnic food and small children, city dwellers of all classes made their way in...

Watteau's Painted Conversations: Art, Literature, and Talk in Seventeenth- and Eighteenth-Century France.
December 1, 1994... Watteau scholarship has developed in the last two decades a remarkable momentum of its own. Moreover, with the exception of the polemic surrounding Jean Ferre's monumental but failed monograph (1972), the chief impulse stimulating research has...

Jan van Kessel.
December 1, 1994... Does it make sense to write a monograph of 335 pages on an artist like Jan van Kessel (1641-1680), who is probably only known to specialists in the field of Dutch landscape painting of the 17th century? Will there be books in the future on each...

Private Lives, Imperial Virtues: The Frieze of the Forum Transitorium in Rome.
December 1, 1994... The Forum Transitorium, also called the Forum of Nerva and a few other names, is an enigmatic complex, not merely because so little of it is available for us to study (most of it lies under the via dei Fori Imperiali today), but also because what...

From bowman to clubman: Herakles and Olympia.
December 1, 1994... 84. Ashmole and Yalouris, 25. 85. LIMC, v, 1, 57, 59, no. 2302, s.v. "Herakles' Labours, G. Herakles and the Augean Stables (Labour VI)" (S. Woodford), Brommer, 29-30; Treu, 176-78; Ashmole and Yalouris, 29; Ashmole, 78, 81. 86. LIMC, v, 1,...

Cross-cultural interpretations of imagery in the Middle Ages.
December 1, 1994... There can be little doubt that the encounter between medieval Western Europe and Byzantium is an issue of great complexity. In art-historical writing this engagement between East and West in the Middle Ages has conventionally been explained in...

Folengo and Romanino: the 'Questione della Lingua' and its eccentric trends. (Teofilo Folengo, Girolamo Romanino)
December 1, 1994... (Ambleto, Macbetto, Edipo). 62. For Folengo's anti-Bembo position, see G. Folena, "Il linguaggio del 'Caos,'" Cultura, 238; and Paccagnella, 109. 63. U. E. Paoli, "Per una futura edizione delle Maccheronee del Folengo: Osservazioni di...

Piety and patronage in seicento Rome: two noblewomen and their convents.
December 1, 1994... from them if Taddeo wishes it (Pecchiai, 184-85). Giuseppe Sacchi Lodispoto (464, 466) suggests that the tone of Anna's letters was affected by the fact that they were written at the height of her agitation over financial concerns. 31. G....

The image of Ganymede in France, 1730-1820: the survival of a homoerotic myth.
December 1, 1994... 105. Lami (as in n. 64), 1, 229; and F. Boyer, "Le Sculpteur Barthelemy Corneille a Rome et en Toscane (1787-1805)," Bulletin de la Societe de l'Histoire de l'Art Francais, 1941-44, 10-24. 106. For Milhomme the few references are to his most...

Why Monet gave up figure painting. (Claude Monet)
December 1, 1994... biographer E. Lemaitre, Arsene Houssaye: Notes et souvenirs; Bibliographie, Reims, 1897, 118, Houssaye's many pseudonyms included, in addition to Rene de la Ferte: Lord Pilgrim, Henri Trianon, Valet de Carreau, Octave de Parisis, G. de Chastenay,...

New encounters with Les Demoiselles d'Avignon: gender, race, and the origins of cubism.
December 1, 1994... 45. Wassily Kandinsky, "Reminiscences" (1913), in Robert L. Herbert, ed., Modern Artists on Art, Englewood Cliffs, N.J., 1964, 35. 46. Rubin addressed this problem tellingly (though, to my mind, unhelpfully) by distinguishing Picasso's...

Art historical topologies. (A Range of Critical Perspectives)(The Subject in/of Art History)
December 1, 1994... Art History from a Distance Art history as a subject has always been somewhat embarrassed by its objects. The meter and measure of historical narrative are interrupted by the obdurately artifactual. Art objects are, after all, in some ways...

Subject/subjectivity and agency in the art of African Americans. (A Range of Critical Perspectives)(The Subject in/of Art History)
December 1, 1994... The deconstruction of the "gaze" in art-historical theory over the last two decades has put into place a number of critical paradigms which have engaged the notion of agency in the creation of images. Self-representation (versus depiction) is one...

Flexible time. (A Range of Critical Perspectives)(The Subject in/of Art History)
December 1, 1994... Does the subject--as either artist or viewer--maintain an identity independent of the objects and images it creates or encounters? No, the consensus now seems to be. Theoretical accounts of the embodiment of vision, of the visual field, and of...

On telling tales. (A Range of Critical Perspectives)(The Subject in/of Art History)
December 1, 1994... For as long as I can remember, I have been encouraged to write stories and challenged, at every turn, to create good ones at that. Of course I didn't realize at the outset of my studies, even before I discovered the discipline of art history in...

'In this cold barn we dream.' (A Range of Critical Perspectives)(The Subject in/of Art History)
December 1, 1994... 1. Toward dusk we drew near Milan and caught glimpses of the city and the blue mountain peaks beyond. But we were not caring for these things--they did not interest us in the least. We were in a fever of impatience; we were dying to see the...

The subject in the scene of representation. (A Range of Critical Perspectives)(The Subject in/of Art History)
December 1, 1994... Recent art history holds that subjects--human individuals with personal, ethnic, and other identities, well-defined social roles, and at least partial consciousness of specific orientations toward the world of objects and other subjects--are...