Search Results (29)

In 1913, the Fabergé workshops in St Petersburg produced the most expensive of their famed Imperial egg commissions, the so-called “Winter Egg,” designed by Alma Pihl. Fashioned from translucent rock crystal and decked in a glittering array of gemstones, the egg followed several other designs on winter themes by the highly respected jeweller. In this article, Fabergé’s winter-themed creations are the starting point for an exploration of how ice, frost, and snow were portrayed by Russian artists of the late imperial period. Such works both reflected and realised many of the shifts in the art world from the mid-nineteenth century onwards, for example, the renewed focus on making art “national,” the rise of artistic opportunities for women, the erasure of boundaries between fine and applied art, the influx of such European movements as Impressionism and Symbolism, and the development of modernist approaches to content and style. The principal focus is on works by artists associated with the Abramtsevo artistic circle (Abramtsevskii khudozhestvennyi kruzhok). How did representations of ice, snow, and frost participate in the emerging dynamic between the national idea and the decorative, which in turn fed into the move towards abstraction? Why did these subjects appear frequently in art by women? Why was winter often presented through the lens of the imagined and the ludic? These works evidence a new subjectivity that arose from Abramtsevo artists’ greater freedom to render lived experience. The paths open to them when working outside the Academic system permitted creativity to range freely in the forging of a national modern style. Full article

The 1913 Armory Show has long been celebrated as the moment when America was introduced to modern art. This formalistic understanding of the event, though, would miss another equally important development which would only be observed through a historical materialist methodology that would see it as a response to a crisis of over-supply in the art market. It remains the single primary exhibition staged by the short-lived Association of American Painters and Sculptors (AAPS), a secession from the National Academy of Design. Though they would not succeed in creating a long-term alternative to their rival, their exhibition expanded upon innovations by the 1912 Sonderbund exhibition in Cologne. Through an archival examination of the Armory Show’s sourcing methods, a paradigm shift can be observed leading away from the nineteenth-century salon model by changing the system of artists submitting works to a jury, to one of marketing artworks provided by dealers. This new role for dealers would lead the way to the contemporary art fair model where galleries are the key exhibition decision-makers. Full article

Circular economy theorists and advocates typically describe traditional market economies as linear “take, make, use and dispose” systems. Various policy interventions, from green taxes to extended producer responsibility, are therefore deemed essential to ensure the systematic (re)introduction of residuals, secondary materials and components in manufacturing activities. By contrast, many nineteenth- and early twentieth-century writers documented how the profit motive, long-distance trade and actors now largely absent from present-day circularity discussions (e.g., waste dealers and brokers) spontaneously created ever more value out of the recovery of residuals and waste. These opposite assessments and underlying perspectives are perhaps best illustrated in the nineteenth classical liberal and early twenty-first century interventionist writings on circularity of Fellows, members and collaborators of the near tricentennial British Royal Society for the Encouragement of Arts, Manufactures and Commerce. This article summarizes their respective contributions and compares their stance on market institutions, design, intermediaries, extended producer responsibility and long-distance trade. Some hypotheses as to the sources of their analytical discrepancies and current beliefs on resource recovery are then discussed in more detail. A final suggestion is made that, if the analysis offered by early contributors is more correct, then perhaps the most important step towards greater circularity is regulatory reform (or deregulation) that would facilitate the spontaneous recovery of residuals and their processing in the most suitable, if sometimes more distant, locations. Full article

This essay argues that Nobel laureate Verner von Heidenstam’s campaign against naturalist aesthetics in late nineteenth-century Swedish literature was motivated, in part, by the sense of estrangement he developed from Swedish cultural life during his adolescent years as a migrant. It also contends that the aesthetic discontent he experienced in his early career foreshadowed a wider sense of alienation from place and nation that would accompany the rise of globalization and normalized migration in the twentieth century. While recent scholarship on Heidenstam’s early oeuvre situates the writer’s bibliography within the fin de siècle, this project refocuses the discussion on the contemporaneous artistic debates Heidenstam addresses in his polemic Renässans, as well as the migratory themes he explores in his 1892 novel, Hans Alienus. This approach illuminates how Heidenstam’s youthful quest for aesthetic reinvention upended the notion that artists and writers can be tethered to singular points of origin, offering new pathways for understanding the emergence of a distinct migrant literature and visual art in Sweden. Although Heidenstam’s later works took a sharp nationalistic turn and have receded from popular consciousness in contemporary times, reexamining his earliest paintings and prose as products of a migrant imagination can help scholars more firmly affix his legacy to modern and Modernist traditions, inviting fresh perspectives on his paradigm-shifting aesthetic of estrangement. Full article

The Oakland, California-based artist Adia Millett is among an ever-growing generation of Black artists who have embraced abstraction in their creative production. Her approach is significant, considering that one of the more pernicious dimensions of art history has been its omission of African-American painters from the history of late-modernist American abstraction. In this 2024 interview, scholar Derek Conrad Murray and Millett exchange ideas about the intersection of Blackness and abstraction. Identity and representation have always been a thorny terrain throughout the history of American art, from the nineteenth century to the present—and Black artists’ commitment to reflecting on racial injustice dubiously rendered their work incommensurate with the aesthetic dictates of post-war abstraction. Since the 1990s, there has been an increase in corrective efforts dedicated to recuperating Black artists who have fallen through the cracks of history. As a result, the twenty-first century has seen an acknowledgment of many artists who were overlooked—and a blossoming of formalist abstraction among recent generations of contemporary Black artists. As articulated in this interview, Adia Millett, like many of her peers, has resisted the falsehood that abstraction is beyond her purview—and has embraced abstraction while refusing to abandon the complexities of Blackness. Full article

Traditional costumes and crafts are a basic form and element of local culture and a vital pathway for perpetuating traditional art and design culture. They are an artistic form of historical and cultural significance. This paper focuses on three traditional costumes from Malta, Ireland, and Finland. The għonnella, worn by Maltese women of different social classes, consisted of a voluminous cape-like covering reinforced with whalebone and cardboard and was worn over the head and shoulders, reaching ankle length. Irish costumes were adorned with beautiful Irish lace, crochet, and embroidery. Celtic embroidery was added to clothing to develop a distinctive Irish dress style during the great cultural revival of the early 20th century. The Karelian costume from Finland was constructed using wool and linen. Ladies in Karelia wore handcrafted, highly embroidered gowns, and traditions were passed down from older ladies, including mothers and grandmothers. These costumes were collected in the late nineteenth and early twentieth centuries when Finnish Karelia was known as ‘The Old Finland’. This paper delves into the origins of these costumes and how social and cultural events, with their intriguing influence, shaped their styles, features, colors, and fabrics. Full article

Afrofuturism (an artistic perspective in which Black voices tell alternative narratives of culture, technology, and the future) and the Dark Fantastic (interrupting negative depictions of Black people through emancipatory interpretations of art) are two interrelated concepts used by Black artists in the Atlantic World to counter negative images and emphasize a story from a Black perspective. Likewise, these concepts have been used to recreate and re-narrate history with an eye towards subverting white supremacist historical narratives. By using Afrofuturism and the Dark Fantastic as lenses through which texts by authors from the African Diaspora in the Atlantic World are examined, an alternative narrative of Black histories and futures concerned with revolution, liberation, and justice can be seen. The two texts that are the subject of this research include José Antonio Aponte’s descriptions of his book of paintings under interrogation in 1812–1813, and Martin Delany’s novel Blake; or the Huts of America (1859–1862), providing images of enslavement that run counter to a white supremacist telling of history. They both imagine alternative pasts and futures for Africa and the Afro-Diaspora involving revolution and magic. These works, though produced at different times and locations in the nineteenth century, offer new ways in which to discuss liberation and freedom in the context of the artistic production of the Atlantic World. Full article

There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century. Full article

Whenever twentieth-century modern art or new contemporary artworks are included amongst displays of ancient Egypt, press statements often assert that such juxtapositions are ‘surprising’, ‘innovative’, and ‘fresh’, celebrating the external perspective they bring to such collections. But contemporary art’s relationship with museums and other disciplines needs to be understood in a longer-term perspective. Pairings of twentieth- and twenty-first-century artistic works with objects of antiquity is an activity that has been undertaken for more than a century in what has been a relatively long period of mutually reinforcing influences between modern/contemporary art, museum display, the art market, and Egyptian heritage. Together, they have decontextualised ancient Egyptian culture and shaped the language and perspectives of scholars, curators, and artists. In this paper, rather than considering how artists have been inspired by ancient Egypt, I will give a few examples of how more recent art practices from the late nineteenth century onwards have impacted the language and discourse of Egyptology and its museum representation. Then, using more recent artist engagements with the British Museum, I argue for greater interdisciplinary dialogues between artists and Egyptologists, as both take more critical stances towards research that recontextualises the power and agency of collections, representation, and knowledge production. Full article

Gender impersonators and trans gender-nonconforming people have long been a source of fascination within the visual arts. Nevertheless, illustrators and photographers alike have perpetually instrumentalized the image of the queer subject as a visual shorthand for criminality, freakishness, and deception. Beginning with the broadside illustrations of José Guadalupe Posada, this article examines how visual representations of Latinx queerness and gender nonconformity shifted across the Americas and throughout the late nineteenth century into the late twentieth century. Ultimately, I contend that Reynaldo Rivera’s photography of late-twentieth-century ballroom culture provides a substantial departure from these speculatory conventions by visually legitimizing the lived authenticity of the queer Latinx people who populate his work. Full article

Writers on the semiology of Cubism have often cited Daniel-Henry Kahnweiler’s 1946–48 descriptions of Cubism as a form of writing. They seem, however, to have overlooked Pablo Picasso’s 1945–48 statements about art as a sign language. The first section of this essay argues that Kahnweiler was in fact inspired by Picasso’s statements. The second section retraces the origins of semiology in nineteenth-century philology, its revival by Claude Levi-Strauss, his influence on critical theory, the rise of a semiological interpretation of Cubism, and the problems with this interpretation. The third section links Picasso’s 1945–48 statements about art as a sign language to his contemporary visual work; specifically, to his illustrations for Pierre Reverdy’s book of poems Le Chant des morts. The idea of art as a sign language is traced to Picasso’s 1924 drawings of “star charts” or “constellations”. However, Picasso’s 1945–48 designs using a similar vocabulary are analyzed as signifiers without signifieds—that is, as symbols, rather than signs. Full article

This article analyzes Baltic German religious art based on examples from Estonia in the first half of the nineteenth century, focusing on artistic networks and the reclamation of a Renaissance classical ideal. Baltic German artists such as Friedrich Ludwig von Maydell, Gustav Adolf Hippius, and Otto Friedrich Ignatius were in contact with the Nazarenes, whose ideals were inspired by Raphael’s attempt to merge art and religion. The Nazarenes influence can be seen in Baltic German religious art, which favored idealized forms and followed on from the works of the Renaissance masters. In addition to presenting religious scenes, in the Baltic context, these artworks acted as mediators of European artistic heritage. The classical ideal was thus perpetuated by a tightly connected network in which Baltic German artists joined others in re-establishing the power of the European canon of art history. Full article

A painted stone reredos in the Priory Church of St Cuthbert, Worksop, Nottinghamshire, UK, was analysed before recent conservation to determine the pigment scheme employed. The screen was created by the eminent British architect Sir George Gilbert Scott in the middle decade of the 19th Century. The results help inform the wider range of palettes employed by British architects and craftspeople working in the 19th and early 20th centuries which have previously been little studied. The pigments generally were high-quality vermilion (red), chrome yellow (yellow), and ultramarine (blue), and several alternatives were also evident such as red lead and haematite for red, bone black, and carbon black for black. Lightening and darkening agents were incorporated as lead white, barytes, and carbon, and pigment mixtures were used to achieve the colours dark blue-red, and green. Full article

In Finnish art history, the period around the turn of the 20th century has been considered to be particularly significant for the formation of a national identity, and it has therefore come to be known as the ‘Golden Age’ of Finnish art. According to the commonly held historical narrative, artists in late nineteenth-century Finland, which at the time was an autonomous Grand Duchy of the Russian Empire, shared a patriotic mission that led to a blossoming of the arts. This narrative construction has become so well-established that its origins in the cultural debates of newly independent Finland in the 1920s and 1930s have faded out of sight. This article identifies some of the mechanisms of active and passive remembering and forgetting that have generated the myth of the ‘Golden Age’. The analysis is guided by perspectives created in the field of cultural memory studies that emphasize the role of remembering and forgetting in the construction of historical narratives. A brief overview of the vibrant cultural exchange between Finnish and Russian artists of the period is given in order to exemplify the richness of historical phenomena that has largely remained under the shadow of the powerful myth of the ‘Golden Age’. Full article

In response to the absence of a critical discussion of race within his historiography, this essay focuses on José Campeche (1751–1809) as an artist of African descent and argues that the socially and culturally inscribed constructs of race and Campeche’s lived experiences of them in late eighteenth-century Puerto Rico shaped and informed his participation in the arts. Campeche lived both as an artist and as a free man of color within a racialized colonial society, and as such, inquiries regarding how race affected Campeche’s life and artistic practice, and particularly how his immersion in the community of free people of color in San Juan possibly impacted the manner in which he was trained and worked, allow for a more comprehensive understanding of his art production. Using comparable examples of African descendant artists and artisans active in other colonial centers, such as Mexico City and Havana, this article elucidates connections between Campeche’s socioracial reality, his artistic career, and his work through an examination of the relationship between race and art making in Puerto Rico, the broader Caribbean region, and the greater Spanish Empire during the late eighteenth and early nineteenth centuries. This analysis of Campeche’s career and work prompts new questions about the artist that have not been asked in previous scholarship, such as how the structures of race would have defined his position and interactions within colonial society and also how his complex multiracial identity may have allowed him access to the different kinds of artistic exposure, training, and opportunities he likely had in San Juan. Full article