Des saintes reliques à l'art moderne PDF Download

Author: Krzysztof Pomian
Publisher:
ISBN: 9782072403583
Category :
Languages : fr
Pages :

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Author: Thierry Lenain
Publisher: Reaktion Books
ISBN: 1861899599
Category : Art
Languages : en
Pages : 386

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With the recent advent of technologies that make detecting art forgeries easier, the art world has become increasingly obsessed with verifying and ensuring artistic authenticity. In this unique history, Thierry Lenain examines the genealogy of faking and interrogates the anxious, often neurotic, reactions triggered in the modern art world by these clever frauds. Lenain begins his history in the Middle Ages, when the issue of false relics and miracles often arose. But during this time, if a relic gave rise to a cult, it would be considered as genuine even if it obviously had been forged. In the Renaissance, forgery was initially hailed as a true artistic feat. Even Michelangelo, the most revered artist of the time, copied drawings by other masters, many of which were lent to him by unsuspecting collectors. Michelangelo would keep the originals himself and return the copies in their place. As Lenain shows, authenticity, as we think of it, is a purely modern concept. And the recent innovations in scientific attribution, archaeology, graphology, medical science, and criminology have all contributed to making forgery more detectable—and thus more compelling and essential to detect. He also analyzes the work of master forgers like Eric Hebborn, Thomas Keating, and Han van Meegeren in order to describe how pieces baffled the art world. Ultimately, Lenain argues that the science of accurately deciphering an individual artist’s unique characteristics has reached a level of forensic sophistication matched only by the forger’s skill and the art world’s paranoia.

Author: Conrad Rudolph
Publisher: John Wiley & Sons
ISBN: 1119077729
Category : Art
Languages : en
Pages : 1040

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A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art.

Author: Oskar Bätschmann
Publisher: Reaktion Books
ISBN: 9781861893574
Category : Art
Languages : en
Pages : 268

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With Giovanni Bellini, renowned art historian Oskar Batschmann charts the fraught trajectory of Bellini's career, highlighting the crucial works that established his far-reaching influence in the Renaissance.

Author: Bernard Lahire
Publisher: John Wiley & Sons
ISBN: 1509528717
Category : Art
Languages : en
Pages : 546

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In 2008, the Musée des Beaux-Arts de Lyon acquired a painting called The Flight into Egypt which was attributed to the French artist Nicolas Poussin. Thought to have been painted in 1657, the painting had gone missing for more than three centuries. Several versions were rediscovered in the 1980s and one was passed from hand to hand, from a family who had no idea of its value to gallery owners and eventually to the museum. A painting that had been sold as a decorative object in 1986 for around 12,000 euros was acquired two decades later by the Musée des Beaux-Arts de Lyon for 17 million euros. What does this remarkable story tell us about the nature of art and the way that it is valued? How is it that what seemed to be just an ordinary canvas could be transformed into a masterpiece, that a decorative object could become a national treasure? This is a story permeated by social magic the social alchemy that transforms lead into gold, the ordinary into the extraordinary, the profane into the sacred. Focusing on this extraordinary case, Bernard Lahire lays bare the beliefs and social processes that underpin the creation of a masterpiece. Like a detective piecing together the clues in an unsolved mystery he carefully reconstructs the steps that led from the same material object being treated as a copy of insignificant value to being endowed with the status of a highly-prized painting commanding a record-breaking price. He thereby shows that a painting is never just a painting, and is always more than a piece of stretched canvass to which brush strokes of paint have been applied: this object, and the value we attach to it, is also the product of a complex array of social processes – with its distinctive institutions and experts – that lies behind it. And through the history of this painting, Lahire uncovers some of the fundamental structures of our social world. For the social magic that can transform a painting from a simple copy into a masterpiece is similar to the social magic that is present throughout our societies, in economics and politics as much as art and religion, a magic that results from the spell cast by power on those who tacitly recognize its authority. By following the trail of a single work of art, Lahire interrogates the foundations on which our perceptions of value and our belief in institutions rest and exposes the forms of domination which lie hidden behind our admiration of works of art.

Author: Philip Benedict
Publisher: Librairie Droz
ISBN: 9782600004404
Category : Art
Languages : en
Pages : 454

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The suite of forty prints published in Geneva in 1570 depicting the wars, massacres and troubles of the French Wars of Religion may have been the first picture history made in woodcuts or etchings that promised a geenral public a true view of great events of the recent past. This richly illustrated study reconstructs the gradual elaboration of this experimental work, situating it within the previously untold story of the use of the graphic arts to report the news in the fist centuries of European printmaking. Successive chapters explore the pictorial traditions that inspired the printmakers, examine how they gathered their information, assess the reliability of the scenes, and analyze the historical vision informing the series. Part 2 reproduces the full suite with commentary in double page fold-outs. Through the study of a single print series, lost chapters in the history of jorunalism, of the graphic arts, and of Protestant historical consciousness re-emerge.

Author: James Elkins
Publisher: Routledge
ISBN: 1135902453
Category : Art
Languages : en
Pages : 818

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Renaissance Theory presents an animated conversation among art historians about the optimal ways of conceptualizing Renaissance art, and the links between Renaissance art and contemporary art and theory. This is the first discussion of its kind, involving not only questions within Renaissance scholarship, but issues of concern to art historians and critics in all fields. Organized as a virtual roundtable discussion, the contributors discuss rifts and disagreements about how to understand the Renaissance and debate the principal texts and authors of the last thirty years who have sought to reconceptualize the period. They then turn to the issue of the relation between modern art and the Renaissance: Why do modern art historians and critics so seldom refer to the Renaissance? Is the Renaissance our indispensable heritage, or are we cut off from it by the revolution of modernism? The volume includes an introduction by Rebecca Zorach and two final, synoptic essays, as well as contributions from some of the most prominent thinkers on Renaissance art including Stephen Campbell, Michael Cole, Frederika Jakobs, Claire Farago, and Matt Kavaler.

Author: Julio Velasco
Publisher: transcript Verlag
ISBN: 383947177X
Category : Art
Languages : en
Pages : 255

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In the face of climate change, the destruction of biodiversity or genetic experimentation, Bio Art appears as a form that is most directly grappling with the problems of the »Anthropocene«. It develops many different approaches and explores a variety of mediums, often related to scientific research, creating art that uses plants, insects, mammals, bacteria, bird songs, forest sounds, or genetic modification. Bio Art's uniqueness comes from incorporating, rather than just representing the living in a diverse range of artworks. In discussing such works from various world regions and time periods, the contributors address the divide between human and non-human animals, between »culture« and »nature«.

Author:
Publisher: BRILL
ISBN: 9004243917
Category : History
Languages : en
Pages : 962

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In Scholars in Action, an international group of 40 authors open up new perspectives on the eighteenth-century culture of knowledge, with a particular focus on scholars and their various practices.

Author: Luc Boltanski
Publisher: John Wiley & Sons
ISBN: 1509528741
Category : Social Science
Languages : en
Pages : 510

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This book offers a major new account of modern capitalism and of the ways in which value and wealth are created today. Boltanski and Esquerre argue that capitalism in the West has recently undergone a fundamental transformation characterized by de-industrialization, on the one hand, and, on the other, by the increased exploitation of certain resources that, while not entirely new, have taken on unprecedented importance. It is this new form of exploitation that has given rise to what they call the ‘enrichment economy’. The enrichment economy is based less on the production of new objects and more on the enrichment of things and places that already exist. It has grown out of a combination of many different activities and phenomena, all of which involve, in their varying ways, the exploitation of the past. The enrichment economy draws upon the trade in things that are intended above all for the wealthy, thus providing a supplementary source of enrichment for the wealthy people who deal in these things and exacerbating income inequality. As opportunities to profit from the exploitation of industrial labour began to diminish, capitalism shifted its focus to expand the range of things that could be exploited. This gave rise to a plurality of different forms for making things valuable – valuing objects in terms of their properties is only one such form. The form that plays a central role in the enrichment economy is what the authors call the ‘collection form’, which values objects based on the gap they fill in a collection. This valuation process relies on the creation of narratives which enrich commodities. This wide-ranging and highly original work makes a major contribution to our understanding of contemporary societies and of how capitalism is changing today. It will be of great value to students and scholars in sociology, political economy and cultural studies, as well as to anyone interested in the social and economic transformations shaping our world.