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In the words of early 20th-century writer Ramón Gómez de la Serna, José Cabrero y Mons (1871–1954) is the central figure in the Novela del Arte. Cabrero remains the only unidentified artist in José Gutiérrez Solana’s iconic painting La tertulia del café de Pombo, the second most significant work in the Museo Reina Sofía, following Picasso’s Guernica. This monograph delves into Cabrero’s fascinating artistic life, uncovering previously unpublished details, including rare books from his personal library, correspondence with fellow artists, unknown paintings, and his remarkable collection of modern art, featuring works by Puvis de Chavannes, Solana, Rodin, Carrière, and De Groux. En palabras del escritor de principios de siglo Ramón Gómez de la Serna, José Cabrero y Mons (1871-1954) es el personaje principal de la novela del arte. Cabrero es el único artista no identificado en el cuadro La tertulia del café de Pombo de José Gutiérrez Solana, el cuadro más relevante del Museo Reina Sofía, después del Guernica de Picasso. Esta monografía sobre la intrigante vida artística de Cabrero explora las paradojas definitivas del período estético de Fin de Siècle. La monografía revela datos únicos e inéditos de su biblioteca personal, con ediciones y cartas dedicadas y raras, junto con sus pinturas desconocidas y su excepcional colección de arte moderno: Puvis de Chavannes, Solana, Rodin, Carrière, De Groux.
Series:
Foro Hispánico, Volume: 76
In the words of early 20th-century writer Ramón Gómez de la Serna, José Cabrero y Mons (1871–1954) is the central figure in the Novela del Arte. Cabrero remains the only unidentified artist in José Gutiérrez Solana’s iconic painting La tertulia del café de Pombo, the second most significant work in the Museo Reina Sofía, following Picasso’s Guernica. This monograph delves into Cabrero’s fascinating artistic life, uncovering previously unpublished details, including rare books from his personal library, correspondence with fellow artists, unknown paintings, and his remarkable collection of modern art, featuring works by Puvis de Chavannes, Solana, Rodin, Carrière, and De Groux. En palabras del escritor de principios de siglo Ramón Gómez de la Serna, José Cabrero y Mons (1871-1954) es el personaje principal de la novela del arte. Cabrero es el único artista no identificado en el cuadro La tertulia del café de Pombo de José Gutiérrez Solana, el cuadro más relevante del Museo Reina Sofía, después del Guernica de Picasso. Esta monografía sobre la intrigante vida artística de Cabrero explora las paradojas definitivas del período estético de Fin de Siècle. La monografía revela datos únicos e inéditos de su biblioteca personal, con ediciones y cartas dedicadas y raras, junto con sus pinturas desconocidas y su excepcional colección de arte moderno: Puvis de Chavannes, Solana, Rodin, Carrière, De Groux.
Author:
Are there shadows in medieval art? Studies on the role of shadows in art history have either glanced over or ignored the medieval period, yet people of the Middle Ages certainly saw and thought about shadows and recorded their ideas about these phenomena in texts and images.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
Author:
Are there shadows in medieval art? Studies on the role of shadows in art history have either glanced over or ignored the medieval period, yet people of the Middle Ages certainly saw and thought about shadows and recorded their ideas about these phenomena in texts and images.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This volume examines the ‘phenomenon’ of translation from Greek into Latin from the eleventh century to the thirteenth. These translated texts prompted Western scholars to rediscover the works of classical Greek and Byzantine authors and reshape the medieval intellectual landscape. Though our agenda focuses on translations of scientific texts, the collection of essays here also offers the reader insights into the broader cultural, social, and political functions and implications of individual translations and translation more broadly as a practice.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
This volume examines the ‘phenomenon’ of translation from Greek into Latin from the eleventh century to the thirteenth. These translated texts prompted Western scholars to rediscover the works of classical Greek and Byzantine authors and reshape the medieval intellectual landscape. Though our agenda focuses on translations of scientific texts, the collection of essays here also offers the reader insights into the broader cultural, social, and political functions and implications of individual translations and translation more broadly as a practice.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
International Cooperation in Art at the Postwar Moment, 1945-1948
Volume Editor:
This volume, edited by Éva Forgács, with contributions from art historians from across Europe and the Americas, analyzes the artistic initiatives of the short time span between the end of World War II and the onset of the Cold War. In this moment, a new internationalism was anticipated by retrieving pre-war modernism, as well as creating the new era's new artistic lingua franca.
The chapters include in-depth case studies that analyze the complex, often interconnected, projects throughout the world—South America and Eastern and Western Europe—that were soon ended by the Cold War.
The chapters include in-depth case studies that analyze the complex, often interconnected, projects throughout the world—South America and Eastern and Western Europe—that were soon ended by the Cold War.
International Cooperation in Art at the Postwar Moment, 1945-1948
Volume Editor:
This volume, edited by Éva Forgács, with contributions from art historians from across Europe and the Americas, analyzes the artistic initiatives of the short time span between the end of World War II and the onset of the Cold War. In this moment, a new internationalism was anticipated by retrieving pre-war modernism, as well as creating the new era's new artistic lingua franca.
The chapters include in-depth case studies that analyze the complex, often interconnected, projects throughout the world—South America and Eastern and Western Europe—that were soon ended by the Cold War.
The chapters include in-depth case studies that analyze the complex, often interconnected, projects throughout the world—South America and Eastern and Western Europe—that were soon ended by the Cold War.
Space, Time, and Experience (1300–1800)
Series:
Intersections, Volume: 96
How did the early-modern Christian West conceive of the spaces and times of the afterlife? The answer to this question is not obvious for a period that saw profound changes in theology, when the telescope revealed the heavens to be as changeable and imperfect as the earth, and when archaeological and geological investigations made the earth and what lies beneath it another privileged site for the acquisition of new knowledge.
With its focus on the eschatological imagination at a time of transformation in cosmology, this volume opens up new ways of studying early-modern religious ideas, representations, and practices. The individual chapters explore a wealth of – at times little-known – visual and textual sources. Together they highlight how closely concepts and imaginaries of the hereafter were intertwined with the realities of the here and now.
Contributors: Matteo Al Kalak, Monica Azzolini, Wietse de Boer, Christine Göttler, Luke Holloway, Martha McGill, Walter S. Melion, Mia M. Mochizuki, Laurent Paya, Raphaèle Preisinger, Aviva Rothman, Minou Schraven, Anna-Claire Stinebring, Jane Tylus, and Antoinina Bevan Zlatar.
With its focus on the eschatological imagination at a time of transformation in cosmology, this volume opens up new ways of studying early-modern religious ideas, representations, and practices. The individual chapters explore a wealth of – at times little-known – visual and textual sources. Together they highlight how closely concepts and imaginaries of the hereafter were intertwined with the realities of the here and now.
Contributors: Matteo Al Kalak, Monica Azzolini, Wietse de Boer, Christine Göttler, Luke Holloway, Martha McGill, Walter S. Melion, Mia M. Mochizuki, Laurent Paya, Raphaèle Preisinger, Aviva Rothman, Minou Schraven, Anna-Claire Stinebring, Jane Tylus, and Antoinina Bevan Zlatar.
Space, Time, and Experience (1300–1800)
Series:
Intersections, Volume: 96
How did the early-modern Christian West conceive of the spaces and times of the afterlife? The answer to this question is not obvious for a period that saw profound changes in theology, when the telescope revealed the heavens to be as changeable and imperfect as the earth, and when archaeological and geological investigations made the earth and what lies beneath it another privileged site for the acquisition of new knowledge.
With its focus on the eschatological imagination at a time of transformation in cosmology, this volume opens up new ways of studying early-modern religious ideas, representations, and practices. The individual chapters explore a wealth of – at times little-known – visual and textual sources. Together they highlight how closely concepts and imaginaries of the hereafter were intertwined with the realities of the here and now.
Contributors: Matteo Al Kalak, Monica Azzolini, Wietse de Boer, Christine Göttler, Luke Holloway, Martha McGill, Walter S. Melion, Mia M. Mochizuki, Laurent Paya, Raphaèle Preisinger, Aviva Rothman, Minou Schraven, Anna-Claire Stinebring, Jane Tylus, and Antoinina Bevan Zlatar.
With its focus on the eschatological imagination at a time of transformation in cosmology, this volume opens up new ways of studying early-modern religious ideas, representations, and practices. The individual chapters explore a wealth of – at times little-known – visual and textual sources. Together they highlight how closely concepts and imaginaries of the hereafter were intertwined with the realities of the here and now.
Contributors: Matteo Al Kalak, Monica Azzolini, Wietse de Boer, Christine Göttler, Luke Holloway, Martha McGill, Walter S. Melion, Mia M. Mochizuki, Laurent Paya, Raphaèle Preisinger, Aviva Rothman, Minou Schraven, Anna-Claire Stinebring, Jane Tylus, and Antoinina Bevan Zlatar.
The Myth of Hercules and Omphale in the Visual Arts, 1500–1800
Series:
Intersections, Volume: 91
Author:
The book examines the myth of Hercules and Omphale/Iole which became an important topic in the visual arts, 1500–1800. It offers an analysis of the iconography from the perspective of the history of emotions, classical and Neo-Latin philology, reception and gender studies. The early modern inventions of the myth excel in a skilful display of mixed and compound emotions, such as the male character's psychopathology, and of the theatrical performance of emotions by the female character.
The Myth of Hercules and Omphale in the Visual Arts, 1500–1800
Series:
Intersections, Volume: 91
Author:
The book examines the myth of Hercules and Omphale/Iole which became an important topic in the visual arts, 1500–1800. It offers an analysis of the iconography from the perspective of the history of emotions, classical and Neo-Latin philology, reception and gender studies. The early modern inventions of the myth excel in a skilful display of mixed and compound emotions, such as the male character's psychopathology, and of the theatrical performance of emotions by the female character.
Author:
Abstract
In mid-January 1925, André Breton published an editorial, “La dernière grève” (The Last Strike) in the opening pages of the second issue of the new Parisian journal he helped produce, La Révolution surréaliste (Surrealist revolution). Breton’s essay discusses the tentative economic value of cultural and intellectual production in the capitalist economy and calls for artists, philosophers, and scholars to undertake a general strike for a period lasting between several nights to one year. Breton’s “Last Strike” essay influenced another and much more well-known call for an art strike by a French writer who was closely aligned with surrealism, Alain Jouffroy. The purpose of this essay is to analyze Breton’s 1925 “Last Strike” essay in relation to Jouffroy’s late 1960s statements on the art strike and the revolutionary abolition of art, in order to determine the differences and similarities between their approaches, and to demonstrate how surrealism is essential to Jouffroy’s theories about the abolition of art as a key aspect of anticapitalist culture.
Author:
Author:
Abstract
The Surrealist movement in Paris has kept alive, since the early 1970s, the red and black flame of rebellion, the antiauthoritarian dream of radical freedom, the poetical insubordination to the powers that be, and the obstinate desire to reenchant the world. Unfortunately, most academic or mainstream accounts of surrealism take it for granted that the group dissolved itself in 1969. It is quite strange that this attitude persisted despite the very visible presence of the surrealist movement in Paris after 1970. Historians have been trying to decree the end of surrealism for years. For most of them, surrealism was nothing else than one of the innumerous artistic vanguards, such as Cubism or Futurism.
Author:
Abstract
Allen Van Newkirk sought to revitalize the surrealists’ project of transforming everyday life with practices inspired by the series of riots that swept across the United States in the 1960s. Although largely forgotten, Van Newkirk was once a key figure in the underground press, helping to shape the counterculture’s understanding of surrealism’s relationship to contemporary social movements. This article draws on archival research and interviews with Van Newkirk’s collaborators in order to reconstruct his surrealist life. His direct-action approach to surrealism is examined through a close reading of his best-known act, the mock assassination of the poet Kenneth Koch. This provocative action, organized with the anarchist group Black Mask, exemplifies their combined attempt to extricate surrealism from its legacy in the art world and wield it as an insurrectionary weapon. Riot-inspired actions like this one led Van Newkirk to develop a concept of poetry that was identical to revolution.