Paintings historians have lengthy been conversant in pondering paintings and artists when it comes to nationwide traditions. This quantity takes a special technique, suggesting as an alternative background of artwork according to nationwide divisions frequently obscures the methods of cultural appropriation and international alternate that formed the visible arts of Europe in basic methods among 1492 and the early 20th century.
Essays right here study particular zones of contact--between numerous eu states, among Asia and Europe, or among Europe and so-called primitive cultures in Africa, the Americas, and the South Pacific--focusing mostly yet no longer solely on portray, drawing, or the ornamental arts. each one case foregrounds the centrality of foreign borrowings or colonial appropriations and counters conceptions of eu paintings as a "pure" culture uninfluenced through the creative varieties of different cultures. The participants study the social, cultural, advertisement, and political stipulations of cultural contact--including tourism, colonialism, spiritual pilgrimage, alternate missions, and clinical voyages--that enabled those exchanges good prior to the fashionable age of globalization.
Claire Farago, college of Colorado at Boulder
Elisabeth A. Fraser, college of South Florida
Julie Hochstrasser, college of Iowa
Christopher Johns, Vanderbilt University
Carol Mavor, collage of North Carolina at Chapel Hill
Mary D. Sheriff, college of North Carolina at Chapel Hill
Lyneise E. Williams, college of North Carolina at Chapel Hill
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Extra resources for Cultural Contact and the Making of European Art since the Age of Exploration (Bettie Allison Rand Lectures in Art History)
Ibid. sixteen. Jonathan Jones, “Thoroughly sleek Manet,” The parent, June 27, 2006. 17. Paul Gauguin, Paul Gauguin’s Intimate Journals, foreword by means of Emil Gauguin, trans. Van Wyck Brooks (Whiteﬁsh, Mont. : Kessinger, 2007), 154. 18. Bogomila Welsh- Ovcharov, “Paul Gauguin’s 3rd stopover at to Brittany, June 1889–November 1890,” in Gauguin’s “Nirvana”: Painters at Le Pouldu, 1889–90, ed. Eric M. Zafran (New Haven: Yale college Press, 2001), 15. 19. Ibid. , sixteen. 20. Wildenstein, Gauguin, 88. 21. Welsh-Ovcharov, “Paul Gauguin’s 3rd stopover at to Brittany,” 15. 22. W. Somerset Maugham, The Moon and Sixpence (New York: Penguin, 1944), 191. 23. Lynne Huffer, Maternal Pasts, Feminist Futures: Nostalgia, Ethics, and the query of distinction (Stanford, Calif. : Stanford college Press, 1998), 14. 24. Maugham, Moon and Sixpence, 150–51. 25. Welsh-Ovcharov, “Paul Gauguin’s 3rd stopover at to Brittany,” fifty nine. 26. Eric M. Zafran, “Searching for Nirvana,” in Zafran, Gauguin’s “Nirvana,” 112. 27. Wildenstein, Gauguin, 457. 174 gauguin in black and blue 28. Bernard, as quoted in ibid. , 458. 29. Wildenstein, Gauguin, 418. 30. Ibid. , 422. 31. Ibid. 32. Welsh-Ovcharov, “Paul Gauguin’s 3rd stopover at to Brittany,” 17. 33. Khanna, darkish Continents, forty nine. 34. Ibid. 35. Solnit, box advisor to Getting misplaced, 35. 36. Walker interview, “The Eyes of the Storm,” sleek Painters: overseas Arts and tradition, April 2006, fifty eight. 37. J. M. Barrie, Peter Pan in Kensington Gardens: Peter and Wendy (Oxford: Oxford collage Press, 1999), 108, 89. additionally of curiosity right here will be an item like John Davis’s 1888 photo of Robert Louis Stevenson in Samoa. See Tahiti 1904/1921, Lucien Gauthier, Photographe (Paris: Les Éditions du Paciﬁque, 2004), 10. Stevenson, in fact, traveled the South Seas islands (including Tahiti) and used to be a favourite writer of Barrie’s. the journey facet of the fairy story of Peter Pan grew from Barrie’s love of the paintings of his fellow Scotsman. 38. “Ici en Bretagne les paysans ont un air du moyen âge” (letter from Paul Gauguin to Vincent from Brittany, 1889). As stated within the exhibition catalog Oeuvres écrites de Gauguin et van Gogh: Collections du Musée nationwide Vincent van Gogh (Amsterdam: Institut Néerlandais, 1975), cat. no. G 32. 39. Louis Marin, Utopics: The Semiological Play of Textual house, translated through Robert A. Volrath (Atlantic Highlands, N. J. : Humanities Press overseas, 1990). forty. Zafran, Gauguin’s “Nirvana. ” forty-one. Solnit, box advisor to Getting misplaced, 14. forty two. David Lowenthal, The prior Is a overseas state (Cambridge: Cambridge college Press, 1985). forty three. Roland Barthes, digital camera Lucida: Reﬂections on images (New York: Farrar, Straus and Giroux, 1981), eighty one. First released in French as los angeles chambre claire (Paris: Éditions du Seuil, 1980). forty four. Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (London: Continuum, 2005), 117–18. forty five. Suhas Chakma and Marianne Jensen, eds. , Racism opposed to Indigenous Peoples (Denmark: IWGIA rfile, overseas paintings crew for Indigenous Affairs, 2001), 108. forty six. Nan Rosenthal, “Assisted Levitation: The artwork of Yves Klein,” in Yves Klein, 1928– 1962: A Retrospective, catalog from the exhibition at Rice Museum, Houston, February 5–May 2, 1982 (New York: the humanities writer, 1982), 123.