Suchergebnisse

"Somewhere between global and local, the nation still lingers as a concept. National art histories continue to be written--some for the first time--while innovative methods and practices redraw the boundaries of these imagined communities. Narratives Unfolding considers the mobility of ideas, transnationalism, and entangled histories in essays that define new ways to see national art in ever-changing nations. Examining works that were designed to reclaim or rethink issues of territory and dispossession, home and exile, contributors to this volume demonstrate that the writing of national art histories is a vital project for intergenerational exchange of knowledge and its visual formations. Essays showcase revealing moments of modern and contemporary art history in Canada, Egypt, Iceland, India, Ireland, Israel/Palestine, Romania, Scotland, Turkey, and the United Arab Emirates, paying particular attention to the agency of institutions such as archives, art galleries, milestone exhibitions, and artist retreats. Old and emergent art cities, including Cairo, Dubai, New York, and Vancouver, are also examined in light of avant-gardism, cosmopolitanism, and migration. Narratives Unfolding is both a survey of current art historical approaches and their connection to the source: art-making and art experience happening somewhere."--

By examining the period from the late eighteenth to the twentieth centuries, this article shows the development in European art of a new genre, that of national art. The new artistic orientation was taken from the doctrine of nationalism, a philosophy which idealised the nation, the historically-evolved, ethno-cultural community. The essay shows, first, that the visual arts have been potent vehicles of the national idea; second, that works of art have been accepted as "national" only to the extent to which they have captured the way of life of the wider, cultural community, rather than that of the elites alone; third, that artists, by engaging with the "spirit" of their cultural community, have contributed to the modernisation of this community-the systematisation or "streamlining" of ethnic identities and solidarities into national identities and solidarities; and fourth, that the creative transformation of the ethno-cultural experience into art has also transformed this experience into a positive and central, national experience. (Original abstract)

AbstractBy examining the period from the late eighteenth to the twentieth centuries, this article shows the development in European art of a new genre, that of national art. The new artistic orientation was taken from the doctrine of nationalism, a philosophy which idealised the nation, the historically‐evolved, ethno‐cultural community. The essay shows, first, that the visual arts have been potent vehicles of the national idea; second, that works of art have been accepted as 'national' only to the extent to which they have captured the way of life of the wider, cultural community, rather than that of the elites alone; third, that artists, by engaging with the 'spirit' of their cultural community, have contributed to the modernisation of this community–the systematisation or 'streamlining' of ethnic identities and solidarities into national identities and solidarities; and fourth, that the creative transformation of the ethno‐cultural experience into art has also transformed this experience into a positive and central, national experience.

L'auteur propose une étude des arts visuels majeurs (l'architecture, la peinture et la sculpture) et mineurs (les arts appliqués, la céramique, la gravure, etc) depuis les troubles révolutionnaires de 1905, en passant par la guerre d'indépendance et la constitution de la République de Lettonie

L'auteur propose une étude des arts visuels majeurs (l'architecture, la peinture et la sculpture) et mineurs (les arts appliqués, la céramique, la gravure, etc) depuis les troubles révolutionnaires de 1905, en passant par la guerre d'indépendance et la constitution de la République de Lettonie