Western Art No.17
Yuichi Akae / Hisako Koike / Takami Matsuda / Motokazu Kimata / Toshiharu Nakamura
In recent studies the Parthenon Frieze has tended to be seen as a reflection of the civic values of democratic Athens. According to these studies the temple and its ornamentation serves as a self-portrait of the institution and Periklean culture as demos . This paper challenges such interpretations, and explains the divine imagery in the context of votive culture, clarifying the religious background of the rituals.
The art historian Daniel Arasse has championed classical mnemonics as constituting the essential visual logic of Europe since ancient times, and has understood it as an important key for interpreting Italian Renaissance art. Using Arasse's suggestions as a starting point, this paper traces the traditional trajectories of mnemonics found in Italian Renaissance art through literary sources. The concept of the artist as mnemonist finds a parallel in the works of Renaissance mnemonist Giulio Camillo, Trattato di imitatione and Idea della Eloquenza . These texts can be synchronized with sixteenth-century trends among artists and in art theory that enabled creative licenza outside of a guild context.
How does memory function in the process of making paintings in 17th-century Netherlands, a period generally associated with “naturalism” or “realism” in the history of art? What relationships does it have with the process of drawing or painting after nature? This article treats these issues, reconsidering the key concepts “nae t'leven” and “uyt den gheest” and referring to the texts written by Karel van Mander and Samuel van Hoogstraten. It also explores the underlying thought of these texts by examining the ways in which artists who are said to have had great memory are praised.
The art of memory is an ancient technique developed in the tradition of Western rhetoric, based on the effective combination of mental places and images. This art, which allows one to systematically preserve and remember an enormous amount of information, became very popular in the sixteenth century. This paper analyzes Cosmas Rosselli's Thesaurus artificiosae memoriae of 1579, a highly significant mnemonic treatise that until now has not been seriously studied, focusing especially on the relationship between its representations of hell and paradise and contemporary visual art.
A survey of early eighteenth-century Dutch genre painting reveals that artists borrowed motifs and subject matter from the works of seventeenth-century genre painters. This raises an essential question: did these painters blindly repeat popular themes depicted by their renowned predecessors, or was their choice of subjects, in fact, founded upon their own criteria? This paper positions the early eighteenth century as the first to recognize seventeenth-century art as the legacy of the Golden Age, and it gives new insight into the way in which painters consciously selected and adapted subjects to the new artistic environment of this post-Golden Age era.
The retrospective exhibition is closely related to the rise of nationalism in the second half of the 19th century. This form of exhibition developed in the era of the world fair. This article explores how the history of national art was described in retrospective exhibitions held in world's fairs since 1867. The retrospective organized at the Petit Palais in 1900 presented a new concept for the history of French art, which Emile Molinier, a curator of the Louvre, conceived after examining the past exhibitions.
What form might be used to express memories of the past? How is it possible to deal with our memories? Today, with the heightened awareness that has emerged in regard to preserving new memories for successive generations, these questions have become extremely significant. While referring to these questions, in this paper I consider the work of Christian Boltanski. I would like to investigate the extent to which it is possible to confront the past based not on an attempt to faithfully reconstruct or orally transmit memories but on the impossibility of such acts.
Grunewald et Huysmans: entre la redecouverte et le mythe
Edited by Michiko Izumi