Review of Michael W. Cole and Rebecca Zorach (eds), The Idol in the Age of Art -- Objects, Devotions and the Early Modern World

URL: http://miranda.revues.org/1710Recension de Michael W. Cole and Rebecca Zorach (eds), The Idol in the Age of Art - Objects, Devotions and the Early Modern World (Farnham: Ashgate, 2009), 356 p, ISBN: 978-0-7546-5290-8Recension de Michael W. Cole and Rebecca Zorach (eds), The Idol in the Age of Art - Objects, Devotions and the Early Modern World (Farnham: Ashgate, 2009), 356 p, ISBN: 978-0-7546-5290-

Entretien avec Dolores Marat

Dolores Marat est née en 1944. Elle a exposé à différents endroits en France (dont Paris, Toulouse et Arles, en Corse, à St Barthélémy), en Angleterre (Londres, Liverpool), en Belgique (Bruxelles), au Portugal, au Pays-Bas, en Indonésie, aux États-Unis (New York). Ses photographies figurent dans des collections telles que le Musée de la photographie, Charleroi (Belgique), Galerie Frédéric Bazille, Montpellier (F), Fnac (F), Artothèque de Nantes (F), L’œil Écoute, Solignac (F), Coimbra (Portug..

Diane Waggoner (ed.), The Pre-Raphaelite Lens―British Photography and Painting, 1848-1875

This book is the catalogue of the eponymous exhibit which was held at the National Gallery of Art, in Washington from 31 October 2010 to 30 January 2011, and then at the Musée d’Orsay from March 8th to May 29th, 2011. The book deals with the mutual influences of photography and painting from the 1850s to the mid-1870s, during the emergence of photography as a new art form, and reflects on the ways Pre-Raphaelite painting was shaped by the formal and thematic innovations of photography, and vi..

Ombres et lumières croisées : l’appropriation prométhéenne de la lumière dans les peintures de Wright of Derby (1734-97) et John Martin (1789-1854)

In the very disparate paintings of John Martin (1789-1854) and Wright of Derby (1734-97), whether it be the scenes of scientific experimentation, the forges, the engineering projects, the candlelight paintings, the Italian paintings or the landscapes, what seems to link them is a strong attention to light effects. Wright of Derby’s first night pieces are often suggestive of the stock forms of religious iconography. However, these paintings continuously glorify human labour and effort and the new control of technical and scientific progress. Religious allusions seem hijacked so to say as if to underline the secularization of light and the increased prestige of man who is initiated with the mysteries of the universe and seeks to take control.In the same spirit, the later Italian paintings do not hesitate to outperform the drama of night light, by magnifying or exaggerating the pictorial scenography of the night performances, undoubtedly influenced by the contemporary staging devices which exploit new knowledge in light, mainly the diorama, the transparencies, and soon enough the eidophusikon. In a similar promethean vein, the mythological connotations of Wright’s Italian paintings also tend to extol mankind, in that the viewers can easily identify with the mythological deities associated with the depicted light shows. In so doing, viewers of these paintings can take on the metaphorical attributes of light, traditionally reserved for sacredness and the Christian God. Beneath the terrestrial, and even telluric topoï that flatter human hubris, the privileged place of pictorial representations is the pandemonium, domain of Lucifer, the light-carrying angel but also the ruler of the kingdom of shades. Technical appropriation of light thus converges with benighted reflexes (let alone black arts) in the chosen pictures, giving way to metapictorial comments on shadow as both artistic and scientific inspiration

Le Grain et la bulle : photographies du catalogue New York USA (2002) de Dolores Marat

« New York, Sans titre [n.d] », page de couverture  Après un séjour à New York en 1994 pour une commande de magazine, Dolores Marat s'était promise d'y retourner. Sept années durant, elle effectua trois à quatre courts séjours par an pour arpenter la ville fébrilement avec son appareil. Dolores Marat rassembla les prises de vue ainsi glanées lors de ses déambulations dans un épais catalogue intitulé New York USA, publié aux Editions Marval en 2002. Quand on lui demande de qualifier son New Yo..

La Peinture américaine des années 1930

En ces temps où les regards et interrogations sont très largement tournés vers l’Amérique, voilà que le Musée de l’Orangerie organise jusqu’au 30 janvier 2017, en collaboration avec l’Art Institute de Chicago et la Royal Academy à Londres, une exposition sur la peinture américaine des années 1930. Sont présentées une cinquantaine de toiles issues de collections muséales américaines (l’Art Institute à Chicago, le Whitney Museum, le Museum of Modern Art à New-York...) et de collections particul..

Sarah Greenough, Sarah Kennel (eds. ), Sally Mann – A Thousand Crossings

The exhibition Sally Mann: A Thousand Crossings was the first major survey of this prominent artist―dubbed America’s “Best Photographer” by Time magazine in 2001―to travel in the United States and France. Since the Corcoran Gallery of Art was placed under its stewardship, the National Gallery of Art in Washington DC acquired 25 photographs by Mann, making it one of the largest repositories of her photos in the country. The exhibition was on view at the National Gallery of Art from March 4 thr..

Micheline Nilsen, Architecture in Nineteenth-Century Photographs—Essays on reading a collection

Architecture in Nineteenth-Century Photographs is a collection of essays that deals with the relationship between photography and architecture. It is organized along thematic lines rather than chronological ones. The book’s innovation is that it focuses less on the historical development of the technique than on the purposes served by nineteenth-century architectural photography, and the discourses that run through it. The corpus is the Janos Scholz Collection of nineteenth-century photograph..

Patrizia Di Bello and Gabriel Koureas, Art, History and the Senses—1830 to the Present

In the foreword, “Disciplining the Senses: Beethoven as Synaesthetic Paradigm”, Simon Shaw Miller starts by saying how the departmental structure of universities have encouraged us to think along disciplinary lines. Drawing on two of Hoffman’s texts, one of which is on Beethoven and the other on Johannes Kreisler, Miller says that instrumental music’s very invisibility opens the inner eye to richer visions because it is severed from the sensual world and any fixed signification. In their intr..

Richard Pak : Pursuit

A la première page du catalogue de l'exposition Pursuit, figure le portrait d'une jeune fille qui tire son débardeur élimé vers le bas pour révéler à hauteur du cœur un tatouage en négatif qui ne peut se lire que de droite à gauche (et avec difficulté) dans la page-miroir argentée en vis-à-vis à gauche : “Follow your Dreams.” En lisant cet aphorisme, le lecteur-spectateur aperçoit aussi inévitablement son lancinant reflet déformé en arrière-plan. En dernière page, pour boucler la boucle, des ..