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Exhibitors and their networks

127 4 Competition and exchange: exhibitors and their networks [H]‌ow is one to study nineteenth-​and early twentieth-​century stained glass by remaining closed in one’s own country? Glass and stained glass windows were exported and imported, large firms set up trading posts abroad and sent their representatives over there, glass makers moved around, models were circulated …. The production of stained glass became internationalised and it is evident that the more famous studios’ participation in the large international exhibitions favoured this globalisation of

in Windows for the world

This book presents a study that is an attempt to understand the phenomenal increase in the production and demand for stained glass between about 1835 and 1860. The book provides both history and context for thousands of Victorian stained-glass windows that exist in churches across the country. It aims to: ask why people became interested in stained glass; examine how glass-painters set up their studios; and understand how they interacted with each other and their patrons. To understand why so many windows were commissioned and made in the Victorian period, readers need to understand how buying a stained-glass window became a relatively ordinary thing to do. In order to examine this, the book focuses on those who wrote or spoke about stained glass in the formative years of the revival. It is important to look at the production of stained glass as a cultural exchange: a negotiation in both financial and cultural terms that was profitable for both glass-painter and patron. The history of Victorian stained glass allows an examination of many other areas of nineteenth-century cultural history. Readers can learn a lot about the aesthetics of the Gothic Revival, ecclesiology, the relationship between 'fine' and 'decorative' art, and the circulation of art history in the 1840s. While many interesting glass-painters have necessarily been omitted, the author hopes that the case studies in the book will provide a point of reference for the research of future scholars.

New interdisciplinary essays on literature and the visual arts

This book offers a comprehensive reassessment of ekphrasis: the verbal representation of visual art. In the past twenty-five years numerous books and articles have appeared covering different aspects of ekphrasis, with scholars arguing that it is a fundamental means by which literary artists have explored the nature of aesthetic experience. However, many critics continue to rely upon the traditional conception of ekphrasis as a form of paragone (competition) between word and image. This interdisciplinary collection seeks to complicate this critical paradigm, and proposes a more reciprocal model of ekphrasis that involves an encounter or exchange between visual and textual cultures. This critical and theoretical shift demands a new form of ekphrastic poetics, which is less concerned with representational and institutional struggles, and more concerned with ideas of ethics, affect, and intersubjectivity. The book brings together leading scholars working in the fields of literary studies, art history, modern languages, and comparative literature, and offers a fresh exploration of ekphrastic texts from the Renaissance to the present day. The chapters in the book are critically and methodologically wide-ranging; yet they share an interest in challenging the paragonal model of ekphrasis that has been prevalent since the early 1990s, and establishing a new set of theoretical frameworks for exploring the ekphrastic encounter.

Daniel Dezeuze and China from scroll to (TV) screen

, Robert Filliou. There is an image of Arthur Rimbaud, a Chinese landscape with text, 173 174 9.4  Art, Global Maoism and the Cultural Revolution Daniel Dezeuze, untitled (gauze), 1978 a quotation from Parmenides. In terms of the spirit of place, besides, the great poet and sinophile Paul Valéry lives on in Sète, also haunting Dezeuze’s studio.51 From April to July 1987, at a moment of relative openness and political transition, Dezeuze made an official exchange visit to China, selected by the Chinese, along with the sculptor Serge Boyer. The painter Cheng Chong

in Art, Global Maoism and the Chinese Cultural Revolution
Pragmatic perspectives on Frank O’Hara and Norman Bluhm’s Poem-Paintings

’s notion, when confronted with the Poem-Paintings, that they express a collaborative artistic exchange while at the same time confounding one’s full understanding of it. Adding to their apparent opacity, the works are littered with references to encounters with mutual friends (Kenneth Koch, for example), with personal gripes, musings, exclamations of joy, with allusions to moments and events previously experienced privately, or among members of the New York School. The coterie aesthetic of O’Hara’s poetry is amplified and fragmented in the Poem-Paintings; however, as

in Mixed messages
Nineteenth-century stained glass and the international exhibitions, 1851– 1900

Windows for the world: nineteenth-century stained glass and the international exhibitions, 1851-1900 focuses on the display and reception of nineteenth-century stained glass in an international and secular context, by exploring the significance of the stained glass displayed at ten international exhibitions held in Britain, France, the USA and Australia between 1851 and 1900. International in scope, it is the first study to explore the global development of stained glass in this period, as showcased at, and influenced by, these international events.

Drawing on hundreds of contemporaneous written and visual sources, it identifies the artists and makers who exhibited stained glass, as well as those who reviewed and judged the exhibits. It also provides close readings of specific stained glass exhibits in relation to stylistic developments, material and technological innovations, iconographic themes and visual ideologies.

This monograph broadens approaches to post-medieval stained glass by placing stained glass in its wider cultural, political, economic and global contexts. It provides new perspectives and fresh interpretations of stained glass in these environments, through themed chapters, each of which highlight a different aspect of stained glass in the nineteenth century, including material taxonomies, modes of display, stylistic eclecticism, exhibitors’ international networks, production and consumption, nationalism and imperialism.

As such, the book challenges many of the major methodological and historiographical assumptions and paradigms relating to the study of stained glass. Its scope and range will have wide appeal to those interested in the history of stained glass as well as nineteenth-century culture more broadly.

Monarchy and visual culture in colonial Indonesia

Photographic subjects examines photography at royal celebrations during the reigns of Wilhelmina (1898–1948) and Juliana (1948–80), a period spanning the zenith and fall of Dutch rule in Indonesia. It is the first monograph in English on the Dutch monarchy and the Netherlands’ modern empire in the age of mass and amateur photography.

This book reveals how Europeans and Indigenous people used photographs taken at Queen’s Day celebrations to indicate the ritual uses of portraits of Wilhelmina and Juliana in the colonies. Such photographs were also objects of exchange across imperial networks. Photograph albums were sent as gifts by Indigenous royals in ‘snapshot diplomacy’ with the Dutch monarchy. Ordinary Indonesians sent photographs to Dutch royals in a bid for recognition and subjecthood. Professional and amateur photographers associated the Dutch queens with colonial modernity and with modes of governing difference across an empire of discontiguous territory and ethnically diverse people. The gendered and racial dimensions of Wilhelmina’s and Juliana’s engagement with their subjects emerge uniquely in photographs, which show these two women as female kings who related to their Dutch and Indigenous subjects in different visual registers.

Photographic subjects advances methods in the use of photographs for social and cultural history, reveals the entanglement of Dutch and Indonesian histories in the twentieth century, and provides a new interpretation of Wilhelmina and Juliana as imperial monarchs. The book is essential for scholars and students of colonial history, South-east Asian and Indonesian studies, and photography and visual studies.

Boccioni – Delaunay, interpretational error or Bergsonian practice?

all the concept of energy which was the true catalyst of their thought. The questions of the dimension of time and the properties of matter (movement, continuity and energy) as revealed by science and theorised by Bergson fascinated painters who were attempting to escape the tyranny of the flat static vision produced by traditional perspective. A controversy: between exchange of views and circulation of ideas Many researchers have examined the dispute that opposed the Futurists and Robert Delaunay, in which Guillaume Apollinaire played such an important part

in Back to the Futurists
Hamo Thornycroft’s The Mower and Matthew Arnold’s ‘Thyrsis’

Nineteenth-century encounters The Mower is particularly conducive to Stephen Cheeke’s concept of the intermedial artwork in which the conventional paragone of ekphrasis is replaced by a non-hierarchical exchange of meaning, and the vexed relationship between art and the real, the ephemeral and the transcendent, stasis and movement is variously and creatively acknowledged through the mutual intertextual enrichment of verbal and plastic media.5 Ekphrasis, as Grant F. Scott suggests, simultaneously quickens and stills life: ‘It breathes words into mute pictures; it makes

in Ekphrastic encounters
From Burke’s Philosophical Enquiry to British Romantic art

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.