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Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay explores the relationship between the Utah artist George Martin Ottinger's Mesoamerican history paintings and Mormon beliefs and missionary efforts in northern Mexico. Members of the Church of Jesus Christ of Latter-day Saints (LDS) did not share prevailing nineteenth-century U.S. attitudes toward pre-Columbian peoples. While most U.S. artists and writers emphasized Aztec warfare and rituals of human sacrifice, Ottinger depicted Mesoamerican society as inherently peaceful and refined. Analyzing his paintings in relation to U.S. legal prosecution of LDS polygamous practice and contemporaneous Mormon settlement in Sonora and Chihuahua, I posit that Ottinger held a contradictory conception of Indigenous populations, simultaneously proclaiming LDS group affinity with a noble pre-Hispanic past and perpetuating disparaging settler-colonial tropes in his depictions of gender and race. His paintings operate in the cultural periphery of Mexico and the United States, yet in dialogue with the nationalist discourses of both countries to offer mainstream audiences a nonthreatening introduction to LDS scripture as well as a racial justification for Mormon spiritual and territorial expansion. [ABSTRACT FROM AUTHOR]

The article focuses on American artist Washington Allston along with information on biographical and aesthetic framework of his career. It mentions how Allston's efforts to depict physical disability collided with the narrative and temporal constraints imposed by the genre of history painting. It also mentions category of disability as a social and cultural construct, rather than as a primarily medical and diagnostic category.

The apparent dearth of official celebrations for the 200th anniversary of the Peace of Westphalia in Germany in the 'revolutionary year' of 1848, as well as of depictions of the Peace of 1648 by German history painters of that time, raises a variety of questions. Much has already been written on the political caricatures of 1848. This paper investigates links between the religious and the political spheres in paintings completed in or around 1848 in Germany that demonstrate interest in the history of the Thirty Years' War or in its confessional and political legacies. These paintings include history paintings of the Thirty Years' War by – amongst others – the artists Carl Friedrich Lessing (1808–1880) and Eduard Geselschap (1814–1878). Comparisons are also made with earlier history paintings and with other paintings worked upon in 1848 by J.P. Hasenclever (1810–1853) and the then Director of the Düsseldorf Academy of Art, Wilhelm von Schadow (1788–1862), as well as with one later 'pro-Prussian' depiction of the 1648 Peace for Münster by Fritz Grotemeyer (1864–1947). [ABSTRACT FROM AUTHOR]

Using as a basis Walter Pater's contention in the ''Postscript'' to Appreciations (1889) that ''[c]uriosity and the desire of beauty, have each their place in art, as in all true art criticism, ''this article offers an analysis of the inspiration, production, colorifics, iconography, and reception of Dante Gabriel Rossetti's The Beloved (1865-66, 1873), a residually Pre-Raphaelite painting that Frederic George Stephens regarded as one of ''the finest productions of . . . [Rossetti's] genius and matured skills. ''Demonstrating through the comments of Stephens and others that Victorians responded erotically to The Beloved, the article draws on Immanuel Kant's Critique of Judgment to assist in situating the painting and related works in the context of ''art for art's sake'' and the emergence of modernist aesthetics. In doing so, the article also situates The Beloved among central issues of Victorian scholarly and theoretical debate such as race, materialism, and gendered viewing. [ABSTRACT FROM AUTHOR]

While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon criticism reveals that questions of mimesis and imitation are fundamental to an understanding of his views on painting and to the destination of art in eighteenth-century France. Whether his objections are addressed to artists who failed to “follow the poet,” or to those who (in his view) neglected nature, Diderot’s frequently censorious remarks invariably revolve around issues that found their most developed expression in the humanistic theory of painting. As a result, his criticism raises questions about the continuing viability of a hierarchy of genres that placed grand narrative painting at its apex, and treated the minor genres as subordinateparergato “le grand genre” of history painting. Seeking an accommodation for these “lesser” genres, Diderot developed critical concepts that sought to treat genre painting with the same seriousness as subjects drawn from mythology and the Bible, and led to his suggestion for an intermediate genre to reconcile these conflicts that he called, in his writings on drama, “le genre sérieux.” Diderot’s suggestion leads ineluctably to his advocacy for the work of Jean-Baptiste Greuze and Jean-Baptiste Chardin, whose domestic interiors and dead game were, for him, less an imitation of nature than a recreation of nature itself. [ABSTRACT FROM PUBLISHER]

Copyright of Revista de Historía da Sociedade e da Cultura is the property of Revista de Historia da Sociedade e da Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The novel Structural Chemical Analyser (hyphenated Raman spectroscopy and scanning electron microscopy equipped with an X-ray detector) is gaining popularity since it allows 3-D morphological studies and elemental, molecular, structural and electronic analyses of a single complex micro-sized sample without transfer between instruments. However, its full potential remains unexploited in painting heritage where simultaneous identification of inorganic and organic materials in paintings is critically yet unresolved. Despite benefits and drawbacks shown in literature, new challenges have to be faced analysing multifaceted paint specimens. SEM−Structural Chemical Analyser systems differ since they are fabricated ad hoc by request. As configuration influences the procedure to optimize analyses, likewise analytical protocols have to be designed ad hoc. This paper deals with the optimization of the analytical procedure of a Variable Pressure Field Emission scanning electron microscopy equipped with an X-ray detector Raman spectroscopy system to analyse historical paint samples. We address essential parameters, technical challenges and limitations raised from analysing paint stratigraphies, archaeological samples and loose pigments. We show that accurate data interpretation requires comprehensive knowledge of factors affecting Raman spectra. We tackled: (i) the in-FESEM−Raman spectroscopy analytical sequence, (ii) correlations between FESEM and Structural Chemical Analyser/laser analytical position, (iii) Raman signal intensity under different VP-FESEM vacuum modes, (iv) carbon deposition on samples under FESEM low-vacuum mode, (v) crystal nature and morphology, (vi) depth of focus and (vii) surface-enhanced Raman scattering effect. We recommend careful planning of analysis strategies prior to research which, although time consuming, guarantees reliable results. The ultimate goal of this paper is to help to guide future users of a FESEM-Structural Chemical Analyser system in order to increase applications. [ABSTRACT FROM AUTHOR]

Analysing paintings presented by Tate Britain's exhibitionFighting History, Emma De Angelis considers whether history painting can further our understanding of war, especially in today's world. Devices such as the visual fusion of time and space in history painting can facilitate new perspectives and reflections on conflict, and provoke an affective reaction that differs greatly from any scholarly analysis of war past and present. [ABSTRACT FROM PUBLISHER]

In her little-known painting A Study of a Woman after Nature(1802), Marie-Denise Villers exploited a conjuncture between masculine-inflected ideals of Neoclassical art and feminine-inflected ideas of fashionability in the post-Revolutionary period in France by making a feature of female dress while emulating the standards of history painting. The artist's confident synthesis of idioms is examined in the context of Albertine Clément-Hémery's memoir of a women's art studio. Walter Benjamin's notion of gestus is enlisted as a means of understanding how the quite different image cultures invoked in this work communicated social ideas. [ABSTRACT FROM PUBLISHER]

The article presents a case study of three art dealers who sold history painting of seventeenth-century in Amsterdam, Netherlands. Topics discussed include analysis of inventories of three art dealers, Jan Fransz Dammeroen, Cornelis Doeck and Hendrick Meijeringh, price of guilders per painting at the dealers, stocks-in-trade of the dealers and work of painter Barend Jansz Slordt, who made history painting for Meijeringh.

The article discusses the 1806-1808 painting "Exhumation of the Mastodon" by Charles Willson Peale, considered to be a combination of history painting, genre painting, and portraiture. It depicts the excavation of mastodon bones from the upstate New York farm of John Masten. Topics include the international debate between French scientist Georges-Louis Leclerc, comte de Buffon, and the American president, Thomas Jefferson over the importance of American culture, landscape painting, and influences on painter Thomas Cole.

This essay examines the disruption of linear time in experimental forms of "history painting" as represented by Dierk Schmidt's SIEV-X--On a Case of Intensified Refugee Politics (2001- 2005). It analyses how the aesthetics of heterochronoia--multiple temporalities--lay a crucial role in the development of a new understanding of the politics of "history painting." As Schmidt's work reveals, a radical conception of history exists outside the "singular moment," and in dialogue with heterogenous visual cultures (news media, art history, advertising). In attempting to understand the import of Schmidt's work, this essay considers his methodologies for creating a heterochronous mode of history painting, particularly his anachronistic engagement with the work of Theodore Géricault and the iconic history painting, The Raft of the Medusa. Unlike previous critical responses to Schmidt's work, this paper argues that (after Géricault) the artist's use of investigative "journalistic" methodologies for SIEV-X--On a Case of Intensified Refugee Politics do not generate an aesthetics of exposé but rather an aesthetics of "fictionalization." This aesthetic is defined by the recalibration of documentary and speculative data as a means to reconceive the landscape of the perceptual. The findings of this research demonstrate that the use of disparate fragments--or data--to visualize otherwise diminishing historical events underpins contemporary history painting's capacity for advancing a distinct economy of affect that circumvents the limitations of the news media and its "monopoly on reality." [ABSTRACT FROM AUTHOR]

As new immigrants to Canada, Regina painter Huang Zhongyang and other cultural workers add to our diverse visual heritage. Although he left the People's Republic of China after the end of the Chinese Cultural Revolution, his memories of senseless violence, with Communist leader Mao Zedong pitting neighbor against neighbor, son against father, scarred his psyche, which he has turned into oil paintings. These paintings of Huang's memories of the Cultural Revolution rarely are displayed publicly, except occasionally. The intent of this article is to discuss his paintings in relation to actual events during the 1960s to 1970s. History painting, a 19th Century European genre, has become a bygone category of art, but in the hands of Huang, memory, a postmodern concern, is aroused by these very poignant images often created after popular images taken from newspapers and television, thus reflecting the contemporary interest in photographs. [ABSTRACT FROM AUTHOR]

In 1864, with his Christ and the Angels, now in the Metropolitan Museum, New York, Manet drew an uneasy connection between the Paris salon and the public morgue, replacing the eloquent, universal body we expect to find in a religious history painting with a silent and particular corpse of the kind exhibited at the new Morgue of Paris. This replacement marked Manet's rupture with the French tradition of religious history painting and signaled the birth of a new aesthetic vision, born at the Morgue, and defined by Zola as Naturalism. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)