Cubism and the Fourth Dimension

This article revisits the historiography of Cubism and mathematics, with a particular focus on Pablo Picasso's uses of geometry at the end of the first decade of the twentieth century. In particular, I consider the artistic appropriation of the concept of the fourth dimension, and its pictorial uses as a conduit for a conceptual reformulation of pictorial space. I investigate Picasso's distinctive adoption of this geometric framework in relation to one of his 1909 experiments across painting and photography, and advocate the possibility of drawing novel historiographical lessons from Picasso's work — lessons that bring the historiography of Cubism in a closer dialogue with recent debates in the historiography of science. I conclude with an appeal to consider the continued relevance of this past experiment in art and science when assessing the contemporary drive toward art-science collaborations, and use the case of Cubism and the fourth dimension as a springboard for a critical reflection on the future directions of art-science collaborations.     

The occluded role of royal women and lost works of pre-Norman English and Irish art (tenth to twelfth centuries)

ABSTRACT

Medieval women's involvement with artworks and building campaigns can sometimes be hidden, particularly when, as with architectural patronage, that involvement is familial and multi-generational; it is also likely to be routinely underestimated by scholars in the absence of the artworks themselves. This paper discusses various interactions between royal women, art and architecture from the turn of the tenth century to the arrival of the Normans in England and the Anglo-Normans in Ireland. Moving to portable objects, the analysis of two lost artworks – Edith of Wilton's alb, described by Goscelin, and Derbforgaill of Mide's chalice given to Mellifont – suggests that historical sources can be more revealing of iconography and meaning than is often assumed. Finally, a brief examination of the Ælfflæd/Frithestan/Cuthbert embroideries shows that these fit the same paradigms as the lost works, and that they may offer some further insight into Ælfflæd's status and fate.     

Caught between extremes: the culture and economics of traditional mask art in contemporary Sri Lanka

In contemporary Sri Lanka, the commodification of local mask production resulting from cultural tourism has caught the traditional mask artisan in a tight spot between “tradition” and “modernity”. The impacts of tourism are diversely received and interpreted within the local mask artisan community, with tourism simultaneously resulting in what can be called a “cultural discovery” and “cultural decline”. Within this cultural debate, this paper is an attempt to understand how the traditional mask artisan arrives at a balance between “tradition” and “modernity”, and culture and commerce. Qualitative research conducted in southern Sri Lanka shows that tradition and modernity are shifting conceptions. Negotiating a balance between tradition and modernity is, therefore, largely a matter of meaning and interpretation. When cultural commodification occurs, tradition and modernity are continuously redefined and reinvented by both the traditional mask artisan and cultural consumer to fit their own needs and agendas. Cultural commodification contributes to the survival and revival of Sri Lanka's mask tradition, a strategy that is simultaneously welcomed and contested within the local mask artisan community.     

Excavations on Brightstone and Bowcombe Downs,Isle of Weight,Made in August 1854

Abstract

Not a single English Romanesque great cloister arcade survives in situ. Despite this, the existence of a number of 11th- and 12th-century rear walls, and the discovery of quantities of stonework likely to have originated in cloister arcades, make it possible to recover something of the likely appearance and character of the cloister in Anglo-Norman England. The following paper considers that evidence, and assesses how our understanding of the underlying topography and archaeology of Anglo-Norman cloisters might enable us to reconstruct their lost walks. It concludes with an appraisal of the chronology of English cloister building.     

In Cloth We Trust

In this essay, I contextualize recent studies of cloth and culture in Africa, South America, and Oceania within changing anthropological concerns. Examining cloth as an important aspect of art, technology, and economy, I question how specific properties of objects are connected with cultural and social significance. Over the last two decades in particular, cloth—whether woven or nonwoven—has often been construed as an especially potent polyvalent symbol. Examining how scholars have explored this potential, I address the conceptual relocation of cloth in different, often contradictory regimes of value that join discrete physical locations, from isolated community to cosmopolitan museum.     

Quantification and the Scientific Study of History

Abstract

A survey of the illustrations in art history textbooks reveals that the most important Modern American painters, including Pollock, Johns, and Warhol, failed to produce individual paintings as famous as the masterpieces of a number of major French artists, such as Picasso, Manet, and Seurat. Analysis of the textbooks reveals that art historians do not consider the American artists to be less important than their French predecessors or judge the Americans' innovations to be less important. The absence of American masterpieces instead appears to be a consequence of market conditions. as changes over time in the primary methods of showing and selling fine art reduced the incentive for artists to produce important individual works. This study demonstrates that the study of markets is essential to a full understanding of the development of Modern art.     

How old are Australia's pictographs? A review of rock art dating

Australia contains some of the world's richest and apparently longest traditions of rock pictographs. Dating this art, however, has been problematic, with few ‘direct’ and reliable dates of Pleistocene or early Holocene age having been obtained from visible, representational imagery. This paper critically reviews the evidence for the antiquity of pigment rock art in Australia by examining the various dating techniques employed. The accurate and reliable dating of rock art worldwide is crucial to understanding the evolution of modern human symbolism and whether cognitive modernism came about after, rather than with, the first signs of full biological modernism; understanding the pitfalls and devising proper methods are crucial prerequisites. Towards these ends, this paper reviews the results and techniques that have been employed to date the apparently earliest known pictographs in Australia.     

Application of 3-dimensional microscopy and micro-CT scanning to the analysis of Magdalenian portable art on bone and antler

The appearance of portable artistic objects during the Upper Palaeolithic is characterised by a combination of a wide choice of techniques, use of different materials and a diversity of iconographic expression, with many objects made of bone and antler decorated with animal representations. Taphonomic and experimental approaches have been systematically applied in an effort to understand the technical and artistic procedures followed. In this study, we applied a new combination of 3-dimensional microscopy (focus variation optical microscope) and micro-CT scanning to the analysis of two Magdalenian engraved specimens: a reindeer antler from the site of Neschers (France), engraved with the partial image of a horse in left profile, and a horse metatarsal from Courbet Cave, Penne (France), engraved with a horse head also in left profile. Results of the analysis suggest that both the Neschers and Courbet Cave engravings had been prepared before being carved. The overall contours of the horse body/head were incised first, while anatomical features were added afterwards. In the Neschers case, the incision resulted from the repeated scratching of a previously made incision in order to enlarge the engraving, possibly reflecting the engraver's aesthetic sense. The combination of the techniques used in this study is applicable to fragile or unique archaeological specimens. Micro-CT scanning, in particular, provides non-invasive means for identifying engravings that are obscured by encrusted sediment. The application of these techniques can potentially open new avenues for the authentication, technical and gestural recognition and interpretation of incised forms and artistic creativity.     

Mid-Holocene age obtained for nested diamond pattern petroglyph in the Billasurgam Cave complex,Kurnool District,southern India

India has one of the world's largest and most significant bodies of rock paintings and engravings, yet not a single rock art site or image has been directly and accurately dated using radiometric techniques. Here we report on results from the Billasurgam Cave complex near Kurnool in southern India. Although this cave complex has been investigated archaeologically since the late 1800s, it was not until 2008 that a large petroglyph, consisting of the remains of three nested diamond designs on a stalactite, was noted. In order to determine if this petroglyph had been made recently, flowstone was sampled from on top of and below the engraving. Radiocarbon dating revealed a mid-Holocene age of about 5000 cal BP for the petroglyph, but we cannot rule out the possibility that the engraving is several centuries younger. Similar nested diamond designs at some rock painting sites and on a chert core elsewhere in India have been assumed to be Mesolithic. Our result is consistent with this hypothesis, although we note that it also consistent with the creation of the petroglyph in the early Neolithic. We conclude that the Billasurgam engraved diamond design was probably made by Mesolithic foragers of the Kurnool region and is the oldest surviving form of rock art yet directly dated in southern India.     

Latest developments in rock art recording: towards an integral documentation of Levantine rock art sites combining 2D and 3D recording techniques

This paper presents a further step in the integral documentation of prehistoric rock art, combining 2D and 3D digital recording techniques. Image processing and digital enhancement techniques are an invaluable aid to obtain high quality and accurate 2D recordings, especially when working with faint motifs or complex superimpositions. But what constitutes a real breakthrough is the possibility of combining 2D digital tracings with metric 3D models, providing a whole set of metric outputs that improve our understanding of the motifs in their context and, at the same time, can be used to deliver accurate metric reproductions.