Maps,Mapping, Modernity: Art and Cartography in the Twentieth Century

While the history of cartography has freed itself from debilitating debates over the scientific and artistic status of maps, considerations of the relationship between art and cartography have continued to focus largely on pre‐modern maps, avoiding critical examination of twentieth‐century art and science in cartography and leaving intact the impression that these followed distinct paths in the modern period. In this paper, however, I have drawn on theoretical work in Science Studies and taken account of modern art's separation from aesthetics to suggest that an examination of art and cartography in the twentieth century should focus on mapping practices rather than on maps as such. A summary overview of modern‐art movements and selected works indicates a continued, if critical, engagement of avant‐garde artists with cartography, and the examination of more popular newspaper artwork produced in the context of the intensely modern visual culture of mid‐twentieth century Los Angeles indicates a similarly close connection between modernity, art and cartography.     

Reading versus Seeing? Winckelmann's Excerpting Practice and the Genealogy of Art History

From his arrival in Italy in 1755, Winckelmann's work is infused throughout by a fundamental antinomy: reading versus seeing. This antinomy possesses for him a decidedly epistemological significance: it allows him to present himself as the father of a discipline deserving of its name, i.e., the history of art. In Geschichte der Kunst des Alterthums (1764), he claims to break with a long tradition of art discourse which had been primarily supported by ancient texts, basing his book instead on the direct observation of the artworks. The aim of this paper is to critically examine this antinomy. How does seeing relate to reading in his working method? What relationship does art history, in the empirical dimension Winckelmann wanted to give it, have to book knowledge? Winckelmann's excerpts collection provides valuable answers to these questions. Following an old scholarly tradition, Winckelmann used to write down passages of his readings, constituting a vast handwritten library of excerpts which never left him. The result of this intense excerpting practice consists in some 7,500 pages, which allow to better define the share of empirical observation and book-based knowledge in his approach to ancient art.     

Inscribed landscapes in the Black Desert: Petroglyphs and kites at Wisad Pools,Jordan

Petroglyphs are well known in the Negev, eastern and southern Jordan, and the Arabian Peninsula. Intensive documentation of hundreds of petroglyphs at the site of Wisad Pools in the Black Desert of eastern Jordan records animals, humans, hunting traps and geometric designs, connecting people and places to the larger landscape. These were recorded at the landscape scale with drones and photogrammetry, and the local scale through the construction of a database combined with GPS recording and terrestrial photogrammetry. Petroglyphs of animals and hunting traps are significant because the site is located within a landscape that includes enormous and enigmatic hunting traps (desert kites). Mapping these depictions highlights typological distribution, association of types, and relation to landscape features as well as the topography of the basalt boulders on which they were pecked. The depictions of animals and hunting traps provide clues about the use of desert kites, the social role of hunting, communal gatherings, and feasting in the region.     

Testing recipes: an experimental approach to paint production processes in Levantine rock art (Spain)

Over more than a century, several proposals have been made on the composition and technical features of the pictorial recipes used by Levantine prehistoric painters. In this paper all these proposals are surveyed and tested through systematic experiments to determine the technical affordance of pigments and binders in different pictorial recipes. Experimental results were then used as independent analytical parameters employed as diagnostic criteria to systematically study an archaeological sample of nine sites located in the Maestrazgo region (Spain) and their surroundings. Results reveal that out of 112 experimental recipes, only 16 afforded the production of paintings technically similar to Levantine rock art.     

The Pleistocene art of Asia

While the Pleistocene art of Europe has been described, discussed, analyzed and explained in thousands of publications, that of Asia has attracted almost no interest at all. This paper is a brief summary of all known Ice Age art of Asia, both rock art and portable art. The current evidence is critically reviewed, region by region, and hundreds of specimens purported to be art are rejected by the author. Those considered to be authentic are often extremely isolated, in both time and space. It is argued that this record can only be explained effectively as having been greatly distorted by several factors. The geographical distribution, for instance, is clearly conditioned by such factors as intensity of research activities and local preservation conditions. Thus the pronounced paucity of available evidence is, at least in part, imposed by taphonomic biases of various types.     

Charles Gleyre's ‘Les Romains’: Classics and nationalism in Swiss art

This article looks at an example of how classical antiquity was used by a nineteenth‐century Swiss painter and explores the national dimension of one of his works. Through an examination of the painting, Les Romains passant sous le joug, its Swiss artist Charles Gleyre and his commission from the canton of Vaud, it will elaborate an example of how a classical legend was transformed in an artistic representation of the nation.     

Engineering Art and Telling Tales: Anish Kapoor at the Royal Academy

Anish Kapoor has become well known for his enormous architectural installations and for his use of vibrant colour. Much of his work depends critically on good engineering and he has collaborated closely with engineers for many years. I discuss several of Kapoor's large works, approaching them from an engineer's perspective. I also show how Kapoor weaves layers of narrative in some of his work: so that a naïve understanding of a piece's construction is a falsehood layered over the true engineering solution. The story seems initially obvious to the audience but a little digging, a little thought, reveals that it is a fiction and that reality is something other.     

Exploring the Coroplasts’ ‘Techne’ in Greek Architectural Terracottas from Sicily: an Archaeometric Approach

The study intends to support the archaeological questions about the technological choices related to the manufacturing of an important class of archaic artefacts—the fictile roof revetments of the temples—in the Greek colonies of Sicily, unveiling the possible relations among raw materials, decorative and firing techniques and functionality of the architectural terracottas. By applying a multidisciplinary and a multimethodological archaeometric approach, the aforementioned questions have been addressed, explaining the technological expedients employed by the coroplasts in the manufacturing of the roof revetments, and suggesting interesting mobility schemes of both raw materials and ‘techne’ (know‐how) throughout the island.     

试论博物馆艺术授权的结构模式与价值链

博物馆艺术授权是以博物馆藏品等所体现的文化艺术内涵为依托的授权标的物知识产权的授权体系,其发展路径和结构形式即为博物馆艺术授权的结构模式,分为直接授权模式、委托授权模式和综合授权模式三种。这一结构模式决定了其价值链的形成过程和最终形态,总体表现为由若干点、线、面组成的伞状结构的价值网络。