A Workshop on European Peasants

Art critics and scholars have puzzled over the behavior of Pablo Picasso, Gerhard Richter, and Sigmar Polke, three important modern painters who have made frequent and abrupt changes of style. In each case, assuming this behavior to be idiosyncratic, the experts consequently failed to recognize its common basis. But stylistic versatility is in fact often a characteristic of conceptual innovators whose ability to solve specific problems can free them to pursue new goals. This contrasts sharply with the practice of experimental artists, whose inability to achieve their goals often ties them to a single style for an entire career. The phenomenon of the conceptual innovator who produces diverse innovations is an important and new feature of twentieth-century art; Picasso was the prototype, and he has been followed by a series of others, from Marcel Duchamp and Francis Picabia to Bruce Nauman and Damien Hirst. Versatility has furthermore been a characteristic not only of modern painters but also of conceptual innovators in other arts, and of conceptual scholars. Recognizing the common basis of this behavior deepens our understanding not only of twentieth-century art but also of human creativity more generally, for it adds a dimension to the contrast between conceptual and experimental innovators.     

Recent Uses of Quantification in German History

Abstract

Peter H. Merkl, Political Violence Under the Swastika: 581 Early Nazis. Princeton, N.J.: Princeton University Press. 1975. Pp. xiv, 735. $32.50 clothbound; $10.00 paperbound.     

Towards The “New Rural History”: A Review Essay

The true subject of art history is the succession of innovations that have changed the practices of artists over time. This article uses a survey of illustrations in textbooks to consider not only when in their careers the greatest artists of the twentieth century made their greatest discoveries but also how quickly they made them. The results underscore the dominant position of Pablo Picasso and Cubism in twentieth-century art: Picasso alone accounts for the two best three-year periods produced by any artist, and he and Georges Braque account for three of the best five-year periods, all for the work the two young artists did in creating Cubism. Andy Warhol's innovations in pop art and Henri Matisse's development of Fauvism also rank among the century's most important breakthroughs. In general, identifying the most important short periods of artistic creativity highlights the differing methods of conceptual and experimental artists: great conceptual innovators (e.g., Picasso, Matisse, and Warhol) made their greatest discoveries abruptly, whereas great experimental innovators (e.g., Piet Mondrian, Wassily Kandinsky, and Jackson Pollock) made their discoveries more gradually. The finding that artists who innovate early in their lives do so suddenly, whereas those who innovate late do so more gradually, adds an important dimension to our understanding of human creativity.     

Classical Biography: An Ancient Literary Art

The contradictory and distorted portrayal of certain female attributes in Pablo Neruda's Veinte poemas de amor y una canción desesperada is an attempt to understand and unveil, from an adolescent's point of view, the mystery of the "beloved." The lack of knowledge about the female explains the ambivalence and insecurity in the representation of the woman, which resolves itself through a strategy of metamorphosis and textual dissection. Nevertheless, to discover and possess these female attributes is an illusion, a mirage created by masculine desire that only succeeds in approaching the beloved through a series of metamorphoses and fragmentation that actually obscures her further. But the effort is not in vain. The desire to understand (and love) makes possible the pursuit of the female who always is the same, although somehow different: the unknown stranger.     

The Perpetrating Victim: An Allegorical Reading of Pablo Larraín’s Tony Manero (2008)

This article positions the protagonist Raúl Peralta in Tony Manero (Pablo Larraín 2008) towards the perpetrator end of a victim–perpetrator continuum. With reference to Michael Rothberg’s work on the role of implicated subjects (2013), it acknowledges the character’s status as class victim but foregrounds the repetitive acts of physical violence that mark him out as much more of a perpetrator under the dictatorship of General Augusto Pinochet (1973-1990). The article also mobilises theories of allegory developed by Walter Benjamin (1928) and Ismael Xavier (2004) to posit that acquisitive violence, cultures of imitation and façades of unity in the film all resonate with wider aspects of society during the dictatorship. Citing Idelber Avelar (1999), it concludes with the observation that the film’s conceptual engagement with the themes of forgetting and erasure has relevance to this day, both within and beyond Chile, in a neoliberalism-influenced culture of novelty and oblivion.     

Trauma,Male Fantasies,and Cultural Capital in the Films of Pablo Larraín

This paper explores the visualization and intersection of trauma, male fantasies, and cultural capital in the first four feature-length films of Chilean director Pablo Larraín: Fuga (2006), Tony Manero (2008), Post Mortem (2010), and No (2012). Larraín’s first feature sketches out these themes in individual and familial terms; the subsequent three, forming what Larraín has called an ‘unintentional trilogy’ of the Pinochet dictatorship, visualize them in a more collective, historical, and political register. Categorizing these films as examples of ‘posttraumatic cinema,’ I demonstrate how Larraín images the fantasy scenarios that structure Chile’s ‘true horror’: namely, the weaponization of male fantasies and of cultural capital – the combination of which induced indelible traumas during the dictatorship. The attendant institutionalization of injustice, impunity, and neoliberalism – which, as Larraín shows, was conserved during the country’s transition to democracy – has limited the possibilities of working through the recurring traumas ever since.