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Art History Supplement, 4.1, January 2014

posted 23 Dec 2013 01:23 by ArtHS Editor   [ updated 19 Jul 2014 21:01 ]

Table of contents

1. Editorial 4 

2. Anti-editorial
    What I learned about art history in grad school at a public u[niversity] 12 *

November 18, 2013 at 19:43
The page of the Art History Guild on Facebook re-posted (via Yang Chang) an article, entitled “What I learned at law school: The poor need not apply,” with the initial comment “What I learned about art history in grad school at a public u[niversity] …” (plus 5 Likes, 1 Share).

3. Van Gogh’s Last Supper Transforming “the guise of observable reality,” by Jared Baxter 18 

“The image created is that of an altarpiece in which Madame Roulin takes on the role of the Virgin Mary as Stella Maris and in which the sunflowers can be associated with Christ.” – Dr. Evert van Uitert, 1980.
“His Berceuse culminated his art of sacred realism, shorn of miraculous rescues and visionary ruminations but nonetheless vested with spiritual force and the consoling function associated with religious art.” – Dr. Debora Silverman, 2000.
In other words, Vincent painted his Madonna and Child with neither a Madonna nor a child. Over the same creative period, he crafted his original starry night, Café Teras. This paper argues it was intended to be a uniquely innovated Last Supper.

4. The spectrum of the figural: aesthetics in the eyes of Jean-François Lyotard, by Vlad Ionescu, KU Leuven 46

This paper introduces the “figural” as a key concept in the aesthetics of Jean-François Lyotard. In the aftermath of Lyotard’s later aesthetic writings, the figural is read as the “matrix” of Lyotard’s aesthetics. The emphasis falls on the difference between “discourse”, as an order of signification based on the structuralist model of language and the “figural”, as the trace of an irrecoverable desire to be seen and not read. The three forms of figures are further delineated: the figure-form, -image and -matrix. Finally, his aesthetics is integrated within a broader French critical tradition, forming a constellation between Lyotard’s “figural”, Valéry’s aesthetics and Deleuze’s Logic of sensation (1984).

5. Books received 74

6. CFP: On the future of (social) history of art 75 

7. CFP: Representations of the life of Leonardo da Vinci in motion pictures 77 

8. Call for guest editors 80 

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