In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little sustained interest in the histories of alternative exhibitions. The present volume contextualizes eleven case studies to advance overarching themes among alternative exhibitions from the late-eigh
In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little sustained interest in the histories of alternative exhibitions. The present volume contextualizes eleven case studies to advance overarching themes among alternative exhibitions from the late-eigh
Andrew Graciano is Associate Professor of Art History at the University of South Carolina, USA. He is author of Joseph Wright, Esq.: Painter and Gentleman (2012) and editor of Visualising the Unseen, Imagining the Unknown, Perfecting the Natural: Art and Science in the 18th and 19th Centuries (2008).
Inhaltsangabe
Contents: Introduction: Alternative venues Andrew Graciano; Nathaniel Hone's 1775 exhibition: the first single-artist retrospective Konstantinos Stefanis; Branding Shakespeare: Boydell's Shakespeare gallery and the politics of display Heather McPherson; Fantasy and rivalry: Jean-Baptiste Regnault's solo exhibition Paris 1800 Katie Hanson; Rereading 'Court' in the touring exhibition of Rembrandt Peale's Court of Death (1820) Tanya Pohrt; 'Plasmati dalle sue mani': Canova's touch and the Gipsoteca of Possagno Christina Ferando; Art history as spectacle: blockbuster exhibitions in 1850s England Amy M. Von Lintel; Merging form and formlessness: the 1892 monotype exhibition by Edgar Degas Christine Y. Hahn; The radical work of Oskar Kokoschka and the alternative venues of Die Kunstschauen of 1908-1909 Vienna Austria Rosa J.H. Berland; Bringing the boudoir into the gallery: Florine Stettheimer's 'failed' solo exhibition Karen Stock; Exhibiting the museum-function: Marcel Broodthaers and the Musée d'Art Moderne département des Aigles Julian Jason Haladyn; Georges Adéagbo: between artwork and exhibition Kathryn M. Floyd; Epilogue: control issues: creation display and meaning Andrew Graciano; Select bibliography; Index.
Contents: Introduction: Alternative venues Andrew Graciano; Nathaniel Hone's 1775 exhibition: the first single-artist retrospective Konstantinos Stefanis; Branding Shakespeare: Boydell's Shakespeare gallery and the politics of display Heather McPherson; Fantasy and rivalry: Jean-Baptiste Regnault's solo exhibition Paris 1800 Katie Hanson; Rereading 'Court' in the touring exhibition of Rembrandt Peale's Court of Death (1820) Tanya Pohrt; 'Plasmati dalle sue mani': Canova's touch and the Gipsoteca of Possagno Christina Ferando; Art history as spectacle: blockbuster exhibitions in 1850s England Amy M. Von Lintel; Merging form and formlessness: the 1892 monotype exhibition by Edgar Degas Christine Y. Hahn; The radical work of Oskar Kokoschka and the alternative venues of Die Kunstschauen of 1908-1909 Vienna Austria Rosa J.H. Berland; Bringing the boudoir into the gallery: Florine Stettheimer's 'failed' solo exhibition Karen Stock; Exhibiting the museum-function: Marcel Broodthaers and the Musée d'Art Moderne département des Aigles Julian Jason Haladyn; Georges Adéagbo: between artwork and exhibition Kathryn M. Floyd; Epilogue: control issues: creation display and meaning Andrew Graciano; Select bibliography; Index.
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