Artistic Heritage (artistic + heritage)

Distribution by Scientific Domains


Selected Abstracts


Artistic heritage and the return of masterpieces

MUSEUM INTERNATIONAL, Issue 1-2 2009
Louis Godart
This article was written on the occasion of the exhibition Nostoi: Rediscovered Masterpieces, which was held in the Quirinale Palace. For the first time the public was able to view sixty-seven masterpieces returned to Italy by four great American museums: the J. Paul Getty Museum, the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and Princeton University Museum. The exhibition, formally inaugurated by the President of the Republic and the Minister for Culture on 21 December 2007, was an unprecedented success; so much so that its duration was extended. All the works shown were the result of clandestine excavations carried out on sites in Magna Graecia, Etruria, Latium, Campania and Sicily. They cover around 900 years of Italian history, from the ninth century B.C. to the second century A.D. They reveal the widespread nature of an extremely worrying phenomenon as regards the safeguarding of the country's artistic heritage. According to State Prosecutor Ferri, between 1970 and 2000 around 2,500 people were investigated for taking part in the plundering of important archaeological sites in Italy. [source]


Into the mainstream: Shifting authenticities in art

AMERICAN ETHNOLOGIST, Issue 4 2007
SALLY PRICE
When artists who were once dubbed "primitive" find themselves operating in a freshly expanded environment, with an international clientele, new materials to work with, access to urban exhibition spaces, the counsel of culture brokers, and options for travel abroad, their response can include highly creative innovations in both the forms they produce and the interpretations they offer of their work. The new environment can sometimes even lead to adjustments in their vision of the origins and meanings of their artistic heritage. In this article, I trace the recent history of art made by Maroon men in the Guianas, following its mutation from a form of expression for internal consumption, largely as gifts for wives and lovers, to a commodity sold in an external market. [source]


Mediating Generation: the mother,daughter plot

ART HISTORY, Issue 1 2002
Lisa Tickner
Virginia Woolf famously claimed that: ,We think back through our mothers if we are women, and yet feminine creativity required the murder of the Angel in the House. Woolf and her sister Vanessa Bell could square this circle by drawing on Julia Margaret Cameron's photographs of their mother , her niece and namesake , as a way of memorializing her while staking a claim to a specifically matrilineal artistic heritage. For Harold Bloom, on the other hand, generation is a matter of oedipal rivalry and ,creative misreading,. The ,anxiety of influence,, successfully negotiated, ensures the fertility of a vigorous, patrilineal genealogy. While it is much too tidy to propose a different genealogy for feminine creativity (women mis-read their fathers and struggle with their brothers too), it is important to note that women artists have grown up for the first time in the twentieth century in a landscape of actual as well as elective artist , mothers, and that this is in itself ,generative, and has contributed to their ability to produce new forms of public and monumental art. This paper explores the relevance of Woolf's and Bloom's arguments, among others, to an understanding of the patterns of inheritance and affiliation productive for women artists, with particular reference to the work of Rachel Whiteread. [source]