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Teaching material based on the publication “The types of cues that help you learn”
No full textThis folder contains two documents that are the supplementary materials for the paper entitled "The types of cues that help you learn. Pedagogical implications of a computational simulation on learning the English tense/aspect system from exposure": SupMat 1 is the list of most strongly positively associated cues for each TA combination and SupMat 2 contains the teaching guidelines associated with the paper
Aloïs Riegl and the riddle of Rembrandt’s Staalmeesters: Vienna schooling Dutch art scholarship
Full text linkAloïs Riegl’s elucidations of visual particulars in his Dutch Group Portrait of 1902 are not in contrast to but rather inform his theory of the development of group portraiture. Riegl sought to explain the Kunstwollen or ‘will of art’ of Dutch group portraits, what they seek to do as art. Despite his errors, his approach is applicable to current interpretations, above all the riddle of Rembrandt’s Staalmeesters, and can thus serve, in a cumulative art historiography, as a means of ‘Vienna schooling’ Dutch art scholarship. Building on Riegl’s analysis, this paper proposes that after reaching an impasse in both his group sketch for and first painted composition of his Staalmeesters, Rembrandt made portrait studies of two sample masters in their account book, and revised his composition to show them responding to his drawings and looking out at him. He thereby embedded portraiture (Riegl’s ‘external unity’) at the heart of his narrative (‘internal unity’). As in his earlier group portraits, he displaced speech by sight and text by image, achieving what Riegl identified as his goal of interfusing the psyches or souls of the figures and the beholder, making them part of a moving, seeing, thinking whole. Rembrandt reflected on the development of his tradition and his own paintings, making his task in the process of portraiture into the subject of his painting, and thereby redeemed his relation to his tradition
Jewish students in Strzygowski’s Vienna Institute and the study of Jewish art: a forgotten chapter in the history of the Vienna School
Full text linkJosef Strzygowski, inscribed in the annals of art history as a racialist and an anti-semite, had many devoted Jewish students. Strzygowski cast a long shadow over many of the earliest specimens of Jewish art history in Vienna. In an unpublished article written in English, and in the Beurteilungen of the Jewish-themed dissertations he supervised, Strzygowski stressed the importance of Jewish art historians studying Jewish art. The forgotten, mostly unpublished efforts of these Jewish art historians working on Jewish topics form a counterpart to the better-known contemporary works of Jewish art history produced in Berlin. This study examines the work of four Jewish doctorandi of Strzygowski, Max Eisler, Otto Schneid, Paul Koeser and Friedricke Nobl-Stern and considers the interplay between anti-semitism, Zionism and entrenched beliefs in the connection between ethnicity or nationality and art during a fateful period for Vienna and for the Jews of Europe
Curators of China knowledge: Morokoshi meishō zue and Osaka-Kyoto cultural networks in late Tokugawa Japan
Full text linkThis paper provides an in-depth study of Morokoshi meishō zue, the only substantial Japanese illustrated book on the cultural geography of contemporaneous Qing China (1644 – 1911) produced during the Edo period (1603 – 1868). By analysing its appropriations of valuable and recent Chinese publications, insertion of Osaka-Kyoto identities, and production networks, this paper situates the book in the late Tokugawa context of social control and deviance. Examining the cultural connections surrounding the book’s production and consumption, this paper also proposes a revaluation of the art-historical cliché of the Japanese literati and reveals the social and political significances of their promotion of Chinese art and culture in early modern Japan
‘Shining a spotlight on Armenians: exchanges on the Silk Road’. Review of: Christiane Esche-Ramshorn, East-West Artistic Transfer through Rome, Armenia and the Silk Road: Sharing St. Peter’s, London and New York: Routledge, 2022, 224 pp., 38 b/w figs, 20 col. figs, £120, ISBN 9781409403067.
Full text linkThis beautifully and effectively illustrated book explains the various contacts, and their contexts, between Armenians and persons from western Europe, especially Italy, in the period of the Crusades and Renaissance, in Italy and Armenia, and especially in Armenian Cilicia. These included an Armenian compound at St. Peter’s, Rome, Roman Catholic missionary establishments in Armenian lands, and trade. Armenian involvement in the production of, and international trade in, luxury fabrics is emphasised. The author shows that western scholars of art history and of artistic transfer have largely neglected the role of Armenians in this, as also in the history of luxury textiles. She offers a discussion of ‘mutual cultural knowledge’ considering Italian influences on Armenians, and a series of case studies dated between the thirteenth and sixteenth centuries, mostly paintings, in which international artistic transfer is demonstrable. Attention is drawn to the use of foreign alphabets and inscriptions/pseudo-inscriptions in artworks
‘Whither Strukturforschung?’ Review of: The New Vienna School of Art History. Fulfilling the Promise of Analytic Holism by Ian Verstegen, Edinburgh: Edinburgh University Press, 2023.
Full text linkThis review presents a detailed overview of the main arguments in Ian Verstegen’s The New Vienna School of Art History. It critically engages with several of those arguments and explicates the drawbacks of Hans Sedlmayr’s historical analyses. In addition, it provides further context for Sedlmayr’s NSDAP membership and its repercussions for the members of the New Vienna School. Finally, it clarifies Meyer Schapiro’s position towards Otto Pächt’s idea of ‘national constants’ and the theorization of collective subjectivities by referencing the correspondence and documentation kept in the Meyer Schapiro Collection at Columbia University
Beyond the historiographical pantheon. Women and the Comité International d'Histoire de l'Art after 1945
Full text linkAfter World War II, the Comité International d’Histoire de l’Art (CIHA), an international NGO of art historians, resumed its scientific activity. Since the first post-war meeting, however, we found that all members were men: famous figures from the History of Art who made up the historiographical pantheon and built the twentieth-century Western art historiography. During the 1950s, the sole exception was Cécile Goldscheider, Rodin Museum curator, who attended the Bureau sessions and general assemblies as a secretary. There were other female researchers linked somehow to the CIHA, like those involved in the Corpus Vitrearum Medii Aevi project or those who participated in the International Congresses of Art History. Over time, women gained ground and joined the CIHA as full members. Else Kai Sass, Professor at Aarhus University, was first in 1964, followed by Anna Maria Brizio, Klára Garas, and Jean Sutherland Boggs. Until 1979, no woman entered the Bureau. The Mexican Beatriz de la Fuente starred in this milestone. Since the gender gap was a fact, the aim of this paper is to delve into the role and achievements of these female academics within the CIHA during the Cold War period
Inside haptic Modernism: Alois Riegl and AngloAmerican art criticism and theory
Full text linkIntroduced in 1902 in response to a polemical article by Strzygowski, the category of haptic formulated by Alois Riegl enjoyed a remarkable critical fortune, exquisitely interdisciplinary, throughout the 20th century and beyond. A critical fortune that, not infrequently, has taken the form of a complex and radical reinterpretation of the “optical device” postulated by Riegl, reflecting on the construction of space in Egyptian bas-relief. Since the 1990s, significant new interpretations have been made in the Film Studies field by authors such as Antonia Lant and Noël Burch and, in a more openly subversive, transcultural and gender-based key, by scholars such as Laura U. Marks, Jennifer M. Barker and Giuliana Bruno. Although the research converging in the Film Studies field still needs systematic recognition, this branch of studies is partially known. Otherwise, the adoptions and interpolations this notion has received in contemporary art criticism and historiography still constitute a widely unexplored field. Given this scenario, this contribution aims to trace how the notion of haptic has entered the lexicon of Anglo-American theory and criticism through the modernist period. It will try to record affinities, interpolations, and reinterpretations of the Rieglian model to stress this category’s theoretical malleability and vitality. Through the rediscovery of some forgotten sources, such as Louis Danz’s prodromic study on Picasso Guernica (1937) published in 1941, this study aims at analyzing critically how this notion has been experienced by authors such as Herbert Read and Clement Greenberg, showing how the different genealogies, one aesthesiological and the other psychophysiological (defined by Max Dessoir, Viktor Lowenfeld and Ludwig Münz) intertwined determined two alternative epistemic frameworks. Tracing essays and theories is intended to show how this category has become an eccentric critical tool to disorientate and dismantle the Modernist and Rieglian oculocentric discourses
The Argan-Brinckmann polemic (1932–33) and the reception of Piedmontese Baroque architecture
Full text linkThe short but intense polemic that took place following Giulio Carlo Argan’s review of Albert Erich Brinckmann’s Theatrum novum Pedemontii in 1931 inaugurated international twentieth century scholarly reception of Piedmontese Baroque architecture. Today, it provides a captivating snapshot of the turbulent and complex disciplinary feuds that prevailed in architectural historiography during the interwar period, often pushing contenders into deep water when attempting to clarify their views. The twenty-three-year-old Argan – later to become one of Italy’s most celebrated academics – had just graduated from the University of Turin when he gave a bravely disapproving review of the latest book by one of Germany’s most prominent architectural historians at the time
‘Historicizing pose: the body in the modern era’. Review of: Emmelyn Butterfield-Rosen, Modern Art & the Remaking of Human Disposition, Chicago: University of Chicago Press, 2021, 352pp., 54.99 pdf & epub, ISBN: 9780226745183
Full text linkBy the end of the nineteenth century, artists across Europe revived archaic modes of posing the body. This review assesses recent scholarship by Emmelyn Butterfield-Rosen on the subject of posture and its relationship to psychology in European modernism
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