MOMENTAN AUSVERKAUFT
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Product Identifiers
PublisherUniversity of North Carolina Press
ISBN-100807833665
ISBN-139780807833667
eBay Product ID (ePID)78665225
Product Key Features
Book TitleCultural Contact and the Making of European Art since the Age of Exploration
Number of Pages240 Pages
LanguageEnglish
Publication Year2010
TopicGlobalization, European, Subjects & Themes / General, History / General
IllustratorYes
GenreArt, Political Science
AuthorMary D. Sheriff
Book SeriesBettie Allison Rand Lectures in Art History Ser.
FormatHardcover
Dimensions
Item Height1 in
Item Weight2 Oz
Item Length9.2 in
Item Width6.1 in
Additional Product Features
Intended AudienceTrade
LCCN2009-049095
Dewey Edition22
Reviews"This book is refreshing for the attention it pays to understudied artists and traditionally undervalued media such as drawing and the decorative arts. . . . Recommended."-- Choice, "This book is refreshing for the attention it pays to understudied artists and traditionally undervalued media such as drawing and the decorative arts. . . . Recommended." -- CHOICE, This book is refreshing for the attention it pays to understudied artists and traditionally undervalued media such as drawing and the decorative arts. . . . Recommended.-- Choice, This book is refreshing for the attention it pays to understudied artists and traditionally undervalued media such as drawing and the decorative arts. . . . Recommended. -- CHOICE, "This book is refreshing for the attention it pays to understudied artists and traditionally undervalued media such as drawing and the decorative arts. . . . Recommended." - Choice
Dewey Decimal709.4
SynopsisArt historians have long been accustomed to thinking about art and artists in terms of national traditions. This volume takes a different approach, suggesting instead that a history of art based on national divisions often obscures the processes of cultural appropriation and global exchange that shaped the visual arts of Europe in fundamental ways between 1492 and the early 20th century. Essays here analyze distinct zones of contact--between various European states, between Asia and Europe, or between Europe and so-called primitive cultures in Africa, the Americas, and the South Pacific--focusing mainly but not exclusively on painting, drawing, or the decorative arts., Art historians have long been accustomed to thinking about art and artists in terms of national traditions. This volume takes a different approach, suggesting instead that a history of art based on national divisions often obscures the processes of cultural appropriation and global exchange that shaped the visual arts of Europe in fundamental ways between 1492 and the early twentieth century. Essays here analyze distinct zones of contact -- between various European states, between Asia and Europe, or between Europe and so-called primitive cultures in Africa, the Americas, and the South Pacific -- focusing mainly but not exclusively on painting, drawing, or the decorative arts. Each case foregrounds the centrality of international borrowings or colonial appropriations and counters conceptions of European art as a pure tradition uninfluenced by the artistic forms of other cultures. The contributors analyze the social, cultural, commercial, and political conditions of cultural contact -- including tourism, colonialism, religious pilgrimage, trade missions, and scientific voyages -- that enabled these exchanges well before the modern age of globalization. Contributors: Claire Farago, University of Colorado at Boulder Elisabeth A. Fraser, University of South Florida Julie Hochstrasser, University of Iowa Christopher Johns, Vanderbilt University Carol Mavor, University of North Carolina at Chapel Hill Mary D. Sheriff, University of North Carolina at Chapel Hill Lyneise E. Williams, University of North Carolina at Chapel Hill, Art historians have long been accustomed to thinking about art and artists in terms of national traditions. This volume takes a different approach, suggesting instead that a history of art based on national divisions often obscures the processes of cultural appropriation and global exchange that shaped the visual arts of Europe in fundamental ways between 1492 and the early twentieth century.Essays here analyze distinct zones of contact -- between various European states, between Asia and Europe, or between Europe and so-called primitive cultures in Africa, the Americas, and the South Pacific -- focusing mainly but not exclusively on painting, drawing, or the decorative arts. Each case foregrounds the centrality of international borrowings or colonial appropriations and counters conceptions of European art as a "pure" tradition uninfluenced by the artistic forms of other cultures. The contributors analyze the social, cultural, commercial, and political conditions of cultural contact -- including tourism, colonialism, religious pilgrimage, trade missions, and scientific voyages -- that enabled these exchanges well before the modern age of globalization.Contributors: Claire Farago, University of Colorado at BoulderElisabeth A. Fraser, University of South FloridaJulie Hochstrasser, University of IowaChristopher Johns, Vanderbilt UniversityCarol Mavor, University of North Carolina at Chapel HillMary D. Sheriff, University of North Carolina at Chapel HillLyneise E. Williams, University of North Carolina at Chapel Hill, Art historians have long been accustomed to thinking about art and artists in terms of national traditions. This volume takes a different approach, suggesting instead that a history of art based on national divisions often obscures the processes of cultural appropriation and global exchange that shaped the visual arts of Europe in fundamental ways between 1492 and the early twentieth century. Essays here analyze distinct zones of contact--between various European states, between Asia and Europe, or between Europe and so-called primitive cultures in Africa, the Americas, and the South Pacific--focusing mainly but not exclusively on painting, drawing, or the decorative arts. Each case foregrounds the centrality of international borrowings or colonial appropriations and counters conceptions of European art as a "pure" tradition uninfluenced by the artistic forms of other cultures. The contributors analyze the social, cultural, commercial, and political conditions of cultural contact--including tourism, colonialism, religious pilgrimage, trade missions, and scientific voyages--that enabled these exchanges well before the modern age of globalization.Contributors: Claire Farago, University of Colorado at BoulderElisabeth A. Fraser, University of South FloridaJulie Hochstrasser, University of IowaChristopher Johns, Vanderbilt UniversityCarol Mavor, University of North Carolina at Chapel HillMary D. Sheriff, University of North Carolina at Chapel HillLyneise E. Williams, University of North Carolina at Chapel Hill
LC Classification NumberN72.G55C85 2010
