Oxford University Press's
Academic Insights for the Thinking World
The Oxford Art Team is excited that the 2016 College Art Association Meeting will be in Washington D.C.! This year, we’re happy to celebrate the 20th Anniversary of The Dictionary of Art. We’re also offering discounted individual subscriptions for Grove Art Online. We have some suggestions on sights to see during your time in Washington as well as our favorite sessions for the conference.
The screen is so unremarkable in its ubiquity that it might seem to take going out to the very limits to make us aware of the extent to which image projection has become our very condition. Take the migration of the phrase “screen time” from its place in film analysis as the descriptor for the edited duration of an action on screen.
When we think of Christmas cards, we usually picture images of holly, robins, angels and candles, or snow-covered cottages with sledging children, Nativity scenes with visiting Wise Men, or benevolent Santas with sacks full of presents. Very rarely, I imagine, do we picture a summer woodland scene features lounging female figures in classical dress and a lyre-playing cherub.
Europe during the 16th and 17th centuries was marked by years of political and religious turmoil and change. From papal authority to royal supremacy, Reformation to Counter Reformation, and an endless series of persecutions followed by executions, England and its citizens endured division, freedom, and everything in between.
‘My first impression is of daybreak, light and colour and golden and purple fruits at the level of my shoulder.’ With this beautiful sentence, so characteristic in its fusion of poetry and physical, bodily detail, Rudyard Kipling evokes the fruit-market in Bombay, the city (now Mumbai) where he was born in 1865.
We’re thrilled to welcome Dr. Kathy Battista as the new Editor in Chief of the Benezit Dictionary of Artists. Director of the MA program in Contemporary Art at Sotheby’s Institute, she has dedicated her life to furthering knowledge of art history through a teaching career, one that has taken her from London to New York City. From issues in contemporary art to dramatic changes in the art market over the past decade, Battista addresses all our burning questions regarding the state of her field.
What could philosophy have to do with odors and perfumes? And what could odors and perfumes have to do with Art? After all, many philosophers have considered smell the lowest and most animal of the senses and have viewed perfume as a trivial luxury.
Johannes Kepler, the astronomer who famously discovered that planets move in ellipses, presents an exceptional case we can reconstruct. Kepler got his assistant to paint an image of himself for a friend. This was just before Kepler stored up all his belongings to move his family back from Austria to Germany. His aged mother had been accused of witchcraft.
In antiquity, ‘Arabia’ covered a vast area, running from Yemen and Oman to the deserts of Syria and Iraq. Today, much of this region is gripped in political and religious turmoil that shows no signs of abating.
Everyone knows George Gershwin as a composer, songwriter, pianist and icon of American music. But few know of his connections to the world of paintings and fine art. As a practicing artist himself, Gershwin produced over 100 paintings, drawings, and photographs.
A reasonable line of thought can give rise to a crisis of commitment: Many a commitment requires persistence or willpower, especially in the face of temptation. A straightforward example is the decision to quit smoking; another is the promise to be faithful to someone for the rest of one’s life.
In 1682, the French court moved from Paris to the former royal hunting lodge of Versailles, which had been transformed under the supervision of Louis XIV into Europe’s most splendid palace, one which moreover was set in a stunning park that stretched all the way to the horizon. Versailles established a fashion for palaces surrounded by ample gardens that most major European courts would soon imitate.
Too often, we in Europe and the English-speaking world presume that we have a monopoly on both modernity and its cultural expression as modernism. But this has never been the case. Take, for instance, the case of sixteenth and seventeenth century urbanism in Europe and Asia. One can focus on the different ways in which classical precedent was deployed in Europe, teasing out the distinctions between the early and late Renaissance, not to mention Mannerism and Baroque.
Judaism, Christianity, and Islam are considered kindred religions–holding ancestral heritages and monotheistic belief in common–but there are definitive distinctions between these “Abrahamic” peoples. The early exchanges of Jews, Christians, and Muslims were dominated by debates over the meanings of certain stories sacred to all three groups.
I am constantly perplexed by the recurring tendency in western history to connect creativity with mental disability and illness. It cannot be denied that a number of well-known creative people, primarily in the arts, have been mentally ill—for example, Vincent Van Gogh, Virginia Woolf, Robert Schumann, Robert Lowell, and Sylvia Plath.
On 27 October 2005, two French youths of Tunisian and Malian descent died of electrocution in a local power station in the Parisian suburb of Clichy-sous-Bois. Police had been patrolling their neighborhood, responding to a reported break-in, and scared that they might be subject to an arbitrary interrogation, the youngsters decided to hide in the nearest available building. Riots immediately broke out in the high-rise suburbs of Paris and in hundreds of neighborhoods across the country.