Baroque assumptions:
This essay works within a transatlantic framework to excavate an early modern sensitivity to form and formal arrangement from practices of compositionally reconfiguring printed compositions. Tracing such operations generates a reappraisal of foundational conceptions of Baroque aesthetics and of the...
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| Format: | Elektronisch Artikel |
| Sprache: | English |
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2022-09-29
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| Zusammenfassung: | This essay works within a transatlantic framework to excavate an early modern sensitivity to form and formal arrangement from practices of compositionally reconfiguring printed compositions. Tracing such operations generates a reappraisal of foundational conceptions of Baroque aesthetics and of the very notion of the Baroque as a style. The essay begins in colonial Latin America, where artists were frequently tasked with using European prints to produce works of art, but it then tacks in the opposite direction to argue that exploring Latin American compositional modes allows better seeing them in Europe as well – both in commonplace visual culture and in the highest echelons of artistic production. The Baroque comes to be defined as a compositional mode of artistic practice centered on form and its potential for syntactical recombination – a mode conditioned by the medium of print. This essay thus advocates for the ways that working across once-interconnected geographies can (and should) shift key historiographic concepts and aesthetic frameworks: here of Baroque compositional practice, the Baroque as a historiographic construct, and print’s unmined place within both |
| Beschreibung: | 28 Illustrationen |
| ISSN: | 2701-1550 |
| DOI: | 10.11588/xxi.2022.3.90234 |
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| 520 | 3 | |a This essay works within a transatlantic framework to excavate an early modern sensitivity to form and formal arrangement from practices of compositionally reconfiguring printed compositions. Tracing such operations generates a reappraisal of foundational conceptions of Baroque aesthetics and of the very notion of the Baroque as a style. The essay begins in colonial Latin America, where artists were frequently tasked with using European prints to produce works of art, but it then tacks in the opposite direction to argue that exploring Latin American compositional modes allows better seeing them in Europe as well – both in commonplace visual culture and in the highest echelons of artistic production. The Baroque comes to be defined as a compositional mode of artistic practice centered on form and its potential for syntactical recombination – a mode conditioned by the medium of print. This essay thus advocates for the ways that working across once-interconnected geographies can (and should) shift key historiographic concepts and aesthetic frameworks: here of Baroque compositional practice, the Baroque as a historiographic construct, and print’s unmined place within both | |
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| spelling | Hyman, Aaron M. 1984- Verfasser (DE-588)124718062X aut Baroque assumptions Aaron M. Hyman 2022-09-29 28 Illustrationen txt rdacontent c rdamedia cr rdacarrier This essay works within a transatlantic framework to excavate an early modern sensitivity to form and formal arrangement from practices of compositionally reconfiguring printed compositions. Tracing such operations generates a reappraisal of foundational conceptions of Baroque aesthetics and of the very notion of the Baroque as a style. The essay begins in colonial Latin America, where artists were frequently tasked with using European prints to produce works of art, but it then tacks in the opposite direction to argue that exploring Latin American compositional modes allows better seeing them in Europe as well – both in commonplace visual culture and in the highest echelons of artistic production. The Baroque comes to be defined as a compositional mode of artistic practice centered on form and its potential for syntactical recombination – a mode conditioned by the medium of print. This essay thus advocates for the ways that working across once-interconnected geographies can (and should) shift key historiographic concepts and aesthetic frameworks: here of Baroque compositional practice, the Baroque as a historiographic construct, and print’s unmined place within both Mit einer Zusammenfassung in englischer Sprache Rezeption (DE-588)4049716-1 gnd rswk-swf Kopie (DE-588)4032423-0 gnd rswk-swf Komposition (DE-588)4032012-1 gnd rswk-swf Barock (DE-588)4004541-9 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Druckgrafik (DE-588)4113357-2 gnd rswk-swf Malerei (DE-588)4037220-0 gnd rswk-swf Lateinamerika (DE-588)4074032-8 gnd rswk-swf Europa (DE-588)4015701-5 gnd rswk-swf Europa (DE-588)4015701-5 g Malerei (DE-588)4037220-0 s Komposition (DE-588)4032012-1 s Druckgrafik (DE-588)4113357-2 s Kopie (DE-588)4032423-0 s Barock (DE-588)4004541-9 s Rezeption (DE-588)4049716-1 s Lateinamerika (DE-588)4074032-8 g Kunst (DE-588)4114333-4 s DE-604 volume:3 number:3 year:2022 pages:565-626 21: inquiries into art, history, and the visual Heidelberg, 2022 Vol. 3, No. 3 (2022), Seite 565-626 (DE-604)BV046617927 2701-1550 (DE-600)3010740-4 https://doi.org/10.11588/xxi.2022.3.90234 Resolving-System Verlag kostenfrei Volltext https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/90234 Verlag kostenfrei Volltext |
| spellingShingle | Hyman, Aaron M. 1984- Baroque assumptions Rezeption (DE-588)4049716-1 gnd Kopie (DE-588)4032423-0 gnd Komposition (DE-588)4032012-1 gnd Barock (DE-588)4004541-9 gnd Kunst (DE-588)4114333-4 gnd Druckgrafik (DE-588)4113357-2 gnd Malerei (DE-588)4037220-0 gnd |
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| title | Baroque assumptions |
| title_auth | Baroque assumptions |
| title_exact_search | Baroque assumptions |
| title_exact_search_txtP | Baroque assumptions |
| title_full | Baroque assumptions Aaron M. Hyman |
| title_fullStr | Baroque assumptions Aaron M. Hyman |
| title_full_unstemmed | Baroque assumptions Aaron M. Hyman |
| title_short | Baroque assumptions |
| title_sort | baroque assumptions |
| topic | Rezeption (DE-588)4049716-1 gnd Kopie (DE-588)4032423-0 gnd Komposition (DE-588)4032012-1 gnd Barock (DE-588)4004541-9 gnd Kunst (DE-588)4114333-4 gnd Druckgrafik (DE-588)4113357-2 gnd Malerei (DE-588)4037220-0 gnd |
| topic_facet | Rezeption Kopie Komposition Barock Kunst Druckgrafik Malerei Lateinamerika Europa |
| url | https://doi.org/10.11588/xxi.2022.3.90234 https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/90234 |
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