Artists, Exhibitions and the Public
On the Exhibition of the Imperial Treasures in Nuremberg
In a letter of 2/4/1506 from Venice to his friend Willibald Pirckheimer, Albrecht Durer ordered his mother to sell his prints at the fair of theetreasuref(Heiltum) in Nuremberg. The imperial treasures of the Holy Roman Empire had been deposited in Nuremberg since 1424, and were exhibited annually on the second Friday after Easter to the public until 1524. For this occasion a multitude of people came to view the treasures, which served as both the imperial regalia and holy relics. A two-week-long fair was held and merchants gathered from different parts of the Empire.
The Salons under the Ancien Regime
The so-called Salons, or exhibitions of the Royal Academy of Painting and Sculpture in Paris, are essential for understanding eighteenth-century French painting. Basic information on this phenomenon, however, still remains unclear, including facts such as in what years these exhibitions were held during the early period.
Mobility, Market, and Media
The reception of artists and artworks have so far been studied first as critical history through the analysis of critical texts, then through an analysis of films as audio-visual, verbal texts. Yet the mobility of artworks in the art market and their exhibition history has been studied only sporadically, despite the fact that this mobility has always played a crucial role in the establishments of the reputation of artists, especially in its early phase. In the case of Van Gogh the most important person for the diffusion of his works was undoubtedly Johanna van Gogh-Bonger, who possessed more works than the two major contemporary Van Gogh collections combined, those of the Van Gogh and Kroller-Muller Museums, along with numerous documents including the letters of Vincent to Theo. This essay traces fragments of Johanna's various roles in the early diffusion of Van Gogh's works and the movement of his works throughout the history of Van Gogh exhibitions. In the past 113 years Van Gogh exhibitions have undergone great transformation, and changes in both the market and exhibition practice have brought about changes in the artist's image and of viewersfattitudes toward his works. In order to clarify this phenomenon, attention has also been paid to transformations of the artist's image in recent films and in cybermedia.
The Sources of the Twentieth Century
In 1960 the National Museum of Modern Art, then situated in the Palace of Tokyo, held an ambitious exhibition entitled gThe Sources of the Twentieth Century.hThis monumental undertaking was conceived and directed by the famous writer and curator Jean Cassou, who would later have a great influence on important exhibitions held, for example, at the Georges Pompidou Center during the 1970s and 80s. Despite facing certain difficulties -- such as the refusal by collectors or museums to lend important paintings -- Cassou strove for the realization of his ambition to relate many aspects of artistic creation in Europe from 1884 to 1930. The significance of this exhibition lies in its multidisciplinarity; a wide range of objects were exhibited on this occasion, not only paintings and sculpture but also books, musical scores, furniture, film posters, and so on. Cassou thus succeeded in evoking the sprit of an era when modernist art had come into its own.
The Politics of Exhibition
Exhibitions often created new trends in twentieth-century art. After World War II, American art replaced French art as the mainstream of modern artistic expression. Several exhibitions played important roles in this process. Exhibitions not only reflected the time but were deeply related to the meanings of the exhibited works themselves, and even regulated the context of contemporary art.
The Rise of the Art Market and the Display of Paintings in the Southern Netherlands
"Un terzo luogo"
John Singleton Copley and the Contemporary History Painting
The Inside/Outside of French Art Reconsidered in Terms of the Parisian Museography of the 1920s and 30s
Gonzaga. La Celeste Galeria (Mantova, 2002)
Barnett Newman (Philadelphia/London, 2002)