This article examines the place of artists’ petitions in the quarrel over confiscating works of art. It argues that the dispute provided opportunities for its participants to advance a series of distinct agendas that reflected political and professional concerns rather than judgements about the art in question. By tracing the earliest stages of the quarrel and radically reinterpreting Quatremère's crucial contribution-his Letters on the Plan to Abduct the Monuments of Italy-as part of his reactionary politics, the article clarifies the meaning of the ensuing artists’ petitions. It argues that while Quatremère duped ‘insider’ artists into supporting the Papist cause by signing his petition questioning the confiscations, the artists themselves instead signed as a means to re-assert their status and right to patronage. The vituperative responses to his petition included a counter-petition supporting art confiscations; it was signed by ‘outsider’ artists, reluctant to let their more famous co-professionals monopolize the debate at their expense.
The purpose of this paper is to show the possibilities of art as a political and social tool, and the possible intersection of contemporary art, community, politics, and therapy, with reference to the activities and politics of the Museum of Contemporary Art of Barcelona, Spain (MACBA) and three ...
The art of wax modelling has an ancient origin but rose to prominence in 14th century Italy with the cult of votive artefacts. With the advent of Neoclassicism this art, now deemed repulsive, continued to survive in a scientific environment, where it flourished in the study of normal and patholog...
Tsar Nicholas I of Russia (1796–1855) was one of the European sovereigns most firmly committed to guaranteeing the principle of monarchy following the Congress of Vienna. The importance of his political role has, however, overshadowed his role as a collector, patron and promoter of the arts...
Tuscan Contrasto verbal duels reveal a subtly complex relationship between conflict and cooperation, and between face and insults. In these duels, the performers use their arguing skills to debate the politics and morality of contemporary Italy, calling attention to contradictions. The artists co...
A growing field of research is documenting the political investment of the consumer. Yet, consumers are invested of political responsibilities in many different ways, which respond to different visions of politics and consumption, culture and the economy. In this article we critically explore the...
What is the commitment of left-leaning artists and intellectuals in a context where the legitimacy of politics and party activism is being called into question? The analysis of the case of the French directors who have made films dealing with social issues in the 1990s-2000s shows the complexity ...
As a contribution to a larger theoretical discussion of the relationships between literature and political context, this paper offers an examination of the reception of the works of Hungarian poet and novelist Dezső Kosztolányi during the communist period, drawing particular emphasis to the ori...
The present study explores the identity politics of young Japanese designers and artists working across national boundaries today. It addresses the following research questions: (i) Do young designers and artists aim to produce works with “universal” appeal or strategically make use of “Jap...
It is argued that human capital theory applies only weakly to artists' decisions about investment in schooling and training and about occupational choice. However, the same can be said about the sorting model. What is lacking in cultural economics is an understanding of talent and creativity, wha...
Victorian stained glass artists were among the first to link vibrant colour with strong abstract geometry. This link was further exploited by artists of the early 20th century. Here may be mentioned the works of designers and artists like Mackintosh and of well-known Bauhaus group members like Kl...
