Imágenes portadas. Introducción
DOI:
https://doi.org/10.5944/etfvii.6.2018.23087Palabras clave:
Segunda piel, doble cara, abyme, tatuaje, armaduras, medallas, bordados, vestido, Second skin, double-sidedness, tattoo, armor, medallion, embroidery, clothingResumen
En las últimas décadas, los estudios sobre la materialidad y la eficacia de las imágenes, así como de las prácticas artísticas y sociales asociadas a ellas, han permitido a los historiadores explorar hasta qué punto la fabricación de las imágenes, su uso, manejo y exhibición contribuyó a activar sus capacidades de presentarse a través de su interacción con el espectador. Además, el creciente diálogo entre la historia del arte y la antropología de las imágenes ha puesto de relieve las estrechas conexiones entre el objeto artístico y el cuerpo: en efecto, si el cuerpo puede ser el medio para el objeto artístico animado, el objeto artístico puede actuar potencialmente como sustituto del cuerpo animado. Pero ¿qué ocurre cuando el cuerpo es el soporte de una imagen distintiva, cuando inscribe una imagen en su propia superficie, ya sea directamente en la piel o a través de intermediarios como el vestido o un adorno? Wearin Images investiga las diferentes modalidades de interacción entre la imagen y el cuerpo que se viste con ella en la Edad moderna, en una época en la que imágenes devocionales, políticas, dinásticas o familiares podían vestirse como medallas, joyas, placas, prendas bordadas o tatuajes.
In the past decades, studies on the materiality and the efficacy of images, as well as the artistic and social practices related to them, have allowed scholars to explore how much images’ making, use, handling and display contributed to the activation of their powers of presence through their interaction with the viewer. Further, the growing interest in the articulation between the history of art and the anthropology of images has brought to light the close links between the art object and the body: in fact, if the body can be the medium of the animate art object, the art object can potentially act as a substitute of the animate body. But what happens when the body is the support of a distinctive image, when it inscribes an image on its own surface, whether directly on the skin or through intermediary props such as clothing or corporeal parure? Wearing Images investigates the different modes of interaction between the image and the body that wears it in the Early-Modern period, when devotional, political, dynastic or familial images could be worn as medals, jewels, badges, embroidered garments or tattoos.
Descargas
Citas
ALPERS, Svetlana: The Art of Describing. Dutch Art in the Seventeenth Century. Chicago, The University of Chicago Press, 1983.
ANZIEU, Didier: Le moi-peau. Paris, Dunod, 1985.
ARASSE. Daniel: «Les miroirs de la peinture», in L’imitation, aliénation ou source de liberté?, (Rencontres de l’Ecole du Louvre). Paris, La Documentation Française, 1984, pp. 63-88.
BELTING, Hans and KRUSE, Christiane: Die Erfindung des Gemäldes: das erste Jahrhundert der niederländischen Malerei. Munich, Hirmer, 1994.
BELTING, Hans: An Anthropology of Images : Picture, Medium, Body, (Bild-Anthropologie: Entwürfe für eine Bildwissenschaft, 2001). Transl. T. Dunlap, Princeton, Princeton University Press, 2011.
BELTING, Hans: Likeness and Presence: A History of the Image Before the Era of Art, (Bild und Kult: eine Geschichte des Bildes vor dem Zeitalter der Kunst, 1990). Transl. E. Jephcott, Chicago, University of Chicago Press, 1994.
BELTING, Hans: L'image et son public au Moyen Âge (Das Bild und sein Publikum im Mittelalter: Form und Funktion früher Bildtafeln der Passion, 1981). Transl. F. Israel, Paris, Gérard Monfort, 1998.
BENITO DOMÉNECH, Fernando: «La pintura religliosa en Alonso Sánchez Coello», in Alonso Sánchez Coello y el retrato en la corte de Felipe II. Exh. cat., Madrid, Museo del Prado, 1990, pp. 114-127.
BODART, Diane H.: «Le reflet, un détail-emblème de la représentation en peinture», in Daniel Arasse. Historien de l'art. Paris, INHA, 2010.
BODART, Diane H.: La peinture au miroir de l’armure. Turnhout, Brepols, forthcoming.
BREDEKAMP, Horst: Image Acts : A Systematic Approach to Visual Agency, (Theorie des Bildakts, 2010). Transl. E. Clegg, Boston, Walter de Gruyter, 2018.
BRUNA, Denis: «Le "labour dans la chair". Témoignages et représentations du tatouage au Moyen Age», in La pelle umana, dossier, Micrologus, 13, 2005.
BRUNA, Denis: Enseignes de plomb et autres menues chosettes du Moyen Âge. Paris, Éditions du Léopard d'or, 2006.
CAPLAN, Jane (ed.): Written on the Body : The Tattoo in European and American History. Princeton, NJ, Princeton University Press, 2000.
CHASTEL, André: «Le tableau dans le tableau», (1967), in idem.: Fables, formes, figures. Paris, Flammarion, 1978, II, pp. 75-98.
CORDÓVA, James: The Art of Professing in Bourbon Mexico: Crowned-nuns Portraits and Reform in the Convent. Austin, University of Texas Press, 2014.
DÄLLENBACH, Lucien: Le récit spéculaire. Essai sur la mise en abyme. Paris, Seuil, 1977.
DE BRY, Theodor: America I: Admiranda narration fida tamen, de commodis et incolarum ritibu Virginiae. Francfort, De Bry, 1590.
DE VOS, Dirk: Hans Memling: The Complete Works. Ghent, Ludion Press, 1994.
DEMELLO, Margo: Bodies of Inscription: A Cultural History of the Modern Tattoo Community. DURHAM, NC, Duke University Press, 2000.
DEMPSEY, Charles: The Portrayal of Love: Botticelli's Primavera and Humanist Culture at the Time of Lorenzo the Magnificent. Princeton, NJ, Princeton University Press, 1992.
DIMIER, Louis: Histoire de la peinture de portrait en France au XVIe siècle. Paris, Bruxelles, G. van Oest, 1924-1926.
FALKENBURG, Reindert L.: «Hans Memling's Van Nieuwenhove Diptych: The Place of Prayer in Early Netherlandish Devotional Painting», in HAND, John Oliver and SPRONK, Ron (eds.): Essays in Context: Unfolding the Netherlandish Diptych. New Haven, Yale University Press, 2006, pp. 92-109.
FLEMING, Juliet: «The Renaissance Tattoo», RES: Anthropology and Aesthetics, 31, 1997, pp. 34-52.
FRANCASTEL, Pierre: La réalité figurative. Éléments structurels de sociologie de l’art. Paris, Gonthier, 1965.
FREEDBERG, David: The Power of Images: Studies in the History and Theory of Response. Chicago, University of Chicago Press, 1989.
GELL, Alfred: Art and Agency: An Anthropological Theory. Oxford, Clarendon Press, 1998.
GELL, Alfred: Wrapping in Images: Tattooing in Polynesia. Oxford, Clarendon Press, 1993.
GIDE, André: Journal. 1889-1939. Paris, Gallimard, «Pléiade», 1948, 41 (1893).
GNECCHI RUSCONE, Livia (ed.): Stigmata. La tradizione del tatuaggio in Italia. Exh. cat., Cinisello Balsamo, Silvana, 2017.
GODOY, José-A. and LEYDI, Silvio (eds.): Parures triomphales: le maniérisme dans l'art et l'armure italienne. Exh. cat., Genève, Musées d'Art et d'Histoire, 2003.
GUERZONI, Guido: «Notae divinae ex arte compunctae. Prime impressioni sul tatuaggio devozionale in Italia (secoli XV-XIX)», in La pelle umana, dossier, Micrologus, 13, 2005.
HACKENBROCH, Yvonne: Enseignes: Renaissance Hat Jewels. Firenze, Studio per edizioni scelte, 1996.
HACKENBROCH, Yvonne: Jewels of the Renaissance. New York, NY, Assouline Publishing, 2015.
Jacobs, Fredrika H: The Living Image in Renaissance Art. Cambridge, UK, Cambridge University Press, 2005.
JONES, Ann Rosalind and STALLYBRASS, Peter: Renaissance clothing and the materials of memory. New York, Cambridge University Press, 2000.
KELLY, Jessen: «The Material Efficacy of the Elizabethan Jeweled Miniature: A Gellian Experiment», in OSBORNE, Robin, and TANNER, Jeremy, Art’s Agency and Art History. Malden, MA, Blackwell Pub., 2007, pp. 114-134.
KOOS, Marianne: «Wandering Things: Agency and Embodiment in Late Sixteenth-Century English Miniature Portrait», Art history, 37, 5, 2014, pp. 836-859.
LAROCCA, Donald J.: «Monsters, Heroes, and Fools: A Survey of Embossed Armor in Germany and Austria, ca. 1475-ca. 1575», in A Farewell to Arms: Studies on the History of Arms and Armour. Liber Amicorum in Honour of Jan Piet Puype. Delft, Legersmuseum, 2004, pp. 35-54.
LATOUR, Bruno: Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford, Oxford University Press, 2005.
LEHMANN, Ann-Sophie: «The Matter of the Medium: some tools for an art-theoretical interpretation of materials», in ANDERSON, Christy, DUNLOP, Anne and SMITH, Pamela H. (eds.), The Matter of Art: Materials, Practices, Cultural Logics, c. 1250-1750. Manchester, Manchester University Press, 2015.
MARÍAS, Fernando: El Greco: life and work, a new history. Londres, Thames & Hudson Ltd., 2013.
MULCAHY, Rosemarie: The Decoration of the Royal Basilica of El Escorial. Cambridge, Cambridge University Press, 1994.
OSBORNE, Robin, and TANNER, Jeremy (eds.): Art’s Agency and Art History. Malden, MA, Blackwell Pub., 2007.
OUSTERHOUT, Robert G.: «Permanent Ephemera: The Honourable “Stigmatisation” of Jerusalem Pilgrims», in BARTAL, Renana, and VORHLT, Hanna (eds.): Between Jerusalem and Europe: Essays in Honour of Bianca Kuhnel. Leiden, Boston Brill, 2015, pp. 94-109.
PASTOUREAU, Michel (ed.): Le Vêtement: histoire, archéologie et symbolique vestimentaires au Moyen Age. Paris, Léopard d'or, 1989.
PERRY, Elizabeth: Escudos de Monjas/ Shields of Nuns: The Creole Convent and Images of Mexican Identity in Miniature. Ph.D. Diss., Brown University, ProQuest Dissertations Publishing, 1999.
PYHRR, Stuart W. and GODOY, José-A. (eds.): Heroic Armor of the Italian Renaissance: Filippo Negroli and his Contemporaries. Exh. cat., New York, The Metropolitan Museum of Art, 1998.
QUONDAM, Amedeo: Cavallo e cavaliere: l'armatura come seconda pelle del gentiluomo moderno. Roma, Donzelli, 2003.
RICHARDSON, Catherine, «“As my whole trust is in him”: Jewelery and the Quality of Early Modern Relationships», in MIRABELLA, Bella (ed.): Ornamentalism: The Art of Renaissance Accessories. Ann Arbor, University of Michigan Press, 2011.
SCHROTH, Sarah: «Burial of the Count of Orgaz», in BROWN, Jonathan (ed.): Figures of Thought: El Greco as Interpreter of History, Tradition and Ideas. (Studies of History of Art, 11), Washington, National Gallery, 1982, pp. 1-18.
SLOAN, Kim: A New world: England’s First View of America. Chapel Hill, NC, The University of North Carolina Press, 2007.
SMILES, Sam: «John White and British Antiquity: Savage Origins in the Context of Tudor Historiography», in Sloan, Kim (ed.): European Visions : American Voices. London, British Museum, 2009, pp. 106-112.
SPEELBERG, Femke: «Fashion & Virtue: Textile Patterns and the Print Revolution, 1520–1620», Metropolitan Museum of Art Bulletin, 73, 2, 2015.
SPRINGER Carolyn: Armour and masculinity in the Italian Renaissance. Toronto, University of Toronto Press, 2010.
STOICHITA, Victor I.: «La seconde peau. Quelques considérations sur le symbolisme des armures au XVe et au XVIIe siècles», in PARAVICINI BAGLIANI, Agostino (ed.): Finis corporis. Eccedenze, protuberanze, estremità nei corpi, conference proceedings, Micrologus 20, 2012, pp. 451-463.
STOICHITA, Victor I.: L’instauration du tableau, Genève, Droz, 1999.
STRONG, Roy: Gloriana: The Portraits of Queen Elizabeth I. London, Thames and Hudson, 1987.
THEVOZ, Michel: Le corps peint. Genève, Skira, 1984.
VV.AA.: Tatoueurs, Tatoués. Exh. cat. (Paris, Musée du quai Branly), Actes Sud, 2014.
WITTMANN, Ole: Tattoos in der Kunst: Materialität – Motive – Rezeption. Berlin, Reimer, 2017.
YALA KISUDIKI, Nadia (ed.): Négritude et philosophie, dossier, Rue Descartes, 83, 2014.
