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Demonstrating that similarities between Jewish and Christian art in the Middle Ages were more than coincidental, Cultural Exchange meticulously combines a wide range of sources to show how Jews and Christians exchanged artistic and material culture. Joseph Shatzmiller focuses on communities in northern Europe, Iberia, and other Mediterranean societies where Jews and Christians coexisted for centuries, and he synthesizes the most current research to describe the daily encounters that enabled both societies to appreciate common artistic values. Detailing the transmission of cultural sensibilities in the medieval money market and the world of Jewish money lenders, this book examines objects pawned by peasants and humble citizens, sacred relics exchanged by the clergy as security for loans, and aesthetic goods given up by the Christian well-to-do who required financial assistance. The work also explores frescoes and decorations likely painted by non-Jews in medieval and early modern Jewish homes located in Germanic lands, and the ways in which Jews hired Christian artists and craftsmen to decorate Hebrew prayer books and create liturgical objects. Conversely, Christians frequently hired Jewish craftsmen to produce liturgical objects used in Christian churches. With rich archival documentation, Cultural Exchange sheds light on the social and economic history of the creation of Jewish and Christian art, and expands the general understanding of cultural exchange in brand-new ways.
Can cultural exchange be understood as a mutual act of translation? Or are elements of a country’s cultural identity inevitably lost in the act of exchange? Brazil and Great Britain, although unlikely collaborators, have shared an artistic dialogue that can be traced back some 500 years. This publication, arising from the namesake research project funded by the United Kingdom’s Arts and Humanities Research Council, seeks to understand and raise awareness of the present practices of cultural exchange between Brazil and Great Britain in relation to their historical legacy. Presenting five case studies and eight position papers, this research-based project investigates how artists interpret, transmit and circulate ideas, ideologies and forms of knowledge with specific reference to the production of new ‘translations’ produced from and, where possible, between peripheral territories. Written in accessible language, the case studies describe the experience of artists, managers and cultural leaders dealing with important challenges in the creative sector regarding the translation of creative and learning arts methodologies. Projects investigated are at the forefront of social arts collaborative practice, representing internationally influential initiatives that have had a demonstrable impact not only in urban centres and peripheries but also in isolated areas of central Brazil and the north of England. The position papers commissioned by the research from Brazilian and British academics and cultural leaders provide a remarkable variety of social, political, anthropological, historic and artistic perspectives of cultural exchange projects offering valuable experiences for those working in research, policy and for creative practitioners.
Toward the middle of the 1950s, abstract art became a dominant trend in the Latin American cultural scene. Many artists incorporated elements of abstraction into their rigorous artistic vocabularies, while at the same time, the representation of geometric lines and structures filtered into everyday life, appearing in textiles, posters, murals, and landscapes. The translation of a field-changing Spanish-language book, Abstract Crossings analyzes the relationship between, on the one hand, the emergence of abstract proposals in avant-garde groups and, on the other, the institutionalization and newfound hegemony of abstract poetics as part of Latin America’s imaginary of modernization. A profusion of mid-century artistic institutional exchanges between Argentina and Brazil makes a study of the trajectories of abstraction in these two countries particularly valuable. Examining the work of artists such as Max Bill, Lygia Clark, Waldemar Cordeiro, and Tomás Maldonado, author María Amalia García rewrites the artistic history of the period and proposes a novel reading of the cultural dialogue between Argentina and Brazil. This is the first book in the new Studies on Latin American Art series, supported by a gift from the Institute for Studies on Latin American Art.
Traditionally, relations between Europe and Asia have been studied in a hegemonic perspective, with Europe as the dominant political and economic centre. This book focuses on cultural exchange between different European and Asian civilizations, with the r
This is an open access book. The 4th International Conference on Language, Art and Cultural Exchange (ICLACE 2023) will be held on May 19–21, 2023 in Hangzhou, China. Culture includes language, which is a special cultural phenomenon. For culture, most scholars agree that it mainly includes two aspects: material culture and spiritual culture. Specific examples to show cultural phenomena will be of great benefit to our understanding. Some examples of material culture are listed here: Indian women wear saris, Japanese like to eat sashimi, and Chinese like to shake hands when meeting each other. These are various manifestations of material culture in different nations. Language is the mode of transmission of culture. Language is one of the most important ways of thinking and cultural exchange of human beings, which is actually the manifestation of the formation and transmission of culture. Because of thinking, human beings gradually create culture in the continuous social practice, and then spread their national culture to each other in the continuous language exchange. Since ancient times, art and culture have been going hand in hand and complementing each other. On the one hand, art is an important connotation and component of culture, and the progress of art is the driving force of cultural development. On the other hand, culture is the source and content of art, and the prosperity of culture is the key to improve the level of art. On the other hand, culture is the source and content of art, and the prosperity of culture is the key to improving the level of art. Therefore, whether it is culture or art, it is not only a symbol of an era, a representation of people’s life style, but also a guide to the direction of social development. The relationship between language, art and cultural communication is a hot topic for many scholars to study at present. Therefore, an academic conference is set up for authors to discuss related research issues and exchange new ideas, hoping that scholars can burst out more excellent and valuable ideas in this conference. ICLACE 2023 is to bring together innovative academics and industrial experts in the field of Literature, Art and Cultural Exchange research to a common forum. The primary goal of the conference is to provide a platform for scientists, scholars, and engineers from all over the world to present ongoing research activities, fostering the research and business relations and promoting scientific information interchange and cooperation between all the participants.
Table of Contents: Preface. Diane Wolfthal, 'Florentine Bankers, Flemish Friars, and the Patronage of the Portinari Altarpiece'; Michael Rohlmann, 'The Annunciation by Joos Ammann in Genoa: Context, Function and Metapictorial Quality'; Creighton Gilbert, 'Piero and Bouts'; Francis Ames-Lewis, 'Sources and Documents for the Use of the Oil Medium in Fifteenth-Century Italian Painting'; Maria Clelia Galassi, 'Aspects of Antonello da Messina's Technique and Working Method in the 1470s: Between Italian and Flemish Tradition'; Colin Eisler, 'Flying Pictorial Carpets - Tapestries' Transalpine Agendas'; Ingrid D. Rowland, 'Agostino Chigi's Flemish Connection'; Elizabeth Ross, 'Mainz at the Crossroads of Utrecht and Venice: Erhard Reuwich and the Peregrinatio in terram sanctam (1486)'; Ingrid Alexander-Skipnes, 'Northern Realism and Carthusian Devotion: Bergognone's Christ Carrying the Cross for the Certosa of Pavia'; Marina Belozerskaya, 'Critical Mass: Importing Luxury Industries Across the Alps'; Barbara G. Lane, 'Memling's Impact on the Early Raphael'; Laura D. Gelfand, 'Regional Styles and Political Ambitions: Margaret of Austria's Monastic Foundation at Brou'; Yona Pinson, 'Moralized Triumphal Chariots - Metamorphosis of Petrarch's Trionfi in Northern Art (c. 1530- c. 1560)'; Frits Scholten, 'Spiriti veramente divini: Sculptors from the Low Countries in Italy, 1500-1600'; Nello Forti Grazzini, 'Brussels Tapestries for Italian Customers: Cardinal Montalto's Landscape with Animals Made by Jan II Raes and Catherine van den Eynde'. Bibliography. Colour Plates.
At the beginning of the 20th century a lively and profitable exchange developed between artists in the United States and Mexico. The Americans were full of enthusiasm for the Mexican synthesis of history and modernity and their social commitment, which contrasted strongly with the consumer culture in the U.S. The Mexican artists in turn found important financiers across the border. The volume shows through paintings, drawings, photographs and graphical works from the Harry Ransom Center in Austin and other important museums how this intercultural network brought forth a large number of world-famous artists.00Exhibition: Harry Ransom Center at the University of Texas, Austin, United States (11.09.2017-01.01.2018) / Museum of the City of New York, United States (2018).
The European expansion to Asia was driven by the desire for spices and Asian luxury products. Its results, however, exceeded the mere exchange of commodities and precious metals. The meeting of Asia and Europe signaled not only the beginnings of a global market but also a change in taste and lifestyle that influences our lives even today. Manifold kinds of cultural transfers evolved within a market framework that was not just confined to intercontinental and intra-Asiatic trade. In Europe and Asia markets for specific cultural products emerged and the transfers of objects affected domestic arts and craft production. Traditionally, relations between Europe and Asia have been studied in a hegemonic perspective, with Europe as the dominant political and economic centre. Even with respect to cultural exchange, the model of diffusion regarded Europe as the centre, and Asia the recipient, whereby Asian objects in Europe became exotica in the Kunst- und Wunderkammern. Conceptions of Europe and Asia as two monolithic regions emerged in this context. However, with the current process of globalization these constructions and the underlying models of cultural exchange have come under scrutiny. For this reason, the book focuses on cultural exchange between different European and Asian civilizations, whereby the reciprocal complexities of cultural transfers are at the centre of observation. By investigating art markets, workshops and collections in Europe and Asia the contributors exemplify the varieties of cultural exchange. The book examines the changing roles of Asian objects in European material culture and collections and puts a special emphasis on the reception of European visual arts in colonial settlements in Asia as well as in different Asian societies.