Celebrated connoisseur, drawings collector, print dealer, book publisher and authority on the art of antiquity, Pierre-Jean Mariette (1694–1774) was a pivotal figure in the eighteenth-century European art world. Focusing on the trajectory of Mariette’s career, this book examines the material practices and networks through which connoisseurs forged the idea of art as an object of empirical and historical analysis. Drawing on unpublished archival material as well as on histories of science, publishing and collecting, this book shows how Mariette and his colleagues’ interpretations of graphic arts gave rise to new conceptions of artistic authorship.
While European eclecticism is examined as a critical moment in western art history, little research has been conducted in the historicist pursuits of late Ottoman architects as they negotiated the nineteenth century’s vast inventory of styles and embarked on a revivalist/Orientalist program they identified as the ‘Ottoman Renaissance.’ Ersoy’s book examines the complex historicist discourse underlying this ‘renaissance’ through a close reading of a text conceived as the movement’s canonizing manifesto: the Usul-i Mi‘mari-i ‘Osmani.
This volume introduces the Latvian artist and champion of artistic change in early twentieth-century Russia, Voldemārs Matvejs (Vladimir Markov), as a pioneering art photographer and assembles for the first time five of his most important essays. This book challenges hardening narratives of primitivism by reexamining the enthusiasm for world art in the early modern period from the perspective of Russia rather than Western Europe. The book will appeal to students of modernism, orientalism, ‘primitivism,’ historiography, African art, and the history of the photography of sculpture.
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