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Critical History of Art Catalogue in Europe

欧洲艺术目录批评史

基本信息

批准号：
12610061
负责人：
SHIMAMOTO Kan
金额：
$ 1.86万
依托单位：
KYOTO SEIKA UNIVERSITY (2002)Tezukayama Gakuin University (2000-2001)
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2000
资助国家：
日本
起止时间：
2000 至 2002
项目状态：
已结题

项目摘要

We witness the birth of an auction catalogue in the seventeenth century with the development of an open art market, and the next century fixes the form of classification and description of catalogue. This form is adopted into the Museum catalogue or the exhibition catalog in modern times.My objective is, surveying a history of the auction catalogue from 18th century to 19th century in France, to analyze it as a discourse of art history. I enumerate some theoretical remarks obtained through my research:1. The basic form fixed in the eighteenth century France stands on an idea of topographical classification of painters and paintings, namely, that of three schools of Italy, Netherlands and France. So, the auction catalogue maps an art world of that time as a history.2. This art history takes a genealogy different from an orthodox history based on Italian painting and history painting. It represents, in a sense, a new art history produced by art market.3. The central part of description of picture is occupied by an explication of image or subject. It means that a reference to the materiality of picture is reduced. So, the picture in the catalogue appears as a visual image rather than a material object.4. In the nineteenth century the description form receives a small change by insertion of plates into the catalogue, that is, by an appearance of illustrated catalogues. It brings a simplification of description. So, the auction catalogue steps toward a kind of index of articles at an auction in the second half of nineteenth century.

我们见证了拍卖目录在十七世纪随着开放的艺术市场的发展而诞生，而下一个世纪则确定了目录的分类和描述形式。本文旨在通过对法国世纪至19世纪世纪拍卖目录的历史考察，将其作为一种艺术史话语进行分析。笔者列举了通过研究得出的一些理论性结论：1.固定在十八世纪法国的基本形式是基于画家和绘画的地形分类的想法，即意大利，荷兰和法国的三个学校。因此，拍卖目录将当时的艺术世界映射为一段历史。这部艺术史采取了一种不同于基于意大利绘画和历史绘画的正统历史的谱系。从某种意义上说，它代表了艺术市场所产生的一种新的艺术史.图画描写的中心部分是对形象或主题的阐释。这意味着减少了对图片重要性的引用。因此，目录中的图片作为视觉图像出现，而不是实物。在世纪，由于在目录中插入了插图，也就是说，由于插图目录的出现，著录形式发生了微小的变化。它简化了描述。因此，拍卖图录在世纪后半叶逐步走向了一种拍卖物品的索引。