Technologies of the image : art in 19th-century Iran
Bibliographie
- Auteurs : Roxburgh David J. ; McWilliams Mary ; Emami Farshid ; Schwerda Mira Xenia ; Harvard university art museums ;
- Editeurs : Cambridge, Mass. Harvard Art Museums ;
- Date d'édition : [2017]
- ISBN : 978-1-891771-73-6, 1-891771-73-6, 978-0-300-22919-6, 0-300-22919-4
- Sujets : Art -- Catalogues d'exposition -- Iran 19e siècle, Art islamique, Art qajar, Laques (arts décoratifs), Photographie, Lithographie, Peinture, Iran
- Comprend : Technologies of the image, Technologies of the image
- Langue(s) : Anglais
- Description matérielle : 1 vol. (XVIII, 173 p.), : Ill. en noir et en coul., couv. ill. en noir et en coul., 29 cm
- Pays de publication : États-Unis
Notes
Ce catalogue accompagne l'exposition 'Technologies of the image: art in 19th-century Iran', présentée au Harvard Art Museums, Cambridge (Massachusetts), du 26 août 2017 au 7 janvier 2018 ; Notes bibliogr. Bibliogr. p. 159-165. Index
Résumé
With a few notable exceptions, scholars have historically understudied and often underappreciated the art of Iran in the Qajar era (1779-1925). This catalogue presents a fresh take on the art of the period, setting aside the value judgments that shaped early responses to instead examine the effects and results of new technologies of representation across a variety of mediums. The book foregrounds the inherent relationship and movement among mediums and images, both traditional and new, while deflecting primary attention from royal patronage to more public and widely accessible forms of image-making. In bringing together four principal art forms--lacquer, painting and drawing on paper, lithography, and photography--the authors explore the separate and intertwined histories of these mediums, their contexts of production, and their means of dissemination across sectors of society ranging from the courtly elite to the citizenry at large. The book considers how the breadth of mediums and subject matters evidenced by these objects could be matched only by the diverse formats through which images were embodied and circulated in the world. Indeed, unlike their European contemporaries, Qajar artists and patrons were not concerned about systems of image duplication and translation--a key aspect this book takes up in its effort to approach Qajar art on its own terms, not as a lesser manifestation of Western ideals - Site internet de l'éditeur