Art History Supplement, vol. 3, no. 5, September 2013
Deadline August 15, 2013
Horace, Odes 3.30.1-9
“I have built a monument more enduring than bronze and higher than the pyramids’ regal structure, that neither the biting rain nor the strong north wind can destroy, nor even the numberless passing of the years, nor the flight of ages. I shall not completely die and a large part of me will cheat the goddess of death. Even as the High Priest with the silent Vestal virgin ascends the Capitol, I will shine forth, by praise made new, for all posterity.”
Pseudo-Dionysius the Areopagite, The Divine Names, 704a-704b
“For beauty is the cause of harmony, of sympathy, of community. Beauty unites all things and is the source of all things. […] The Beautiful is therefore the same as Good, for everything looks to the Beautiful and the Good as the same of being, and there is nothing in the world without a share of the Beautiful and the Good.”
Shakespeare, “Sonnet 55”
Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stone besmear’d with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war’s quick fire shall burn
The living record of your memory.
‘Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgment that yourself arise,
You live in this, and dwell in lovers’ eyes.
Gotthold Ephraim Lessing, Laocoön
“I should prefer that only those be called works of art in which the artist had occasion to show himself as such and in which beauty was his first and ultimate aim. None of the others, which betray too obvious traces of religious conventions, deserves this name because in their case the artist did not create for art’s sake [weil die Kunst hier nicht um ihren selbst willen gearbeitet, literally “because here art did not work for its own sake”], but his art was merely a handmaid of religion, which stressed meaning more than beauty in the material subjects it allotted to art for execution.” (1984, pp. 15, 17)
Jacques Prévert, “The great man”
In a stonemason / where I met him / he was taking his measures/ for posterity.
Among many others, the above poetical investigations on the nature of time, beauty and truth have been widely critically discussed by historians of classical, medieval, early modern and modern literature; while these loci have been even more exploited by artists and authors of verse and prose, for instance. But what could we gain from an art historical (perspective –) reading? In addition, a history of “paragone” could be well traced long back in art history time and space. Through historiography or specific case study, aspects of any artistic, personal, scientific, literary, social, economic, visual, cultural, material, among others, art historical paragone will be strongly appreciated for publication in the next issue of Art History Supplement.
Further, another proposed theme, but not limited to, may focus on research on art, on the boundaries between aesthetics or philosophy of art, sociology of art, science of art, theory of art, anthropology of art and history of art or manifestations of art history, which could challenge a holistic approach to art and its history.
For more information, refer to authors’ guidelines.
Note: Contributions to previous Art History Supplement CFPs are accepted anytime, since all our call for papers are mere food for thought; as ongoing research on the study of public and oral art history, and in art histories that have shaped art history, as well. Past CFPs can be found under http://arths.hypotheses.org/category/cfp
More, artists are invited to submit artworks to be featured as cover art. Forward artistic contributions (jpeg or tiff, min. 300 dpi) to email@example.com