“From Manet to our days”: drifts of an anachronistic exhibition
Between June 1949 and August 1950, the exhibition of contemporary French painting From Manet to our days toured several Latin American countries. The exhibition, organized by the French government, was part of a project to recover the Parisian cultural hegemony, a position that had been skillfully s...
محفوظ في:
| المؤلف الرئيسي: | |
|---|---|
| التنسيق: | Online |
| اللغة: | spa |
| منشور في: |
Universidad Diego Portales
2020
|
| الوصول للمادة أونلاين: | https://www.revista180.udp.cl/index.php/revista180/article/view/764 |
| الوسوم: |
إضافة وسم
لا توجد وسوم, كن أول من يضع وسما على هذه التسجيلة!
|
| الملخص: | Between June 1949 and August 1950, the exhibition of contemporary French painting From Manet to our days toured several Latin American countries. The exhibition, organized by the French government, was part of a project to recover the Parisian cultural hegemony, a position that had been skillfully snatched away by New York during the 1940s. This article details the complex efforts that allowed the arrival of the exhibition to the American continent, as well as the aesthetic-political premises that motivated it, and then focuses on the critical reception it had on some of the locations. Following a comparative methodology, we propose to calibrate the state of the regional art systems towards 1950, to understand the effects that the exhibition had on the aesthetic and theoretical discussions that outlined the physiognomy of South American art criticism. |
|---|