“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...
Đã lưu trong:
| Tác giả chính: | |
|---|---|
| Định dạng: | Online |
| Ngôn ngữ: | spa |
| Được phát hành: |
Universidad Diego Portales
2020
|
| Truy cập trực tuyến: | https://www.revista180.udp.cl/index.php/revista180/article/view/764 |
| Các nhãn: |
Thêm thẻ
Không có thẻ, Là người đầu tiên thẻ bản ghi này!
|
| id |
oai:ojs.revista180.cl:article-764 |
|---|---|
| record_format |
ojs |
| spelling |
oai:ojs.revista180.cl:article-7642020-12-29T11:36:23Z “From Manet to our days”: drifts of an anachronistic exhibition "De Manet a nuestros días": derivas de una exposición anacrónica. Bettoni Piddo, Cecilia Art Criticism; Cultural Hegemony; Latin America; Modern Art; School of Paris arte; historiografía América Latina, arte moderno; crítica de arte; escuela de París; hegemonía cultural 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. Entre junio de 1949 y agosto de 1950 circuló por diversos países de América Latina la exposición de pintura francesa contemporánea “De Manet a nuestros días”. La muestra, organizada por el gobierno de Francia, se enmarcaba en un proyecto de recuperación de la hegemonía cultural parisina, posición que había sido hábilmente arrebatada por Nueva York durante la década del cuarenta. Este artículo detalla las complejas gestiones que permitieron la llegada de la exposición al continente americano, así como las premisas estético-políticas que la motivaron, para luego enfocarse en la recepción crítica que la muestra tuvo en algunas de sus locaciones. Siguiendo una metodología comparativa, se propone calibrar el estado de los sistemas de arte regionales hacia 1950, para comprender cuáles fueron los efectos que tuvo la exposición en las discusiones estéticas y teóricas que marcaban entonces la fisonomía de la crítica de arte sudamericana. Universidad Diego Portales Proyecto ANID Fondecyt “De Manet a nuestros días. Derivas latinoamericanas de un proyecto global”, n° 3190130 2020-12-29 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revista180.udp.cl/index.php/revista180/article/view/764 10.32995/rev180.Num-46.(2020).art-764 Revista 180; Núm. 46 (2020) Revista 180; Núm. 46 (2020) 0718-669X 0718-2309 spa https://www.revista180.udp.cl/index.php/revista180/article/view/764/455 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/764/1581 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/764/1582 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/764/1583 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/764/1584 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/764/1585 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/764/1586 Copyright (c) 2020 Revista 180 https://creativecommons.org/licenses/by/4.0 |
| institution |
Universidad Diego Portales |
| collection |
OJS |
| language |
spa |
| format |
Online |
| author |
Bettoni Piddo, Cecilia |
| spellingShingle |
Bettoni Piddo, Cecilia “From Manet to our days”: drifts of an anachronistic exhibition |
| author_facet |
Bettoni Piddo, Cecilia |
| author_sort |
Bettoni Piddo, Cecilia |
| title |
“From Manet to our days”: drifts of an anachronistic exhibition |
| title_short |
“From Manet to our days”: drifts of an anachronistic exhibition |
| title_full |
“From Manet to our days”: drifts of an anachronistic exhibition |
| title_fullStr |
“From Manet to our days”: drifts of an anachronistic exhibition |
| title_full_unstemmed |
“From Manet to our days”: drifts of an anachronistic exhibition |
| title_sort |
“from manet to our days”: drifts of an anachronistic exhibition |
| description |
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. |
| publisher |
Universidad Diego Portales |
| publishDate |
2020 |
| url |
https://www.revista180.udp.cl/index.php/revista180/article/view/764 |
| work_keys_str_mv |
AT bettonipiddocecilia frommanettoourdaysdriftsofananachronisticexhibition AT bettonipiddocecilia demanetanuestrosdiasderivasdeunaexposicionanacronica |
| _version_ |
1709644665917014016 |