Uropean Engravings at The Müller Gallery
A Programmatic Initiative in The 1940S
DOI:
https://doi.org/10.24215/23142502e069Keywords:
art, art exhibitions, art historyAbstract
In the 1940s, the Print Cabinet of the Müller Gallery was an exceptional case in Buenos Aires of art exhibition planning. On the sub ject of large temporary exhibitions of Euro pean art works from various periods inaugu rated in the city around that time, Müller’s project was characterized by the specificity of European engraving in historical perspec tive. Over the course of twelve years, the local public had the opportunity to see gra phic productions from the 15th to the 20th centuries in this space. Based on the study of this exhibition plan, we set out to analyze the discursive construction of the institution and its relationship with contemporary His tory of Art notions.Downloads
References
Chartier, R. (1990). La historia cultural redefinida: práctica, representaciones, apropiaciones. Punto de Vista, (39), 43-48.
Dibujos y grabados. (16 de mayo de 1920). La Nación.
Dolinko, S. (2016). Lecturas sobre el grabado en la Argentina a mediados del siglo XX. Cuadernos del Centro de Estudios de Diseño y Comunicación, (60), 31-48.
Edwards, S. (1999). Art and its Histories [El arte y sus historias]. Yale University Press.
El aguafuerte. Los maestros holandeses del siglo XVII. (1942b) [Catálogo]. Galería Müller.
El grabado en madera. Los maestros alemanes del siglo XVI. (1942a) [Catálogo]. Galería Müller.
Gracia, C. (2005). El mito de la historia del arte. Ars Longa: Cuadernos de Arte, (14-15), 255-264.
Hasan, O. (2010). El mito del progreso artístico. Estudio crítico de un concepto fundador del discurso sobre el arte desde el Renacimiento. Akal.
Haskell, F. (2002). El museo efímero. Los maestros antiguos y el auge de las exposiciones artísticas. Crítica.
Müller, F. (1940a). Pro Domo. En Exposición de aguafuertes de Rembrandt. [Catálogo] Galería Müller.
Müller, F. (1940b). El grabado original. En Exposición de grabados de Dürer. [Catálogo] Galería Müller.
Preziosi, D. (2009). The Art of Art History: A Critical Anthology [El arte de la historia del arte: una antología crítica]. Oxford University Press.
Rodríguez Viñuales, R. (1999). Salones y marchantes de arte en la Argentina. Archivo Español de Arte, 72 (286), 159-170.
Salón Müller. (16 de julio de 1915). La Nación.
Verhoogt, R. (2007). Art in Reproduction. Nineteenth-Century Prints after Lawrence Alma-Tadema, Joseph Israels and Ary Scheffer [Arte en reproducción. Grabados del siglo XIX según Lawrence Alma-Tadema, Joseph Israels y Ary Scheffer]. Amsterdam University Press.
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
According to these terms, the material can be copied and redistributed by any means or in any format as long as a) the author and original source of the publication are quoted (magazine and URL of the work), access to the license is provided and whether changes have been made is mentioned; and b) the material is not used for commercial purposes.
The cession of non-exclusive rights means that after the publication (post print) in Boletín de Arte the authors can publish their work in any language, means and format; in such cases it must be mentioned that the material was originally published in this magazine.
Such cession also means the authorization of the authors for the work to be collected by SEDICI, the institutional archive of the National University of La Plata, and to be spread in the databases that the editorial team considers appropriate to increase the visibility of the publication and its authors.
Moreover, the magazine encourages the authors to deposit their productions in other institutional and thematic archives under the principle that offering the society the scientific and academic production without any restrictions contributes to a greater exchange of the global knowledge.
