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Medieval Art through the Camera Lens: The Photography of Arthur Kingsley Porter and Lucy Wallace Porter
Visual Resources ( IF 0.3 ) Pub Date : 2017-07-18 , DOI: 10.1080/01973762.2017.1349623
Kathryn Brush

The American medievalist Arthur Kingsley Porter (1883–1933), author of such important texts as Romanesque Sculpture of the Pilgrimage Roads (1923) and Spanish Romanesque Sculpture (1928), has long figured in the annals of art history as a ground-breaking scholar-photographer. Critical study of Porter's personal photographic archive and unpublished primary sources shows that this paradigmatic vision requires substantial modification. Lucy Wallace Porter (1876–1962), who became the medievalist's wife in 1912, was the chief photographer of the two from 1919 onwards. She made significant contributions to her husband's scholarship, alone producing more than two-thirds of the photographs published in Romanesque Sculpture of the Pilgrimage Roads, which amounted to over 1500 prints. Our picture of Porter the scholar becomes very different if we realize that he often saw Romanesque sculpture through the eyes of his photographer wife. Moreover, all subsequent users of Porter's landmark publications have perceived Romanesque sculpture through her eyes as well. In addition to examining the holdings, history, and use of Porter's picture library, this article analyzes previously unpublished photographs that afford new vistas onto the couple's lives, imaginations, and camera work. It also explores the fascinating story of Lucy Porter's eye- and mind-training, proposing that she deserves recognition as one of the most influential women photographers in the field of art history during the twentieth century.

中文翻译:

相机镜头下的中世纪艺术:亚瑟·金斯利·波特和露西·华莱士·波特的摄影

美国中世纪主义者亚瑟·金斯利·波特(Arthur Kingsley Porter,1883-1933 年)是《朝圣之路的罗马式雕塑》(1923 年)和西班牙罗马式雕塑(1928 年)等重要著作的作者,长期以来一直是艺术史的开创性学者- 摄影师。对波特个人摄影档案和未发表的主要来源的批判性研究表明,这种范式愿景需要大量修改。露西·华莱士·波特 (Lucy Wallace Porter,1876-1962),1912 年成为这位中世纪主义者的妻子,从 1919 年起担任两人的首席摄影师。她为她丈夫的奖学金做出了重大贡献,仅她一人就制作了出版在《朝圣之路罗马式雕塑》中的三分之二以上的照片,共印制了 1500 多幅。如果我们意识到他经常通过他的摄影师妻子的眼睛看到罗马式雕塑,我们对学者波特的照片就会变得非常不同。此外,波特具有里程碑意义的出版物的所有后续用户也通过她的眼睛感知了罗马式雕塑。除了检查波特图片库的馆藏、历史和使用之外,本文还分析了以前未发表的照片,这些照片为这对夫妇的生活、想象和摄影工作提供了新的视角。它还探讨了露西·波特 (Lucy Porter) 的眼睛和思维训练的迷人故事,认为她是 20 世纪艺术史领域最有影响力的女摄影师之一,值得认可。波特具有里程碑意义的出版物的所有后续用户也通过她的眼睛感知了罗马式雕塑。除了检查波特图片库的馆藏、历史和使用之外,本文还分析了以前未发表的照片,这些照片为这对夫妇的生活、想象和摄影工作提供了新的视角。它还探讨了露西·波特 (Lucy Porter) 的眼睛和思维训练的迷人故事,认为她是 20 世纪艺术史领域最有影响力的女摄影师之一,值得认可。波特具有里程碑意义的出版物的所有后续用户也通过她的眼睛感知了罗马式雕塑。除了检查波特图片库的馆藏、历史和使用之外,本文还分析了以前未发表的照片,这些照片为这对夫妇的生活、想象和摄影工作提供了新的视角。它还探讨了露西·波特 (Lucy Porter) 的眼睛和思维训练的迷人故事,认为她是 20 世纪艺术史领域最有影响力的女摄影师之一,值得认可。本文分析了以前未发表的照片,这些照片为这对夫妇的生活、想象和摄影工作提供了新的视角。它还探讨了露西·波特 (Lucy Porter) 的眼睛和思维训练的迷人故事,认为她是 20 世纪艺术史领域最有影响力的女摄影师之一,值得认可。本文分析了以前未发表的照片,这些照片为这对夫妇的生活、想象和摄影工作提供了新的视角。它还探讨了露西·波特 (Lucy Porter) 的眼睛和思维训练的迷人故事,认为她是 20 世纪艺术史领域最有影响力的女摄影师之一,值得认可。
更新日期:2017-07-18
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