Historiography and Negativity in the Paintings of Chaïm Soutine
Abstract This article addresses the theoretical dimensions of the consolidation of identity and formal expression in the historiography of the painter Chaïm Soutine (1893–1943), including the central place of his Jewish identity in it. It contends that the anormative historical archive related to So...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
2018
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| In: |
Images
Year: 2018, Volume: 11, Issue: 1, Pages: 117-140 |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a Abstract This article addresses the theoretical dimensions of the consolidation of identity and formal expression in the historiography of the painter Chaïm Soutine (1893–1943), including the central place of his Jewish identity in it. It contends that the anormative historical archive related to Soutine and the centrality of the expressive object in the criticism on him have obscured his historiographical significance in favor of a synchronic singularity. Portraits of and by Soutine and his contemporaries will be used to offer alternative approaches to the interpretation of the artist and his paintings. | ||
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