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if ($a.is_logged_in() && $viewedUser.is_current_user()) { $('body').addClass('profile-viewed-by-owner'); } $socialProfiles = [{"id":21604013,"link":"http:// http://www.kunstwetenschappen.ugent.be/personeel?departmentnumber=lw17\u0026ugentid=802000601436","name":"UGent","link_domain":null,"icon":"//www.google.com/s2/u/0/favicons?domain="},{"id":26729015,"link":"http://research.flw.ugent.be/en/this","name":"ThIS","link_domain":"research.flw.ugent.be","icon":"//www.google.com/s2/u/0/favicons?domain=research.flw.ugent.be"},{"id":51009381,"link":"https://www.historischinterieurendesign.ugent.be/","name":"Studiedag Historisch Interieur en Design","link_domain":"www.historischinterieurendesign.ugent.be","icon":"//www.google.com/s2/u/0/favicons?domain=www.historischinterieurendesign.ugent.be"}]</script><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://ugent.academia.edu/MarjanSterckx","location":"/MarjanSterckx","scheme":"https","host":"ugent.academia.edu","port":null,"pathname":"/MarjanSterckx","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="ProfileCheckPaperUpdate" data-props="{}" data-trace="false" data-dom-id="ProfileCheckPaperUpdate-react-component-fc8e5b79-2e3d-4ed5-a8c3-45c7f2a9529f"></div> <div id="ProfileCheckPaperUpdate-react-component-fc8e5b79-2e3d-4ed5-a8c3-45c7f2a9529f"></div> <div class="DesignSystem"><div class="onsite-ping" id="onsite-ping"></div></div><div class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Marjan Sterckx" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/17200712/4750548/89794507/s200_marjan.sterckx.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Marjan Sterckx</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://ugent.academia.edu/">Ghent University</a>, <a class="u-tcGrayDarker" href="https://ugent.academia.edu/Departments/Art_History/Documents">Art History</a>, <span class="u-tcGrayDarker">Faculty Member</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Marjan" data-follow-user-id="17200712" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="17200712"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">366</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">251</p></div></a><a><div class="stat-container js-profile-coauthors" data-broccoli-component="user-info.coauthors-count" data-click-track="profile-expand-user-info-coauthors"><p class="label">Co-authors</p><p class="data">13</p></div></a><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">Marjan Sterckx is associate professor in the Art History department at Ghent University, where she is responsible for the courses on the fine arts of the long nineteenth century and on the history of interior design. She heads the UGent-VUB research group The Inside Story: Art, Interior & architecture 1750-1950 (ThIS), that she launched in 2016. Her own research is also situated in this field, with a focus on the intersections between art, space and gender. http://research.flw.ugent.be/en/this <br />Articles not available for download can be obtained on request.<br /><b>Address: </b>Leuven, Belgium<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="17200712">View All (20)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="17200712" href="https://www.academia.edu/Documents/in/Nineteenth-century_Art"><div id="js-react-on-rails-context" style="display:none" 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Sculpture"]}" data-trace="false" data-dom-id="Pill-react-component-39d5ef79-abbc-433b-9249-b50f4b9f42be"></div> <div id="Pill-react-component-39d5ef79-abbc-433b-9249-b50f4b9f42be"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="17200712" href="https://www.academia.edu/Documents/in/History_of_Sculpture"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["History of Sculpture"]}" data-trace="false" data-dom-id="Pill-react-component-cb48bfe9-49e8-46f3-8cbe-1d8696fd9ac0"></div> <div id="Pill-react-component-cb48bfe9-49e8-46f3-8cbe-1d8696fd9ac0"></div> </a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="profile-profiles js-social-profiles-container"><i class="fa fa-spin fa-spinner"></i></li></ul></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div 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Books & journals</span></a></li><li class="nav-chip more-tab" role="presentation"><a class="js-profile-documents-more-tab link-unstyled u-textTruncate" data-toggle="dropdown" role="tab">More  <i class="fa fa-chevron-down"></i></a><ul class="js-profile-documents-more-dropdown dropdown-menu dropdown-menu-right profile-documents-more-dropdown" role="menu"><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Lemmata-&-Miscellaneous" data-toggle="tab" href="#lemmatamiscellaneous" role="tab" style="border: none;"><span>10</span> Lemmata & Miscellaneous</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="CFP-Conferences-Exhibitions-(co-)organised" data-toggle="tab" href="#cfpconferencesexhibitionscoorganised" role="tab" style="border: none;"><span>33</span> CFP/ Conferences/ Exhibitions (co-)organised</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" style="border: none;"><span>1</span> Papers</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Books" data-toggle="tab" href="#books" role="tab" style="border: none;"><span>1</span> Books</a></li></ul></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Articles" id="Articles"><h3 class="profile--tab_heading_container">Articles by Marjan Sterckx</h3></div><div class="js-work-strip profile--work_container" data-work-id="88895413"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/88895413/Sterckx_M_The_interior_as_a_witness_Interwar_interiors_in_Flanders_captured_by_forensic_files_Journal_of_Interior_Design_47_4_2022_1_19"><img alt="Research paper thumbnail of Sterckx, M., ‘The interior as a witness. Interwar interiors in Flanders captured by forensic files,’ Journal of Interior Design, 47:4 (2022): 1-19." class="work-thumbnail" src="https://attachments.academia-assets.com/93166632/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/88895413/Sterckx_M_The_interior_as_a_witness_Interwar_interiors_in_Flanders_captured_by_forensic_files_Journal_of_Interior_Design_47_4_2022_1_19">Sterckx, M., ‘The interior as a witness. Interwar interiors in Flanders captured by forensic files,’ Journal of Interior Design, 47:4 (2022): 1-19.</a></div><div class="wp-workCard_item"><span>Journal of Interior Design</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The common resources for studying historic homes offer staged and idealized representations of in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The common resources for studying historic homes offer staged and idealized representations of interiors which reveal little about how these spaces were inhabited and by whom. With a rather limited scope of sources available for reliable images of “real,” vernacular home environments, I advocate for the use of forensic photography and files in interior design historical research to broaden our image and understanding of such modes of living. As a case study, I examine, by close inspection and visual analysis, 40 crime cases from the Belgian provinces of Antwerp and East-Flanders, recorded between 1929 and 1937, containing interior photographs, floor plans, and judicial reports. The sample spans different social strata and building types, living circumstances, and locations—urban, suburban, and rural, demonstrating how many of the people in that era lived in old(er) houses, deprived of the newest sanitary, heating, and lighting amenities. It attests to the passing down over generations of rugs, furniture, utensils and decorative objects, and the randomness of their presence, with traces of gradual modernization, from washing machines to radios, club seats, and fashionable wallpapers. Forensic photographs offer a nonstaged representation of reality. 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The sample spans different social strata and building types, living circumstances, and locations—urban, suburban, and rural, demonstrating how many of the people in that era lived in old(er) houses, deprived of the newest sanitary, heating, and lighting amenities. It attests to the passing down over generations of rugs, furniture, utensils and decorative objects, and the randomness of their presence, with traces of gradual modernization, from washing machines to radios, club seats, and fashionable wallpapers. Forensic photographs offer a nonstaged representation of reality. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="89688629"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/89688629/Ulrike_M%C3%BCller_and_Marjan_Sterckx_In_the_Picture_The_Emergence_of_the_Female_Amateur_in_Fin_de_Si%C3%A8cle_Exhibition_Posters_in_Brussels_Nineteenth_Century_Art_Worldwide_21_no_3_Autumn_2022_24_55"><img alt="Research paper thumbnail of Ulrike Müller and Marjan Sterckx, “In the Picture: The Emergence of the Female Amateur in Fin-de-Siècle Exhibition Posters in Brussels,” Nineteenth-Century Art Worldwide 21, no. 3 (Autumn 2022), 24-55." class="work-thumbnail" src="https://attachments.academia-assets.com/93440458/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/89688629/Ulrike_M%C3%BCller_and_Marjan_Sterckx_In_the_Picture_The_Emergence_of_the_Female_Amateur_in_Fin_de_Si%C3%A8cle_Exhibition_Posters_in_Brussels_Nineteenth_Century_Art_Worldwide_21_no_3_Autumn_2022_24_55">Ulrike Müller and Marjan Sterckx, “In the Picture: The Emergence of the Female Amateur in Fin-de-Siècle Exhibition Posters in Brussels,” Nineteenth-Century Art Worldwide 21, no. 3 (Autumn 2022), 24-55.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://antwerp.academia.edu/UlrikeM%C3%BCller">Ulrike Müller</a></span></div><div class="wp-workCard_item"><span>NCAW</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Belgian art nouveau posters, created around 1900 to advertise modern art exhibitions, reveal a ne...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Belgian art nouveau posters, created around 1900 to advertise modern art exhibitions, reveal a new iconography that represents modern women intensely engaged with works of fine and decorative art. In addressing how these posters picture this new type of female amateur as a fashionable, discerning, highly involved, and at times even provocative femme nouvelle (new woman), this article discusses how the posters not only advertised certain avant-garde art exhibitions as sites of aesthetic experience and distinction but also reflected, foregrounded, and encouraged women's increased participation in the vibrant cultural scene of fin-de-siècle Brussels.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6bbeb7f21e5fc80e3a7e8ab7404a3b48" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":93440458,"asset_id":89688629,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/93440458/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="89688629"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89688629"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89688629; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=89688629]").text(description); $(".js-view-count[data-work-id=89688629]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 89688629; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='89688629']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 89688629, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6bbeb7f21e5fc80e3a7e8ab7404a3b48" } } $('.js-work-strip[data-work-id=89688629]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":89688629,"title":"Ulrike Müller and Marjan Sterckx, “In the Picture: The Emergence of the Female Amateur in Fin-de-Siècle Exhibition Posters in Brussels,” Nineteenth-Century Art Worldwide 21, no. 3 (Autumn 2022), 24-55.","translated_title":"","metadata":{"doi":"10.29411/ncaw.2022.21.3.3","abstract":"Belgian art nouveau posters, created around 1900 to advertise modern art exhibitions, reveal a new iconography that represents modern women intensely engaged with works of fine and decorative art. 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In addressing how these posters picture this new type of female amateur as a fashionable, discerning, highly involved, and at times even provocative femme nouvelle (new woman), this article discusses how the posters not only advertised certain avant-garde art exhibitions as sites of aesthetic experience and distinction but also reflected, foregrounded, and encouraged women's increased participation in the vibrant cultural scene of fin-de-siècle Brussels.","internal_url":"https://www.academia.edu/89688629/Ulrike_M%C3%BCller_and_Marjan_Sterckx_In_the_Picture_The_Emergence_of_the_Female_Amateur_in_Fin_de_Si%C3%A8cle_Exhibition_Posters_in_Brussels_Nineteenth_Century_Art_Worldwide_21_no_3_Autumn_2022_24_55","translated_internal_url":"","created_at":"2022-11-01T03:49:28.000-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":17200712,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[{"id":38999326,"work_id":89688629,"tagging_user_id":17200712,"tagged_user_id":33672850,"co_author_invite_id":null,"email":"u***e@gmail.com","affiliation":"University of Antwerp","display_order":1,"name":"Ulrike Müller","title":"Ulrike Müller and Marjan Sterckx, “In the Picture: The Emergence of the Female Amateur in Fin-de-Siècle Exhibition Posters in Brussels,” Nineteenth-Century Art Worldwide 21, no. 3 (Autumn 2022), 24-55."}],"downloadable_attachments":[{"id":93440458,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/93440458/thumbnails/1.jpg","file_name":"NCAW_2022_Muller_Sterckx_FemaleAmateur.pdf","download_url":"https://www.academia.edu/attachments/93440458/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Ulrike_Muller_and_Marjan_Sterckx_In_the.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/93440458/NCAW_2022_Muller_Sterckx_FemaleAmateur-libre.pdf?1667302354=\u0026response-content-disposition=attachment%3B+filename%3DUlrike_Muller_and_Marjan_Sterckx_In_the.pdf\u0026Expires=1732508798\u0026Signature=Umi9Xmk--f9YJeN3YBJ5VXlAKP9mxSqVL~C3s5cA8acKWFM-oQE-WODqJhbKbg3bWmfNO2zW3kPew9qxw8qy6i0iFzhnFd1IWU8AFD6vwjrdceMF~tpZ~38-zG6hRspvDPGhIFHfpdvBKhMoELAjWaTKv3359XYlMXhCyCdWh3cr-ivM87-t9CoZPmrn8pp3MXX2gaSOb4dpFRoDWF-EwYVxxcmAB-bhYsWSWyravb20q627O2Ee1i1J5ezsq9JukmrHPHvwI~RSwE4W5w8QNhwNPIqWXa7JKlo~5AH-uyuKaYlVsobwxqfW7rdLYm7SRciewV54ANIXK7eleNw1Yw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Ulrike_Müller_and_Marjan_Sterckx_In_the_Picture_The_Emergence_of_the_Female_Amateur_in_Fin_de_Siècle_Exhibition_Posters_in_Brussels_Nineteenth_Century_Art_Worldwide_21_no_3_Autumn_2022_24_55","translated_slug":"","page_count":59,"language":"en","content_type":"Work","owner":{"id":17200712,"first_name":"Marjan","middle_initials":null,"last_name":"Sterckx","page_name":"MarjanSterckx","domain_name":"ugent","created_at":"2014-09-23T07:03:13.724-07:00","display_name":"Marjan Sterckx","url":"https://ugent.academia.edu/MarjanSterckx"},"attachments":[{"id":93440458,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/93440458/thumbnails/1.jpg","file_name":"NCAW_2022_Muller_Sterckx_FemaleAmateur.pdf","download_url":"https://www.academia.edu/attachments/93440458/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Ulrike_Muller_and_Marjan_Sterckx_In_the.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/93440458/NCAW_2022_Muller_Sterckx_FemaleAmateur-libre.pdf?1667302354=\u0026response-content-disposition=attachment%3B+filename%3DUlrike_Muller_and_Marjan_Sterckx_In_the.pdf\u0026Expires=1732508798\u0026Signature=Umi9Xmk--f9YJeN3YBJ5VXlAKP9mxSqVL~C3s5cA8acKWFM-oQE-WODqJhbKbg3bWmfNO2zW3kPew9qxw8qy6i0iFzhnFd1IWU8AFD6vwjrdceMF~tpZ~38-zG6hRspvDPGhIFHfpdvBKhMoELAjWaTKv3359XYlMXhCyCdWh3cr-ivM87-t9CoZPmrn8pp3MXX2gaSOb4dpFRoDWF-EwYVxxcmAB-bhYsWSWyravb20q627O2Ee1i1J5ezsq9JukmrHPHvwI~RSwE4W5w8QNhwNPIqWXa7JKlo~5AH-uyuKaYlVsobwxqfW7rdLYm7SRciewV54ANIXK7eleNw1Yw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":5082,"name":"Poster Design","url":"https://www.academia.edu/Documents/in/Poster_Design"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":9644,"name":"Women in Art","url":"https://www.academia.edu/Documents/in/Women_in_Art"},{"id":30726,"name":"Art Nouveau","url":"https://www.academia.edu/Documents/in/Art_Nouveau"},{"id":40862,"name":"Belgium","url":"https://www.academia.edu/Documents/in/Belgium"},{"id":72177,"name":"Belle Epoque","url":"https://www.academia.edu/Documents/in/Belle_Epoque"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="91572111"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/91572111/_Het_caf%C3%A9_als_plaats_delict_Caf%C3%A9interieurs_in_Oost_Vlaanderen_bekeken_aan_de_hand_van_assisenzaken_1932_37_Tijdschrift_voor_Interieurgeschiedenis_en_Design_vol_44_2022_121_147"><img alt="Research paper thumbnail of ‘Het café als plaats delict. Caféinterieurs in Oost-Vlaanderen bekeken aan de hand van assisenzaken (1932-37)’, Tijdschrift voor Interieurgeschiedenis en Design, vol. 44, 2022, 121-147." class="work-thumbnail" src="https://attachments.academia-assets.com/97950629/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/91572111/_Het_caf%C3%A9_als_plaats_delict_Caf%C3%A9interieurs_in_Oost_Vlaanderen_bekeken_aan_de_hand_van_assisenzaken_1932_37_Tijdschrift_voor_Interieurgeschiedenis_en_Design_vol_44_2022_121_147">‘Het café als plaats delict. Caféinterieurs in Oost-Vlaanderen bekeken aan de hand van assisenzaken (1932-37)’, Tijdschrift voor Interieurgeschiedenis en Design, vol. 44, 2022, 121-147.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article offers an impetus to the study of pub interiors in (East) Flanders during the interw...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article offers an impetus to the study of pub interiors in (East) Flanders during the interwar period through the approach of assize files, in particular through a close reading of the interior photographs and floor plans contained therein. Despite the morbid character of this unusual type of source, it offers a rare insight into the use of space, utilities, interior decoration and loose furnishings for a diversity of ‘ordinary’ pubs in (East) Flanders. The case study can thus illuminate the potential of court records for such and similar historical interior research. Despite the small sample of ten cafés in East Flanders, mapped and pictured in the 1930s, some initial conclusions can be drawn. The small to medium-sized pubs studied were predominantly housed in corner buildings or terraced houses, designed or adapted for that function. They were closely interconnected with the private rooms of the pub tenants, who used the same entrance, kitchen, corridor and toilet – the latter always accessible via the courtyard. With the exception of a newly built café, most of the buildings were older. Hand pumps and coal stoves suggest that connections to running water and gas were not available everywhere. Electricity was available and white-glass art deco lampshades were evidently popular in cafés. Without exception, there were tiled floors, from plain grey to colourful imitation mosaic tiles. The partitioned and wallpapered walls were colourful, quite daring and predominantly dark, especially with dark wood panelling in which benches were often incorporated – an older custom that was not renounced even by modernists in the 1930s. Narrow, rectangular, dark-wood tables without tablecloths lined the walls. The surrounding chairs offer a nice sample of various types of chairs for cafés, mostly of Belgian manufacture, including many models in bent wood. These were still recommended for modernist cafés in the 1930s. A sitting area with wicker chairs around a barrel table also proved popular. The invariably dark wooden bars were frequently equipped with a tap, railing and glass cabinet, and behind them were wall shelves, mirrors, enamelled advertising boards, framed photographs and posters. Entertainment was provided by pool tables, an early pinball, playing cards and musical instruments. The photos emphasise the continuity of the brown pubs, which have a long tradition in Belgium, but also contain ‘modern’ elements that made them pleasant places to be.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="24613494ad57c00a419e46e5f3ae9e73" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":97950629,"asset_id":91572111,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/97950629/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="91572111"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="91572111"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 91572111; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=91572111]").text(description); $(".js-view-count[data-work-id=91572111]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 91572111; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='91572111']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 91572111, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "24613494ad57c00a419e46e5f3ae9e73" } } $('.js-work-strip[data-work-id=91572111]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":91572111,"title":"‘Het café als plaats delict. Caféinterieurs in Oost-Vlaanderen bekeken aan de hand van assisenzaken (1932-37)’, Tijdschrift voor Interieurgeschiedenis en Design, vol. 44, 2022, 121-147.","translated_title":"","metadata":{"doi":"10.2143/GBI.44.0.3291080","abstract":"This article offers an impetus to the study of pub interiors in (East) Flanders during the interwar period through the approach of assize files, in particular through a close reading of the interior photographs and floor plans contained therein. Despite the morbid character of this unusual type of source, it offers a rare insight into the use of space, utilities, interior decoration and loose furnishings for a diversity of ‘ordinary’ pubs in (East) Flanders. The case study can thus illuminate the potential of court records for such and similar historical interior research. Despite the small sample of ten cafés in East Flanders, mapped and pictured in the 1930s, some initial conclusions can be drawn. The small to medium-sized pubs studied were predominantly housed in corner buildings or terraced houses, designed or adapted for that function. They were closely interconnected with the private rooms of the pub tenants, who used the same entrance, kitchen, corridor and toilet – the latter always accessible via the courtyard. With the exception of a newly built café, most of the buildings were older. Hand pumps and coal stoves suggest that connections to running water and gas were not available everywhere. Electricity was available and white-glass art deco lampshades were evidently popular in cafés. Without exception, there were tiled floors, from plain grey to colourful imitation mosaic tiles. The partitioned and wallpapered walls were colourful, quite daring and predominantly dark, especially with dark wood panelling in which benches were often incorporated – an older custom that was not renounced even by modernists in the 1930s. Narrow, rectangular, dark-wood tables without tablecloths lined the walls. The surrounding chairs offer a nice sample of various types of chairs for cafés, mostly of Belgian manufacture, including many models in bent wood. These were still recommended for modernist cafés in the 1930s. A sitting area with wicker chairs around a barrel table also proved popular. The invariably dark wooden bars were frequently equipped with a tap, railing and glass cabinet, and behind them were wall shelves, mirrors, enamelled advertising boards, framed photographs and posters. Entertainment was provided by pool tables, an early pinball, playing cards and musical instruments. The photos emphasise the continuity of the brown pubs, which have a long tradition in Belgium, but also contain ‘modern’ elements that made them pleasant places to be. 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They were closely interconnected with the private rooms of the pub tenants, who used the same entrance, kitchen, corridor and toilet – the latter always accessible via the courtyard. With the exception of a newly built café, most of the buildings were older. Hand pumps and coal stoves suggest that connections to running water and gas were not available everywhere. Electricity was available and white-glass art deco lampshades were evidently popular in cafés. Without exception, there were tiled floors, from plain grey to colourful imitation mosaic tiles. The partitioned and wallpapered walls were colourful, quite daring and predominantly dark, especially with dark wood panelling in which benches were often incorporated – an older custom that was not renounced even by modernists in the 1930s. Narrow, rectangular, dark-wood tables without tablecloths lined the walls. The surrounding chairs offer a nice sample of various types of chairs for cafés, mostly of Belgian manufacture, including many models in bent wood. These were still recommended for modernist cafés in the 1930s. A sitting area with wicker chairs around a barrel table also proved popular. The invariably dark wooden bars were frequently equipped with a tap, railing and glass cabinet, and behind them were wall shelves, mirrors, enamelled advertising boards, framed photographs and posters. Entertainment was provided by pool tables, an early pinball, playing cards and musical instruments. The photos emphasise the continuity of the brown pubs, which have a long tradition in Belgium, but also contain ‘modern’ elements that made them pleasant places to be. 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Van Santvoort & M. Sterckx, ‘Inside sculptors’ studios in belle époque Brussels: an interior architectural view’, Sculpture Journal, 29:2, 2020, pp. 191-213." class="work-thumbnail" src="https://attachments.academia-assets.com/64110044/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43793904/L_Van_Santvoort_and_M_Sterckx_Inside_sculptors_studios_in_belle_%C3%A9poque_Brussels_an_interior_architectural_view_Sculpture_Journal_29_2_2020_pp_191_213">L. Van Santvoort & M. Sterckx, ‘Inside sculptors’ studios in belle époque Brussels: an interior architectural view’, Sculpture Journal, 29:2, 2020, pp. 191-213.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Recent international exhibitions and publications on artists’ studios have relied heavily on visu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Recent international exhibitions and publications on artists’ studios have relied heavily on visual sources such as photographs, prints and paintings. Approaching the subject from an architectural and interior design perspective using construction plans for studio buildings – in particular, ground plans and sections – we can situate the studio space more broadly within the building and the plot on which it stands. This in turn offers a better understanding of specific studio practice and of the dialectical relationship between living and working, making and showing. We examine purpose-built sculptors’ studios in belle époque Brussels. Based on a substantial sample of construction plans, a five-point typology is developed. Case studies are then used to determine the respects in which sculptors’ studios differ in architectural terms from painters’ studios and how they express contemporary ideas about sculptural practice. Despite their administrative and technical character – or possibly because of it – the plans of Brussels sculptors’ studios, which are drawn out down to the smallest space, provide us with an alternative, almost intimate insight into the life and work of nineteenth-century Belgian sculptors.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="61998da15705c713ce9891a90a186e00" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64110044,"asset_id":43793904,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64110044/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43793904"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43793904"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43793904; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43793904]").text(description); $(".js-view-count[data-work-id=43793904]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43793904; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43793904']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 43793904, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "61998da15705c713ce9891a90a186e00" } } $('.js-work-strip[data-work-id=43793904]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43793904,"title":"L. Van Santvoort \u0026 M. Sterckx, ‘Inside sculptors’ studios in belle époque Brussels: an interior architectural view’, Sculpture Journal, 29:2, 2020, pp. 191-213.","translated_title":"","metadata":{"doi":"10.3828/sj.2020.29.2.5","issue":"2","volume":"29","abstract":"Recent international exhibitions and publications on artists’ studios have relied heavily on visual sources such as photographs, prints and paintings. Approaching the subject from an architectural and interior design perspective using construction plans for studio buildings – in particular, ground plans and sections – we can situate the studio space more broadly within the building and the plot on which it stands. This in turn offers a better understanding of specific studio practice and of the dialectical relationship between living and working, making and showing. We examine purpose-built sculptors’ studios in belle époque Brussels. Based on a substantial sample of construction plans, a five-point typology is developed. Case studies are then used to determine the respects in which sculptors’ studios differ in architectural terms from painters’ studios and how they express contemporary ideas about sculptural practice. Despite their administrative and technical character – or possibly because of it – the plans of Brussels sculptors’ studios, which are drawn out down to the smallest space, provide us with an alternative, almost intimate insight into the life and work of nineteenth-century Belgian sculptors.","page_numbers":"191-213","publication_date":{"day":null,"month":null,"year":2020,"errors":{}}},"translated_abstract":"Recent international exhibitions and publications on artists’ studios have relied heavily on visual sources such as photographs, prints and paintings. Approaching the subject from an architectural and interior design perspective using construction plans for studio buildings – in particular, ground plans and sections – we can situate the studio space more broadly within the building and the plot on which it stands. This in turn offers a better understanding of specific studio practice and of the dialectical relationship between living and working, making and showing. We examine purpose-built sculptors’ studios in belle époque Brussels. Based on a substantial sample of construction plans, a five-point typology is developed. Case studies are then used to determine the respects in which sculptors’ studios differ in architectural terms from painters’ studios and how they express contemporary ideas about sculptural practice. Despite their administrative and technical character – or possibly because of it – the plans of Brussels sculptors’ studios, which are drawn out down to the smallest space, provide us with an alternative, almost intimate insight into the life and work of nineteenth-century Belgian sculptors.","internal_url":"https://www.academia.edu/43793904/L_Van_Santvoort_and_M_Sterckx_Inside_sculptors_studios_in_belle_%C3%A9poque_Brussels_an_interior_architectural_view_Sculpture_Journal_29_2_2020_pp_191_213","translated_internal_url":"","created_at":"2020-08-06T02:36:03.020-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":17200712,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[{"id":35480946,"work_id":43793904,"tagging_user_id":17200712,"tagged_user_id":null,"co_author_invite_id":3171825,"email":"l***t@ugent.be","display_order":0,"name":"Linda Van Santvoort","title":"L. Van Santvoort \u0026 M. Sterckx, ‘Inside sculptors’ studios in belle époque Brussels: an interior architectural view’, Sculpture Journal, 29:2, 2020, pp. 191-213."}],"downloadable_attachments":[{"id":64110044,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/64110044/thumbnails/1.jpg","file_name":"SJ_2020_im.pdf","download_url":"https://www.academia.edu/attachments/64110044/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"L_Van_Santvoort_and_M_Sterckx_Inside_scu.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/64110044/SJ_2020_im-libre.pdf?1596710093=\u0026response-content-disposition=attachment%3B+filename%3DL_Van_Santvoort_and_M_Sterckx_Inside_scu.pdf\u0026Expires=1732511932\u0026Signature=Rm~GjUu6NbcAmt5C86Z4lqXC2-VY3r~EY00Tq9SxNyxYGpBEMhfE6LTl7~KoJgc40ToS-MKd5kVXxljHIxjNSWOn6J5jhEoCRzNiXjHEjO1WIVReiv9aSPieBkV5mWALhI5r~N7Z5t253MjrXfDYcT2IpyamnFDiOM-CE6eoxR7HCVnYrr7p6GaGMULtIGZ5n9pLzhdY55tYIWjP~LMLTsx8VlC6DoxjnQtPuCBtSxTzlnu2ZLIiM2bdFDBH8zfp9EU2nvhEGY-rEomO7UCvWAbktZQwiRyp5vlzJyKluaNU1C-REMBkQshT4bP9eEZpnTk43sbhVDx-2wgx86~sbA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"L_Van_Santvoort_and_M_Sterckx_Inside_sculptors_studios_in_belle_époque_Brussels_an_interior_architectural_view_Sculpture_Journal_29_2_2020_pp_191_213","translated_slug":"","page_count":1,"language":"en","content_type":"Work","owner":{"id":17200712,"first_name":"Marjan","middle_initials":null,"last_name":"Sterckx","page_name":"MarjanSterckx","domain_name":"ugent","created_at":"2014-09-23T07:03:13.724-07:00","display_name":"Marjan Sterckx","url":"https://ugent.academia.edu/MarjanSterckx"},"attachments":[{"id":64110044,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/64110044/thumbnails/1.jpg","file_name":"SJ_2020_im.pdf","download_url":"https://www.academia.edu/attachments/64110044/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"L_Van_Santvoort_and_M_Sterckx_Inside_scu.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/64110044/SJ_2020_im-libre.pdf?1596710093=\u0026response-content-disposition=attachment%3B+filename%3DL_Van_Santvoort_and_M_Sterckx_Inside_scu.pdf\u0026Expires=1732511932\u0026Signature=Rm~GjUu6NbcAmt5C86Z4lqXC2-VY3r~EY00Tq9SxNyxYGpBEMhfE6LTl7~KoJgc40ToS-MKd5kVXxljHIxjNSWOn6J5jhEoCRzNiXjHEjO1WIVReiv9aSPieBkV5mWALhI5r~N7Z5t253MjrXfDYcT2IpyamnFDiOM-CE6eoxR7HCVnYrr7p6GaGMULtIGZ5n9pLzhdY55tYIWjP~LMLTsx8VlC6DoxjnQtPuCBtSxTzlnu2ZLIiM2bdFDBH8zfp9EU2nvhEGY-rEomO7UCvWAbktZQwiRyp5vlzJyKluaNU1C-REMBkQshT4bP9eEZpnTk43sbhVDx-2wgx86~sbA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture"},{"id":5553,"name":"Interior Design","url":"https://www.academia.edu/Documents/in/Interior_Design"},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture"},{"id":16392,"name":"Studio Practice","url":"https://www.academia.edu/Documents/in/Studio_Practice"},{"id":72177,"name":"Belle Epoque","url":"https://www.academia.edu/Documents/in/Belle_Epoque"}],"urls":[{"id":9077948,"url":"https://www.liverpooluniversitypress.co.uk/journals/article/57679/"}]}, dispatcherData: dispatcherData }); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35581320"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35581320/An_ephemeral_open_air_sculpture_museum_ten_temporary_monuments_for_the_festive_return_of_the_Belgian_royal_family_to_Brussels_November_1918_Published_in_Sculpture_Journal_2017_Vol_26_Issue_3_p_321_348_28p"><img alt="Research paper thumbnail of An ephemeral open-air sculpture museum: ten temporary monuments for the festive return of the Belgian royal family to Brussels, November 1918. Published in Sculpture Journal, 2017, Vol. 26 Issue 3, p 321-348, 28p" class="work-thumbnail" src="https://attachments.academia-assets.com/55447380/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35581320/An_ephemeral_open_air_sculpture_museum_ten_temporary_monuments_for_the_festive_return_of_the_Belgian_royal_family_to_Brussels_November_1918_Published_in_Sculpture_Journal_2017_Vol_26_Issue_3_p_321_348_28p">An ephemeral open-air sculpture museum: ten temporary monuments for the festive return of the Belgian royal family to Brussels, November 1918. Published in Sculpture Journal, 2017, Vol. 26 Issue 3, p 321-348, 28p</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://kuleuven.academia.edu/LeenEngelen">Leen Engelen</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Immediately after the First World War and continuing well into the 1920s and 1930s, monuments com...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Immediately after the First World War and continuing well into the 1920s and 1930s, monuments commemorating the war were erected all over Europe. Although the concept of commemorating war through monuments long predates the First World War, no other war gave rise to such a large number of memorials. In formerly occupied territories such as Belgium and northern France, the need to express grief as well as gratitude, which had been suppressed by the occupying regime for over four years, appeared as soon as the Armistice was signed. Ideas for monuments surfaced instantaneously and enthusiastically on the national and municipal level. Plans were proposed by formal and informal local associations, such as parishes, labour unions and sports clubs, but not all of these intentions materialized. Many did so only after a long time. This article takes as its subject a phenomenon slightly predating the large-scale postwar statuomanie. It presents a case study of an exceptional series of ten temporary monuments commissioned by the city of Brussels on the occasion of the festive return of the royal family to the Belgian capital on 22 November 1918. These very first structures of First World War commemoration were placed in the city centre as part of the festive decorations and were made in stucco. They were thus fragile and only stayed in Brussels's public space for a short while. Nevertheless, the plaster monuments left a paper trail: the research presented here is based on newspaper articles, picture postcards, snapshots, newsreels and archival sources. The latter are scarce, because decisions were made hastily, and improvised procedures were used to speed up the process. Conceived as they were in the short transitional period between the war and its aftermath, one can ask whether these chaotic conditions and the preconceived temporality of the monuments prompted experimentation and innovation and heralded an altogether new artistic élan. This article presents, for the first time, a full account of the monuments and their authors, and considers the genesis, reception and afterlife of the sculpture series. We then consider two contextual factors: the concept of the city as a democratic open-air sculpture museum, already much in vogue in Brussels in the Belle Époque, and the existing tradition of temporary sculpture within the cityscape, notably in the context of nineteenth-century patriotic festivities. We believe both aspects – along with sculptors' feelings of patriotism, generosity and possible opportunism – contributed to the unique and speedy initiative taken in Brussels in 1918 to realize a parcours of ephemeral statues. 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Een vroeg vrouwelijk naakt van Franse makelij op een Nederlandse tentoonstelling: Marie-Louise Lefèvre-Deumiers Diana in Den Haag in 1866’, De Negentiende Eeuw, themanummer: Wel en onwel: het lichaam in de 19de eeuw, 3/4 (2015) 209-229." class="work-thumbnail" src="https://attachments.academia-assets.com/41939230/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/21499907/_Off_the_record_Een_vroeg_vrouwelijk_naakt_van_Franse_makelij_op_een_Nederlandse_tentoonstelling_Marie_Louise_Lef%C3%A8vre_Deumiers_Diana_in_Den_Haag_in_1866_De_Negentiende_Eeuw_themanummer_Wel_en_onwel_het_lichaam_in_de_19de_eeuw_3_4_2015_209_229">‘Off the record. Een vroeg vrouwelijk naakt van Franse makelij op een Nederlandse tentoonstelling: Marie-Louise Lefèvre-Deumiers Diana in Den Haag in 1866’, De Negentiende Eeuw, themanummer: Wel en onwel: het lichaam in de 19de eeuw, 3/4 (2015) 209-229.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article deals with the case of an early female (semi)nude by a French sculptress, shown exce...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article deals with the case of an early female (semi)nude by a French sculptress, shown exceptionally early at a Dutch exhibition: the Living Masters in The Hague in 1866, even if it was not mentioned in the catalogue. The artist, Marie-Louise Lefèvre-Deumier, then temporarily lived in The Hague but was from Paris, where it was then more customary to exhibit nudes, except for women. The discussed case concerns such an exception, particularly for the Netherlands, where it was not yet evident in 1866 to exhibit nudity, let alone by a woman. Yet<br />it seems that little or no fuss was made when Lefèvre-Deumier showed her Diana in The Hague. In this text, explanations are sought for both its early presentation, and the lack of controversy it aroused. That fact that it only concerned a small statuette, that conformed to the classical sculpture tradition, that it was not mentioned in the catalogue, and that the sculptress had a respectable reputation, might all have played a role. Moreover, judging from two (other) known semi-nude<br />marble statues from the same sculptor (Glycera and Morning Star), it is argued that the statuette shown in The Hague, representing the chaste Diana, must have held an acceptable balance between prudery and sensuality. This in contrast to<br />Edouards Manet’s contemporary (Olympia), thus showing the double moral as concerned to sexuality in the arts of the 1860’s, in Paris as well as the Netherlands.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="411ac1b41a4ee11018ec53aebd77cad6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41939230,"asset_id":21499907,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41939230/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="21499907"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="21499907"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 21499907; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=21499907]").text(description); $(".js-view-count[data-work-id=21499907]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 21499907; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='21499907']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 21499907, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "411ac1b41a4ee11018ec53aebd77cad6" } } $('.js-work-strip[data-work-id=21499907]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":21499907,"title":"‘Off the record. Een vroeg vrouwelijk naakt van Franse makelij op een Nederlandse tentoonstelling: Marie-Louise Lefèvre-Deumiers Diana in Den Haag in 1866’, De Negentiende Eeuw, themanummer: Wel en onwel: het lichaam in de 19de eeuw, 3/4 (2015) 209-229.","translated_title":"","metadata":{"abstract":"This article deals with the case of an early female (semi)nude by a French sculptress, shown exceptionally early at a Dutch exhibition: the Living Masters in The Hague in 1866, even if it was not mentioned in the catalogue. The artist, Marie-Louise Lefèvre-Deumier, then temporarily lived in The Hague but was from Paris, where it was then more customary to exhibit nudes, except for women. The discussed case concerns such an exception, particularly for the Netherlands, where it was not yet evident in 1866 to exhibit nudity, let alone by a woman. Yet\nit seems that little or no fuss was made when Lefèvre-Deumier showed her Diana in The Hague. 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That fact that it only concerned a small statuette, that conformed to the classical sculpture tradition, that it was not mentioned in the catalogue, and that the sculptress had a respectable reputation, might all have played a role. Moreover, judging from two (other) known semi-nude\nmarble statues from the same sculptor (Glycera and Morning Star), it is argued that the statuette shown in The Hague, representing the chaste Diana, must have held an acceptable balance between prudery and sensuality. 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Belle époque picture postcards of urban statues " class="work-thumbnail" src="https://attachments.academia-assets.com/36160960/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/10028399/Between_the_Studio_and_the_Snapshot_Belle_%C3%A9poque_picture_postcards_of_urban_statues">Between the Studio and the Snapshot. 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Glazen kunstobjecten als resultaat van de samenwerking tussen industrieel Georges Despret en kunstenaar Yvonne Serruys (ca. 1905-1910)’, Anna Bergmans (ed.), Gentse Bijdragen tot de Interieurgeschiedenis, 37:2010-2011 (2013): 89-120.</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="580015eb1692b2878c09c04aa5a078b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38498157,"asset_id":14989225,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38498157/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14989225"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14989225"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14989225; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=14989225]").text(description); $(".js-view-count[data-work-id=14989225]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 14989225; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='14989225']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 14989225, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "580015eb1692b2878c09c04aa5a078b9" } } $('.js-work-strip[data-work-id=14989225]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":14989225,"title":"‘Van vazen tot naakten. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="3791060"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/3791060/Een_machtige_veropenbaring_der_jeugdige_Gentsche_kunst_publieke_kunst_in_het_kader_van_de_Gentse_Wereldtentoonstelling"><img alt="Research paper thumbnail of 'Een machtige veropenbaring der jeugdige Gentsche kunst :' publieke kunst in het kader van de Gentse Wereldtentoonstelling" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/3791060/Een_machtige_veropenbaring_der_jeugdige_Gentsche_kunst_publieke_kunst_in_het_kader_van_de_Gentse_Wereldtentoonstelling">'Een machtige veropenbaring der jeugdige Gentsche kunst :' publieke kunst in het kader van de Gentse Wereldtentoonstelling</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/JanaWijnsouw">Jana Wijnsouw</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a></span></div><div class="wp-workCard_item"><span>HANDELINGEN VAN DE MAATSCHAPPIJ VOOR GESCHIEDENIS EN OUDHEIDKUNDE TE GENT</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The Ghent World Fair, organized in 1913, was a great opportunity for the city to encourage the re...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The Ghent World Fair, organized in 1913, was a great opportunity for the city to encourage the realization of public art, both on the exhibition grounds as in the city center. Already in 1911, the local press expressed its concern about the assignment of a public commission to two Brussels artists and insisted that the young and talented Ghent sculptors should not be overlooked. Though no traces of a structural, strategic commissioning program were found, the organizing committee lavishly granted this request by almost exclusively selecting Ghent sculptors for the main sculptural assignments, such as Geo Verbanck for the Monument for the Brothers Van Eyck, Aloïs De Beule for The Steed Beyaert, and Jules Van Biesbroeck (jr.) for Beauty, Strength and Wisdom. Moreover, almost all these sculptors were closely associated with members of the organizing committee, for instance belonging to the same guild or committees, or with each other, having shared mutual commissions, teachers, etc. This chapter offers an overview of the public commissions at the Ghent World Fair, and elucidates their organization, representation, reception and fate during and after the Fair. Furthermore, the exterior and interior decorations of most of the exhibition pavilions, including wall paintings, decorative reliefs, etc., are discussed. These commissions for pavilion decorations were often also assigned to local artists, with only a few exceptions. Only the decoration of the pavilions of foreign nations, some smaller commissions, and the casting of the bronzes were executed by city-outsiders. Moreover, local, ‘modern’ artists, such as George Minne, were surpassed for the public art commissions in favour of sculptors with a more academic style, belonging to the same network. Consequently, the international ambitions of the World Fair were mainly substantiated by local, traditional-style sculptors. As was the case for past and future World Fairs, the public art at the Ghent World Fair generated questions about traditionalism and modernity, as well as the balance between local, national and international ambitions and concerns.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="3791060"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="3791060"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3791060; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3791060]").text(description); $(".js-view-count[data-work-id=3791060]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3791060; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='3791060']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 3791060, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=3791060]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":3791060,"title":"'Een machtige veropenbaring der jeugdige Gentsche kunst :' publieke kunst in het kader van de Gentse Wereldtentoonstelling","translated_title":"","metadata":{"abstract":"The Ghent World Fair, organized in 1913, was a great opportunity for the city to encourage the realization of public art, both on the exhibition grounds as in the city center. 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Hanna Klarenbeek, Penseelprinsessen & broodschilderessen. Vrouwen in de beeldende kunst 1808-1913. BMGN - Low Countries Historical Review. 128(2), p.review 45. DOI: http://doi.org/10.18352/bmgn-lchr.8443" class="work-thumbnail" src="https://attachments.academia-assets.com/49748502/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/21849224/Sterckx_M_2013_Hanna_Klarenbeek_Penseelprinsessen_and_broodschilderessen_Vrouwen_in_de_beeldende_kunst_1808_1913_BMGN_Low_Countries_Historical_Review_128_2_p_review_45_DOI_http_doi_org_10_18352_bmgn_lchr_8443">Sterckx, M., (2013). Hanna Klarenbeek, Penseelprinsessen & broodschilderessen. Vrouwen in de beeldende kunst 1808-1913. BMGN - Low Countries Historical Review. 128(2), p.review 45. 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De casus Brussel’, Belgisch Tijdschrift voor Oudheidkunde en Kunstgeschiedenis, 80:1 (2011): 99-123.</a></div><div class="wp-workCard_item"><span>Belgisch Tijdschrift voor Oudheidkunde en Kunstgeschiedenis</span><span>, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="52a9eba92a9a982ae8215b52befe15d6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64845939,"asset_id":38525241,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64845939/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38525241"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38525241"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38525241; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38525241]").text(description); $(".js-view-count[data-work-id=38525241]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38525241; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38525241']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38525241, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "52a9eba92a9a982ae8215b52befe15d6" } } $('.js-work-strip[data-work-id=38525241]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38525241,"title":"Sterckx, M., ‘Publieke sculpturen van de hand van vrouwen. 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Interwar interiors in Flanders captured by forensic files,’ Journal of Interior Design, 47:4 (2022): 1-19." class="work-thumbnail" src="https://attachments.academia-assets.com/93166632/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/88895413/Sterckx_M_The_interior_as_a_witness_Interwar_interiors_in_Flanders_captured_by_forensic_files_Journal_of_Interior_Design_47_4_2022_1_19">Sterckx, M., ‘The interior as a witness. Interwar interiors in Flanders captured by forensic files,’ Journal of Interior Design, 47:4 (2022): 1-19.</a></div><div class="wp-workCard_item"><span>Journal of Interior Design</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The common resources for studying historic homes offer staged and idealized representations of in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The common resources for studying historic homes offer staged and idealized representations of interiors which reveal little about how these spaces were inhabited and by whom. With a rather limited scope of sources available for reliable images of “real,” vernacular home environments, I advocate for the use of forensic photography and files in interior design historical research to broaden our image and understanding of such modes of living. As a case study, I examine, by close inspection and visual analysis, 40 crime cases from the Belgian provinces of Antwerp and East-Flanders, recorded between 1929 and 1937, containing interior photographs, floor plans, and judicial reports. The sample spans different social strata and building types, living circumstances, and locations—urban, suburban, and rural, demonstrating how many of the people in that era lived in old(er) houses, deprived of the newest sanitary, heating, and lighting amenities. It attests to the passing down over generations of rugs, furniture, utensils and decorative objects, and the randomness of their presence, with traces of gradual modernization, from washing machines to radios, club seats, and fashionable wallpapers. Forensic photographs offer a nonstaged representation of reality. Thus, they provide a reality check, showing how mainstream interiors were really used and how they evolved over a period of time.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c3bd7f656bea7042df1d41146cbbaf50" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":93166632,"asset_id":88895413,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/93166632/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="88895413"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="88895413"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 88895413; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=88895413]").text(description); $(".js-view-count[data-work-id=88895413]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 88895413; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='88895413']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 88895413, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c3bd7f656bea7042df1d41146cbbaf50" } } $('.js-work-strip[data-work-id=88895413]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":88895413,"title":"Sterckx, M., ‘The interior as a witness. 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The sample spans different social strata and building types, living circumstances, and locations—urban, suburban, and rural, demonstrating how many of the people in that era lived in old(er) houses, deprived of the newest sanitary, heating, and lighting amenities. It attests to the passing down over generations of rugs, furniture, utensils and decorative objects, and the randomness of their presence, with traces of gradual modernization, from washing machines to radios, club seats, and fashionable wallpapers. Forensic photographs offer a nonstaged representation of reality. Thus, they provide a reality check, showing how mainstream interiors were really used and how they evolved over a period of time.","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Journal of Interior Design"},"translated_abstract":"The common resources for studying historic homes offer staged and idealized representations of interiors which reveal little about how these spaces were inhabited and by whom. With a rather limited scope of sources available for reliable images of “real,” vernacular home environments, I advocate for the use of forensic photography and files in interior design historical research to broaden our image and understanding of such modes of living. As a case study, I examine, by close inspection and visual analysis, 40 crime cases from the Belgian provinces of Antwerp and East-Flanders, recorded between 1929 and 1937, containing interior photographs, floor plans, and judicial reports. The sample spans different social strata and building types, living circumstances, and locations—urban, suburban, and rural, demonstrating how many of the people in that era lived in old(er) houses, deprived of the newest sanitary, heating, and lighting amenities. It attests to the passing down over generations of rugs, furniture, utensils and decorative objects, and the randomness of their presence, with traces of gradual modernization, from washing machines to radios, club seats, and fashionable wallpapers. Forensic photographs offer a nonstaged representation of reality. Thus, they provide a reality check, showing how mainstream interiors were really used and how they evolved over a period of time.","internal_url":"https://www.academia.edu/88895413/Sterckx_M_The_interior_as_a_witness_Interwar_interiors_in_Flanders_captured_by_forensic_files_Journal_of_Interior_Design_47_4_2022_1_19","translated_internal_url":"","created_at":"2022-10-21T01:31:10.003-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":17200712,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":93166632,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/93166632/thumbnails/1.jpg","file_name":"Sterckx_Interior_as_witness_JID_Published_teaser.pdf","download_url":"https://www.academia.edu/attachments/93166632/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Sterckx_M_The_interior_as_a_witness_Inte.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/93166632/Sterckx_Interior_as_witness_JID_Published_teaser-libre.pdf?1666908163=\u0026response-content-disposition=attachment%3B+filename%3DSterckx_M_The_interior_as_a_witness_Inte.pdf\u0026Expires=1732511932\u0026Signature=TIfzASNqq9sLdS13NK-NJrwTptQw4dodDe76MffzQ1OCRynDyxvQUH7kBNJ~bOBZtbGQALZ7QRpEk429x6U64MuendyPEiGqQb9OltIl2f6-P1dbKZ4O4yvsbbcjP~ojxnKl-w2Ne1GfgHXwfw2jt3h~BkxW56JQHbJIjxgitDEKBDL2Bvzr-dt1Z8o3qz1U9gnAYs2zf5J343o2Z3etQ4kupa5l5Ig5RxJA10QgM4KniWBL5CSoS5gArg62lIbsk7opxS1wAAeupxvZUzmSxL2zc4M1ZkBHj6BcJ3Hi-6p21VdJFwmeT8aUvNxIPdAQTY6rPGPQss~qKbLHWcXhyA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Sterckx_M_The_interior_as_a_witness_Interwar_interiors_in_Flanders_captured_by_forensic_files_Journal_of_Interior_Design_47_4_2022_1_19","translated_slug":"","page_count":1,"language":"en","content_type":"Work","owner":{"id":17200712,"first_name":"Marjan","middle_initials":null,"last_name":"Sterckx","page_name":"MarjanSterckx","domain_name":"ugent","created_at":"2014-09-23T07:03:13.724-07:00","display_name":"Marjan Sterckx","url":"https://ugent.academia.edu/MarjanSterckx"},"attachments":[{"id":93166632,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/93166632/thumbnails/1.jpg","file_name":"Sterckx_Interior_as_witness_JID_Published_teaser.pdf","download_url":"https://www.academia.edu/attachments/93166632/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Sterckx_M_The_interior_as_a_witness_Inte.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/93166632/Sterckx_Interior_as_witness_JID_Published_teaser-libre.pdf?1666908163=\u0026response-content-disposition=attachment%3B+filename%3DSterckx_M_The_interior_as_a_witness_Inte.pdf\u0026Expires=1732511932\u0026Signature=TIfzASNqq9sLdS13NK-NJrwTptQw4dodDe76MffzQ1OCRynDyxvQUH7kBNJ~bOBZtbGQALZ7QRpEk429x6U64MuendyPEiGqQb9OltIl2f6-P1dbKZ4O4yvsbbcjP~ojxnKl-w2Ne1GfgHXwfw2jt3h~BkxW56JQHbJIjxgitDEKBDL2Bvzr-dt1Z8o3qz1U9gnAYs2zf5J343o2Z3etQ4kupa5l5Ig5RxJA10QgM4KniWBL5CSoS5gArg62lIbsk7opxS1wAAeupxvZUzmSxL2zc4M1ZkBHj6BcJ3Hi-6p21VdJFwmeT8aUvNxIPdAQTY6rPGPQss~qKbLHWcXhyA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":539,"name":"Forensics","url":"https://www.academia.edu/Documents/in/Forensics"},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography"},{"id":5553,"name":"Interior Design","url":"https://www.academia.edu/Documents/in/Interior_Design"},{"id":40862,"name":"Belgium","url":"https://www.academia.edu/Documents/in/Belgium"}],"urls":[{"id":24981243,"url":"https://onlinelibrary.wiley.com/doi/abs/10.1111/joid.12231"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="89688629"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/89688629/Ulrike_M%C3%BCller_and_Marjan_Sterckx_In_the_Picture_The_Emergence_of_the_Female_Amateur_in_Fin_de_Si%C3%A8cle_Exhibition_Posters_in_Brussels_Nineteenth_Century_Art_Worldwide_21_no_3_Autumn_2022_24_55"><img alt="Research paper thumbnail of Ulrike Müller and Marjan Sterckx, “In the Picture: The Emergence of the Female Amateur in Fin-de-Siècle Exhibition Posters in Brussels,” Nineteenth-Century Art Worldwide 21, no. 3 (Autumn 2022), 24-55." class="work-thumbnail" src="https://attachments.academia-assets.com/93440458/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/89688629/Ulrike_M%C3%BCller_and_Marjan_Sterckx_In_the_Picture_The_Emergence_of_the_Female_Amateur_in_Fin_de_Si%C3%A8cle_Exhibition_Posters_in_Brussels_Nineteenth_Century_Art_Worldwide_21_no_3_Autumn_2022_24_55">Ulrike Müller and Marjan Sterckx, “In the Picture: The Emergence of the Female Amateur in Fin-de-Siècle Exhibition Posters in Brussels,” Nineteenth-Century Art Worldwide 21, no. 3 (Autumn 2022), 24-55.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://antwerp.academia.edu/UlrikeM%C3%BCller">Ulrike Müller</a></span></div><div class="wp-workCard_item"><span>NCAW</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Belgian art nouveau posters, created around 1900 to advertise modern art exhibitions, reveal a ne...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Belgian art nouveau posters, created around 1900 to advertise modern art exhibitions, reveal a new iconography that represents modern women intensely engaged with works of fine and decorative art. In addressing how these posters picture this new type of female amateur as a fashionable, discerning, highly involved, and at times even provocative femme nouvelle (new woman), this article discusses how the posters not only advertised certain avant-garde art exhibitions as sites of aesthetic experience and distinction but also reflected, foregrounded, and encouraged women's increased participation in the vibrant cultural scene of fin-de-siècle Brussels.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6bbeb7f21e5fc80e3a7e8ab7404a3b48" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":93440458,"asset_id":89688629,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/93440458/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="89688629"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89688629"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89688629; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=89688629]").text(description); $(".js-view-count[data-work-id=89688629]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 89688629; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='89688629']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 89688629, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6bbeb7f21e5fc80e3a7e8ab7404a3b48" } } $('.js-work-strip[data-work-id=89688629]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":89688629,"title":"Ulrike Müller and Marjan Sterckx, “In the Picture: The Emergence of the Female Amateur in Fin-de-Siècle Exhibition Posters in Brussels,” Nineteenth-Century Art Worldwide 21, no. 3 (Autumn 2022), 24-55.","translated_title":"","metadata":{"doi":"10.29411/ncaw.2022.21.3.3","abstract":"Belgian art nouveau posters, created around 1900 to advertise modern art exhibitions, reveal a new iconography that represents modern women intensely engaged with works of fine and decorative art. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="91572111"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/91572111/_Het_caf%C3%A9_als_plaats_delict_Caf%C3%A9interieurs_in_Oost_Vlaanderen_bekeken_aan_de_hand_van_assisenzaken_1932_37_Tijdschrift_voor_Interieurgeschiedenis_en_Design_vol_44_2022_121_147"><img alt="Research paper thumbnail of ‘Het café als plaats delict. Caféinterieurs in Oost-Vlaanderen bekeken aan de hand van assisenzaken (1932-37)’, Tijdschrift voor Interieurgeschiedenis en Design, vol. 44, 2022, 121-147." class="work-thumbnail" src="https://attachments.academia-assets.com/97950629/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/91572111/_Het_caf%C3%A9_als_plaats_delict_Caf%C3%A9interieurs_in_Oost_Vlaanderen_bekeken_aan_de_hand_van_assisenzaken_1932_37_Tijdschrift_voor_Interieurgeschiedenis_en_Design_vol_44_2022_121_147">‘Het café als plaats delict. Caféinterieurs in Oost-Vlaanderen bekeken aan de hand van assisenzaken (1932-37)’, Tijdschrift voor Interieurgeschiedenis en Design, vol. 44, 2022, 121-147.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article offers an impetus to the study of pub interiors in (East) Flanders during the interw...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article offers an impetus to the study of pub interiors in (East) Flanders during the interwar period through the approach of assize files, in particular through a close reading of the interior photographs and floor plans contained therein. Despite the morbid character of this unusual type of source, it offers a rare insight into the use of space, utilities, interior decoration and loose furnishings for a diversity of ‘ordinary’ pubs in (East) Flanders. The case study can thus illuminate the potential of court records for such and similar historical interior research. Despite the small sample of ten cafés in East Flanders, mapped and pictured in the 1930s, some initial conclusions can be drawn. The small to medium-sized pubs studied were predominantly housed in corner buildings or terraced houses, designed or adapted for that function. They were closely interconnected with the private rooms of the pub tenants, who used the same entrance, kitchen, corridor and toilet – the latter always accessible via the courtyard. With the exception of a newly built café, most of the buildings were older. Hand pumps and coal stoves suggest that connections to running water and gas were not available everywhere. Electricity was available and white-glass art deco lampshades were evidently popular in cafés. Without exception, there were tiled floors, from plain grey to colourful imitation mosaic tiles. The partitioned and wallpapered walls were colourful, quite daring and predominantly dark, especially with dark wood panelling in which benches were often incorporated – an older custom that was not renounced even by modernists in the 1930s. Narrow, rectangular, dark-wood tables without tablecloths lined the walls. The surrounding chairs offer a nice sample of various types of chairs for cafés, mostly of Belgian manufacture, including many models in bent wood. These were still recommended for modernist cafés in the 1930s. A sitting area with wicker chairs around a barrel table also proved popular. The invariably dark wooden bars were frequently equipped with a tap, railing and glass cabinet, and behind them were wall shelves, mirrors, enamelled advertising boards, framed photographs and posters. Entertainment was provided by pool tables, an early pinball, playing cards and musical instruments. The photos emphasise the continuity of the brown pubs, which have a long tradition in Belgium, but also contain ‘modern’ elements that made them pleasant places to be.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="24613494ad57c00a419e46e5f3ae9e73" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":97950629,"asset_id":91572111,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/97950629/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="91572111"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="91572111"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 91572111; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=91572111]").text(description); $(".js-view-count[data-work-id=91572111]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 91572111; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='91572111']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 91572111, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "24613494ad57c00a419e46e5f3ae9e73" } } $('.js-work-strip[data-work-id=91572111]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":91572111,"title":"‘Het café als plaats delict. Caféinterieurs in Oost-Vlaanderen bekeken aan de hand van assisenzaken (1932-37)’, Tijdschrift voor Interieurgeschiedenis en Design, vol. 44, 2022, 121-147.","translated_title":"","metadata":{"doi":"10.2143/GBI.44.0.3291080","abstract":"This article offers an impetus to the study of pub interiors in (East) Flanders during the interwar period through the approach of assize files, in particular through a close reading of the interior photographs and floor plans contained therein. Despite the morbid character of this unusual type of source, it offers a rare insight into the use of space, utilities, interior decoration and loose furnishings for a diversity of ‘ordinary’ pubs in (East) Flanders. The case study can thus illuminate the potential of court records for such and similar historical interior research. Despite the small sample of ten cafés in East Flanders, mapped and pictured in the 1930s, some initial conclusions can be drawn. The small to medium-sized pubs studied were predominantly housed in corner buildings or terraced houses, designed or adapted for that function. They were closely interconnected with the private rooms of the pub tenants, who used the same entrance, kitchen, corridor and toilet – the latter always accessible via the courtyard. With the exception of a newly built café, most of the buildings were older. Hand pumps and coal stoves suggest that connections to running water and gas were not available everywhere. Electricity was available and white-glass art deco lampshades were evidently popular in cafés. Without exception, there were tiled floors, from plain grey to colourful imitation mosaic tiles. The partitioned and wallpapered walls were colourful, quite daring and predominantly dark, especially with dark wood panelling in which benches were often incorporated – an older custom that was not renounced even by modernists in the 1930s. Narrow, rectangular, dark-wood tables without tablecloths lined the walls. The surrounding chairs offer a nice sample of various types of chairs for cafés, mostly of Belgian manufacture, including many models in bent wood. These were still recommended for modernist cafés in the 1930s. A sitting area with wicker chairs around a barrel table also proved popular. The invariably dark wooden bars were frequently equipped with a tap, railing and glass cabinet, and behind them were wall shelves, mirrors, enamelled advertising boards, framed photographs and posters. Entertainment was provided by pool tables, an early pinball, playing cards and musical instruments. The photos emphasise the continuity of the brown pubs, which have a long tradition in Belgium, but also contain ‘modern’ elements that made them pleasant places to be. ","publication_date":{"day":null,"month":null,"year":2022,"errors":{}}},"translated_abstract":"This article offers an impetus to the study of pub interiors in (East) Flanders during the interwar period through the approach of assize files, in particular through a close reading of the interior photographs and floor plans contained therein. Despite the morbid character of this unusual type of source, it offers a rare insight into the use of space, utilities, interior decoration and loose furnishings for a diversity of ‘ordinary’ pubs in (East) Flanders. The case study can thus illuminate the potential of court records for such and similar historical interior research. Despite the small sample of ten cafés in East Flanders, mapped and pictured in the 1930s, some initial conclusions can be drawn. The small to medium-sized pubs studied were predominantly housed in corner buildings or terraced houses, designed or adapted for that function. They were closely interconnected with the private rooms of the pub tenants, who used the same entrance, kitchen, corridor and toilet – the latter always accessible via the courtyard. With the exception of a newly built café, most of the buildings were older. Hand pumps and coal stoves suggest that connections to running water and gas were not available everywhere. Electricity was available and white-glass art deco lampshades were evidently popular in cafés. Without exception, there were tiled floors, from plain grey to colourful imitation mosaic tiles. The partitioned and wallpapered walls were colourful, quite daring and predominantly dark, especially with dark wood panelling in which benches were often incorporated – an older custom that was not renounced even by modernists in the 1930s. Narrow, rectangular, dark-wood tables without tablecloths lined the walls. The surrounding chairs offer a nice sample of various types of chairs for cafés, mostly of Belgian manufacture, including many models in bent wood. These were still recommended for modernist cafés in the 1930s. A sitting area with wicker chairs around a barrel table also proved popular. The invariably dark wooden bars were frequently equipped with a tap, railing and glass cabinet, and behind them were wall shelves, mirrors, enamelled advertising boards, framed photographs and posters. Entertainment was provided by pool tables, an early pinball, playing cards and musical instruments. The photos emphasise the continuity of the brown pubs, which have a long tradition in Belgium, but also contain ‘modern’ elements that made them pleasant places to be. ","internal_url":"https://www.academia.edu/91572111/_Het_caf%C3%A9_als_plaats_delict_Caf%C3%A9interieurs_in_Oost_Vlaanderen_bekeken_aan_de_hand_van_assisenzaken_1932_37_Tijdschrift_voor_Interieurgeschiedenis_en_Design_vol_44_2022_121_147","translated_internal_url":"","created_at":"2022-11-25T03:19:30.221-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":17200712,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":97950629,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/97950629/thumbnails/1.jpg","file_name":"Sterckx_Cafes_TID_2022.pdf","download_url":"https://www.academia.edu/attachments/97950629/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Het_cafe_als_plaats_delict_Cafeinterieu.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/97950629/Sterckx_Cafes_TID_2022-libre.pdf?1675001086=\u0026response-content-disposition=attachment%3B+filename%3DHet_cafe_als_plaats_delict_Cafeinterieu.pdf\u0026Expires=1732453840\u0026Signature=KG55gs-KYGusiLRXdcEjq-lNBMlEcQnWWJ113fDJj5wgwecBao53ULzkKjwciU6LErsZeoMn-rVT7A2rHfprjl2qWe7iKNOMwd5yABFWZRe-RQdmd0P5X~qxtqF6MugeHh40e-L3lWMzi-s49GLdsDUj66KKOaPGpvpiXA4Mq081iwOUtLqI~AHJi5EJa8cTSaaOJqK-HFo~1TETUNZzaLQ62fUggxcnwA4arotAq~eRRusrHv6MK~LPEtAm2OI1~L8j-6khdG~J7M1ONUeer4Ta70hHLOqFVejpaOMhxIcqmDrW7pefOCBsZeUd3U-uBT1Sef6Ek2wwqqbJsJiHXw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"_Het_café_als_plaats_delict_Caféinterieurs_in_Oost_Vlaanderen_bekeken_aan_de_hand_van_assisenzaken_1932_37_Tijdschrift_voor_Interieurgeschiedenis_en_Design_vol_44_2022_121_147","translated_slug":"","page_count":27,"language":"nl","content_type":"Work","owner":{"id":17200712,"first_name":"Marjan","middle_initials":null,"last_name":"Sterckx","page_name":"MarjanSterckx","domain_name":"ugent","created_at":"2014-09-23T07:03:13.724-07:00","display_name":"Marjan Sterckx","url":"https://ugent.academia.edu/MarjanSterckx"},"attachments":[{"id":97950629,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/97950629/thumbnails/1.jpg","file_name":"Sterckx_Cafes_TID_2022.pdf","download_url":"https://www.academia.edu/attachments/97950629/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Het_cafe_als_plaats_delict_Cafeinterieu.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/97950629/Sterckx_Cafes_TID_2022-libre.pdf?1675001086=\u0026response-content-disposition=attachment%3B+filename%3DHet_cafe_als_plaats_delict_Cafeinterieu.pdf\u0026Expires=1732453840\u0026Signature=KG55gs-KYGusiLRXdcEjq-lNBMlEcQnWWJ113fDJj5wgwecBao53ULzkKjwciU6LErsZeoMn-rVT7A2rHfprjl2qWe7iKNOMwd5yABFWZRe-RQdmd0P5X~qxtqF6MugeHh40e-L3lWMzi-s49GLdsDUj66KKOaPGpvpiXA4Mq081iwOUtLqI~AHJi5EJa8cTSaaOJqK-HFo~1TETUNZzaLQ62fUggxcnwA4arotAq~eRRusrHv6MK~LPEtAm2OI1~L8j-6khdG~J7M1ONUeer4Ta70hHLOqFVejpaOMhxIcqmDrW7pefOCBsZeUd3U-uBT1Sef6Ek2wwqqbJsJiHXw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography"},{"id":7513,"name":"Archives","url":"https://www.academia.edu/Documents/in/Archives"},{"id":40716,"name":"Cafes","url":"https://www.academia.edu/Documents/in/Cafes"},{"id":40862,"name":"Belgium","url":"https://www.academia.edu/Documents/in/Belgium"},{"id":347481,"name":"Historic Interiors","url":"https://www.academia.edu/Documents/in/Historic_Interiors"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="43793904"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43793904/L_Van_Santvoort_and_M_Sterckx_Inside_sculptors_studios_in_belle_%C3%A9poque_Brussels_an_interior_architectural_view_Sculpture_Journal_29_2_2020_pp_191_213"><img alt="Research paper thumbnail of L. Van Santvoort & M. Sterckx, ‘Inside sculptors’ studios in belle époque Brussels: an interior architectural view’, Sculpture Journal, 29:2, 2020, pp. 191-213." class="work-thumbnail" src="https://attachments.academia-assets.com/64110044/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43793904/L_Van_Santvoort_and_M_Sterckx_Inside_sculptors_studios_in_belle_%C3%A9poque_Brussels_an_interior_architectural_view_Sculpture_Journal_29_2_2020_pp_191_213">L. Van Santvoort & M. Sterckx, ‘Inside sculptors’ studios in belle époque Brussels: an interior architectural view’, Sculpture Journal, 29:2, 2020, pp. 191-213.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Recent international exhibitions and publications on artists’ studios have relied heavily on visu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Recent international exhibitions and publications on artists’ studios have relied heavily on visual sources such as photographs, prints and paintings. Approaching the subject from an architectural and interior design perspective using construction plans for studio buildings – in particular, ground plans and sections – we can situate the studio space more broadly within the building and the plot on which it stands. This in turn offers a better understanding of specific studio practice and of the dialectical relationship between living and working, making and showing. We examine purpose-built sculptors’ studios in belle époque Brussels. Based on a substantial sample of construction plans, a five-point typology is developed. Case studies are then used to determine the respects in which sculptors’ studios differ in architectural terms from painters’ studios and how they express contemporary ideas about sculptural practice. Despite their administrative and technical character – or possibly because of it – the plans of Brussels sculptors’ studios, which are drawn out down to the smallest space, provide us with an alternative, almost intimate insight into the life and work of nineteenth-century Belgian sculptors.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="61998da15705c713ce9891a90a186e00" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64110044,"asset_id":43793904,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64110044/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43793904"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43793904"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43793904; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43793904]").text(description); $(".js-view-count[data-work-id=43793904]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43793904; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43793904']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 43793904, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "61998da15705c713ce9891a90a186e00" } } $('.js-work-strip[data-work-id=43793904]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43793904,"title":"L. Van Santvoort \u0026 M. Sterckx, ‘Inside sculptors’ studios in belle époque Brussels: an interior architectural view’, Sculpture Journal, 29:2, 2020, pp. 191-213.","translated_title":"","metadata":{"doi":"10.3828/sj.2020.29.2.5","issue":"2","volume":"29","abstract":"Recent international exhibitions and publications on artists’ studios have relied heavily on visual sources such as photographs, prints and paintings. Approaching the subject from an architectural and interior design perspective using construction plans for studio buildings – in particular, ground plans and sections – we can situate the studio space more broadly within the building and the plot on which it stands. This in turn offers a better understanding of specific studio practice and of the dialectical relationship between living and working, making and showing. We examine purpose-built sculptors’ studios in belle époque Brussels. Based on a substantial sample of construction plans, a five-point typology is developed. Case studies are then used to determine the respects in which sculptors’ studios differ in architectural terms from painters’ studios and how they express contemporary ideas about sculptural practice. Despite their administrative and technical character – or possibly because of it – the plans of Brussels sculptors’ studios, which are drawn out down to the smallest space, provide us with an alternative, almost intimate insight into the life and work of nineteenth-century Belgian sculptors.","page_numbers":"191-213","publication_date":{"day":null,"month":null,"year":2020,"errors":{}}},"translated_abstract":"Recent international exhibitions and publications on artists’ studios have relied heavily on visual sources such as photographs, prints and paintings. Approaching the subject from an architectural and interior design perspective using construction plans for studio buildings – in particular, ground plans and sections – we can situate the studio space more broadly within the building and the plot on which it stands. This in turn offers a better understanding of specific studio practice and of the dialectical relationship between living and working, making and showing. We examine purpose-built sculptors’ studios in belle époque Brussels. Based on a substantial sample of construction plans, a five-point typology is developed. Case studies are then used to determine the respects in which sculptors’ studios differ in architectural terms from painters’ studios and how they express contemporary ideas about sculptural practice. Despite their administrative and technical character – or possibly because of it – the plans of Brussels sculptors’ studios, which are drawn out down to the smallest space, provide us with an alternative, almost intimate insight into the life and work of nineteenth-century Belgian sculptors.","internal_url":"https://www.academia.edu/43793904/L_Van_Santvoort_and_M_Sterckx_Inside_sculptors_studios_in_belle_%C3%A9poque_Brussels_an_interior_architectural_view_Sculpture_Journal_29_2_2020_pp_191_213","translated_internal_url":"","created_at":"2020-08-06T02:36:03.020-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":17200712,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[{"id":35480946,"work_id":43793904,"tagging_user_id":17200712,"tagged_user_id":null,"co_author_invite_id":3171825,"email":"l***t@ugent.be","display_order":0,"name":"Linda Van Santvoort","title":"L. Van Santvoort \u0026 M. Sterckx, ‘Inside sculptors’ studios in belle époque Brussels: an interior architectural view’, Sculpture Journal, 29:2, 2020, pp. 191-213."}],"downloadable_attachments":[{"id":64110044,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/64110044/thumbnails/1.jpg","file_name":"SJ_2020_im.pdf","download_url":"https://www.academia.edu/attachments/64110044/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"L_Van_Santvoort_and_M_Sterckx_Inside_scu.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/64110044/SJ_2020_im-libre.pdf?1596710093=\u0026response-content-disposition=attachment%3B+filename%3DL_Van_Santvoort_and_M_Sterckx_Inside_scu.pdf\u0026Expires=1732511932\u0026Signature=Rm~GjUu6NbcAmt5C86Z4lqXC2-VY3r~EY00Tq9SxNyxYGpBEMhfE6LTl7~KoJgc40ToS-MKd5kVXxljHIxjNSWOn6J5jhEoCRzNiXjHEjO1WIVReiv9aSPieBkV5mWALhI5r~N7Z5t253MjrXfDYcT2IpyamnFDiOM-CE6eoxR7HCVnYrr7p6GaGMULtIGZ5n9pLzhdY55tYIWjP~LMLTsx8VlC6DoxjnQtPuCBtSxTzlnu2ZLIiM2bdFDBH8zfp9EU2nvhEGY-rEomO7UCvWAbktZQwiRyp5vlzJyKluaNU1C-REMBkQshT4bP9eEZpnTk43sbhVDx-2wgx86~sbA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"L_Van_Santvoort_and_M_Sterckx_Inside_sculptors_studios_in_belle_époque_Brussels_an_interior_architectural_view_Sculpture_Journal_29_2_2020_pp_191_213","translated_slug":"","page_count":1,"language":"en","content_type":"Work","owner":{"id":17200712,"first_name":"Marjan","middle_initials":null,"last_name":"Sterckx","page_name":"MarjanSterckx","domain_name":"ugent","created_at":"2014-09-23T07:03:13.724-07:00","display_name":"Marjan Sterckx","url":"https://ugent.academia.edu/MarjanSterckx"},"attachments":[{"id":64110044,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/64110044/thumbnails/1.jpg","file_name":"SJ_2020_im.pdf","download_url":"https://www.academia.edu/attachments/64110044/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"L_Van_Santvoort_and_M_Sterckx_Inside_scu.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/64110044/SJ_2020_im-libre.pdf?1596710093=\u0026response-content-disposition=attachment%3B+filename%3DL_Van_Santvoort_and_M_Sterckx_Inside_scu.pdf\u0026Expires=1732511932\u0026Signature=Rm~GjUu6NbcAmt5C86Z4lqXC2-VY3r~EY00Tq9SxNyxYGpBEMhfE6LTl7~KoJgc40ToS-MKd5kVXxljHIxjNSWOn6J5jhEoCRzNiXjHEjO1WIVReiv9aSPieBkV5mWALhI5r~N7Z5t253MjrXfDYcT2IpyamnFDiOM-CE6eoxR7HCVnYrr7p6GaGMULtIGZ5n9pLzhdY55tYIWjP~LMLTsx8VlC6DoxjnQtPuCBtSxTzlnu2ZLIiM2bdFDBH8zfp9EU2nvhEGY-rEomO7UCvWAbktZQwiRyp5vlzJyKluaNU1C-REMBkQshT4bP9eEZpnTk43sbhVDx-2wgx86~sbA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture"},{"id":5553,"name":"Interior Design","url":"https://www.academia.edu/Documents/in/Interior_Design"},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture"},{"id":16392,"name":"Studio Practice","url":"https://www.academia.edu/Documents/in/Studio_Practice"},{"id":72177,"name":"Belle Epoque","url":"https://www.academia.edu/Documents/in/Belle_Epoque"}],"urls":[{"id":9077948,"url":"https://www.liverpooluniversitypress.co.uk/journals/article/57679/"}]}, dispatcherData: dispatcherData }); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35581320"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35581320/An_ephemeral_open_air_sculpture_museum_ten_temporary_monuments_for_the_festive_return_of_the_Belgian_royal_family_to_Brussels_November_1918_Published_in_Sculpture_Journal_2017_Vol_26_Issue_3_p_321_348_28p"><img alt="Research paper thumbnail of An ephemeral open-air sculpture museum: ten temporary monuments for the festive return of the Belgian royal family to Brussels, November 1918. Published in Sculpture Journal, 2017, Vol. 26 Issue 3, p 321-348, 28p" class="work-thumbnail" src="https://attachments.academia-assets.com/55447380/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35581320/An_ephemeral_open_air_sculpture_museum_ten_temporary_monuments_for_the_festive_return_of_the_Belgian_royal_family_to_Brussels_November_1918_Published_in_Sculpture_Journal_2017_Vol_26_Issue_3_p_321_348_28p">An ephemeral open-air sculpture museum: ten temporary monuments for the festive return of the Belgian royal family to Brussels, November 1918. Published in Sculpture Journal, 2017, Vol. 26 Issue 3, p 321-348, 28p</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://kuleuven.academia.edu/LeenEngelen">Leen Engelen</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Immediately after the First World War and continuing well into the 1920s and 1930s, monuments com...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Immediately after the First World War and continuing well into the 1920s and 1930s, monuments commemorating the war were erected all over Europe. Although the concept of commemorating war through monuments long predates the First World War, no other war gave rise to such a large number of memorials. In formerly occupied territories such as Belgium and northern France, the need to express grief as well as gratitude, which had been suppressed by the occupying regime for over four years, appeared as soon as the Armistice was signed. Ideas for monuments surfaced instantaneously and enthusiastically on the national and municipal level. Plans were proposed by formal and informal local associations, such as parishes, labour unions and sports clubs, but not all of these intentions materialized. Many did so only after a long time. This article takes as its subject a phenomenon slightly predating the large-scale postwar statuomanie. It presents a case study of an exceptional series of ten temporary monuments commissioned by the city of Brussels on the occasion of the festive return of the royal family to the Belgian capital on 22 November 1918. These very first structures of First World War commemoration were placed in the city centre as part of the festive decorations and were made in stucco. They were thus fragile and only stayed in Brussels's public space for a short while. Nevertheless, the plaster monuments left a paper trail: the research presented here is based on newspaper articles, picture postcards, snapshots, newsreels and archival sources. The latter are scarce, because decisions were made hastily, and improvised procedures were used to speed up the process. Conceived as they were in the short transitional period between the war and its aftermath, one can ask whether these chaotic conditions and the preconceived temporality of the monuments prompted experimentation and innovation and heralded an altogether new artistic élan. This article presents, for the first time, a full account of the monuments and their authors, and considers the genesis, reception and afterlife of the sculpture series. We then consider two contextual factors: the concept of the city as a democratic open-air sculpture museum, already much in vogue in Brussels in the Belle Époque, and the existing tradition of temporary sculpture within the cityscape, notably in the context of nineteenth-century patriotic festivities. We believe both aspects – along with sculptors' feelings of patriotism, generosity and possible opportunism – contributed to the unique and speedy initiative taken in Brussels in 1918 to realize a parcours of ephemeral statues. Both angles will be framed by the specificity of the immediate postwar era.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a1596c1a9eb3c132fce028d6c4bd9764" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55447380,"asset_id":35581320,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55447380/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35581320"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35581320"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35581320; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35581320]").text(description); $(".js-view-count[data-work-id=35581320]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35581320; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35581320']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 35581320, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a1596c1a9eb3c132fce028d6c4bd9764" } } $('.js-work-strip[data-work-id=35581320]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35581320,"title":"An ephemeral open-air sculpture museum: ten temporary monuments for the festive return of the Belgian royal family to Brussels, November 1918. Published in Sculpture Journal, 2017, Vol. 26 Issue 3, p 321-348, 28p","translated_title":"","metadata":{"abstract":"Immediately after the First World War and continuing well into the 1920s and 1930s, monuments commemorating the war were erected all over Europe. Although the concept of commemorating war through monuments long predates the First World War, no other war gave rise to such a large number of memorials. In formerly occupied territories such as Belgium and northern France, the need to express grief as well as gratitude, which had been suppressed by the occupying regime for over four years, appeared as soon as the Armistice was signed. Ideas for monuments surfaced instantaneously and enthusiastically on the national and municipal level. Plans were proposed by formal and informal local associations, such as parishes, labour unions and sports clubs, but not all of these intentions materialized. Many did so only after a long time. This article takes as its subject a phenomenon slightly predating the large-scale postwar statuomanie. It presents a case study of an exceptional series of ten temporary monuments commissioned by the city of Brussels on the occasion of the festive return of the royal family to the Belgian capital on 22 November 1918. These very first structures of First World War commemoration were placed in the city centre as part of the festive decorations and were made in stucco. They were thus fragile and only stayed in Brussels's public space for a short while. Nevertheless, the plaster monuments left a paper trail: the research presented here is based on newspaper articles, picture postcards, snapshots, newsreels and archival sources. The latter are scarce, because decisions were made hastily, and improvised procedures were used to speed up the process. Conceived as they were in the short transitional period between the war and its aftermath, one can ask whether these chaotic conditions and the preconceived temporality of the monuments prompted experimentation and innovation and heralded an altogether new artistic élan. This article presents, for the first time, a full account of the monuments and their authors, and considers the genesis, reception and afterlife of the sculpture series. We then consider two contextual factors: the concept of the city as a democratic open-air sculpture museum, already much in vogue in Brussels in the Belle Époque, and the existing tradition of temporary sculpture within the cityscape, notably in the context of nineteenth-century patriotic festivities. We believe both aspects – along with sculptors' feelings of patriotism, generosity and possible opportunism – contributed to the unique and speedy initiative taken in Brussels in 1918 to realize a parcours of ephemeral statues. Both angles will be framed by the specificity of the immediate postwar era."},"translated_abstract":"Immediately after the First World War and continuing well into the 1920s and 1930s, monuments commemorating the war were erected all over Europe. Although the concept of commemorating war through monuments long predates the First World War, no other war gave rise to such a large number of memorials. In formerly occupied territories such as Belgium and northern France, the need to express grief as well as gratitude, which had been suppressed by the occupying regime for over four years, appeared as soon as the Armistice was signed. Ideas for monuments surfaced instantaneously and enthusiastically on the national and municipal level. Plans were proposed by formal and informal local associations, such as parishes, labour unions and sports clubs, but not all of these intentions materialized. Many did so only after a long time. This article takes as its subject a phenomenon slightly predating the large-scale postwar statuomanie. It presents a case study of an exceptional series of ten temporary monuments commissioned by the city of Brussels on the occasion of the festive return of the royal family to the Belgian capital on 22 November 1918. These very first structures of First World War commemoration were placed in the city centre as part of the festive decorations and were made in stucco. They were thus fragile and only stayed in Brussels's public space for a short while. Nevertheless, the plaster monuments left a paper trail: the research presented here is based on newspaper articles, picture postcards, snapshots, newsreels and archival sources. The latter are scarce, because decisions were made hastily, and improvised procedures were used to speed up the process. Conceived as they were in the short transitional period between the war and its aftermath, one can ask whether these chaotic conditions and the preconceived temporality of the monuments prompted experimentation and innovation and heralded an altogether new artistic élan. This article presents, for the first time, a full account of the monuments and their authors, and considers the genesis, reception and afterlife of the sculpture series. We then consider two contextual factors: the concept of the city as a democratic open-air sculpture museum, already much in vogue in Brussels in the Belle Époque, and the existing tradition of temporary sculpture within the cityscape, notably in the context of nineteenth-century patriotic festivities. We believe both aspects – along with sculptors' feelings of patriotism, generosity and possible opportunism – contributed to the unique and speedy initiative taken in Brussels in 1918 to realize a parcours of ephemeral statues. Both angles will be framed by the specificity of the immediate postwar era.","internal_url":"https://www.academia.edu/35581320/An_ephemeral_open_air_sculpture_museum_ten_temporary_monuments_for_the_festive_return_of_the_Belgian_royal_family_to_Brussels_November_1918_Published_in_Sculpture_Journal_2017_Vol_26_Issue_3_p_321_348_28p","translated_internal_url":"","created_at":"2018-01-04T14:16:43.575-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":24420225,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":30874517,"work_id":35581320,"tagging_user_id":24420225,"tagged_user_id":17200712,"co_author_invite_id":null,"email":"m***x@ugent.be","affiliation":"Ghent University","display_order":1,"name":"Marjan Sterckx","title":"An ephemeral open-air sculpture museum: ten temporary monuments for the festive return of the Belgian royal family to Brussels, November 1918. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="21499907"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/21499907/_Off_the_record_Een_vroeg_vrouwelijk_naakt_van_Franse_makelij_op_een_Nederlandse_tentoonstelling_Marie_Louise_Lef%C3%A8vre_Deumiers_Diana_in_Den_Haag_in_1866_De_Negentiende_Eeuw_themanummer_Wel_en_onwel_het_lichaam_in_de_19de_eeuw_3_4_2015_209_229"><img alt="Research paper thumbnail of ‘Off the record. Een vroeg vrouwelijk naakt van Franse makelij op een Nederlandse tentoonstelling: Marie-Louise Lefèvre-Deumiers Diana in Den Haag in 1866’, De Negentiende Eeuw, themanummer: Wel en onwel: het lichaam in de 19de eeuw, 3/4 (2015) 209-229." class="work-thumbnail" src="https://attachments.academia-assets.com/41939230/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/21499907/_Off_the_record_Een_vroeg_vrouwelijk_naakt_van_Franse_makelij_op_een_Nederlandse_tentoonstelling_Marie_Louise_Lef%C3%A8vre_Deumiers_Diana_in_Den_Haag_in_1866_De_Negentiende_Eeuw_themanummer_Wel_en_onwel_het_lichaam_in_de_19de_eeuw_3_4_2015_209_229">‘Off the record. Een vroeg vrouwelijk naakt van Franse makelij op een Nederlandse tentoonstelling: Marie-Louise Lefèvre-Deumiers Diana in Den Haag in 1866’, De Negentiende Eeuw, themanummer: Wel en onwel: het lichaam in de 19de eeuw, 3/4 (2015) 209-229.</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article deals with the case of an early female (semi)nude by a French sculptress, shown exce...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article deals with the case of an early female (semi)nude by a French sculptress, shown exceptionally early at a Dutch exhibition: the Living Masters in The Hague in 1866, even if it was not mentioned in the catalogue. The artist, Marie-Louise Lefèvre-Deumier, then temporarily lived in The Hague but was from Paris, where it was then more customary to exhibit nudes, except for women. The discussed case concerns such an exception, particularly for the Netherlands, where it was not yet evident in 1866 to exhibit nudity, let alone by a woman. Yet<br />it seems that little or no fuss was made when Lefèvre-Deumier showed her Diana in The Hague. In this text, explanations are sought for both its early presentation, and the lack of controversy it aroused. That fact that it only concerned a small statuette, that conformed to the classical sculpture tradition, that it was not mentioned in the catalogue, and that the sculptress had a respectable reputation, might all have played a role. Moreover, judging from two (other) known semi-nude<br />marble statues from the same sculptor (Glycera and Morning Star), it is argued that the statuette shown in The Hague, representing the chaste Diana, must have held an acceptable balance between prudery and sensuality. This in contrast to<br />Edouards Manet’s contemporary (Olympia), thus showing the double moral as concerned to sexuality in the arts of the 1860’s, in Paris as well as the Netherlands.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="411ac1b41a4ee11018ec53aebd77cad6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41939230,"asset_id":21499907,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41939230/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="21499907"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="21499907"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 21499907; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=21499907]").text(description); $(".js-view-count[data-work-id=21499907]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 21499907; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='21499907']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 21499907, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "411ac1b41a4ee11018ec53aebd77cad6" } } $('.js-work-strip[data-work-id=21499907]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":21499907,"title":"‘Off the record. 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In this text, explanations are sought for both its early presentation, and the lack of controversy it aroused. That fact that it only concerned a small statuette, that conformed to the classical sculpture tradition, that it was not mentioned in the catalogue, and that the sculptress had a respectable reputation, might all have played a role. Moreover, judging from two (other) known semi-nude\nmarble statues from the same sculptor (Glycera and Morning Star), it is argued that the statuette shown in The Hague, representing the chaste Diana, must have held an acceptable balance between prudery and sensuality. 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Belle époque picture postcards of urban statues </a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://kuleuven.academia.edu/LeenEngelen">Leen Engelen</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a></span></div><div class="wp-workCard_item"><span>History of Photography</span><span>, 2013</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bcf757a05b2372b3ea9bf8362807fd25" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36160960,"asset_id":10028399,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36160960/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10028399"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10028399"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10028399; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10028399]").text(description); $(".js-view-count[data-work-id=10028399]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10028399; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10028399']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 10028399, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "bcf757a05b2372b3ea9bf8362807fd25" } } $('.js-work-strip[data-work-id=10028399]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10028399,"title":"Between the Studio and the Snapshot. 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Glazen kunstobjecten als resultaat van de samenwerking tussen industrieel Georges Despret en kunstenaar Yvonne Serruys (ca. 1905-1910)’, Anna Bergmans (ed.), Gentse Bijdragen tot de Interieurgeschiedenis, 37:2010-2011 (2013): 89-120.</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="580015eb1692b2878c09c04aa5a078b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38498157,"asset_id":14989225,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38498157/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14989225"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14989225"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14989225; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=14989225]").text(description); $(".js-view-count[data-work-id=14989225]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 14989225; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='14989225']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 14989225, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "580015eb1692b2878c09c04aa5a078b9" } } $('.js-work-strip[data-work-id=14989225]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":14989225,"title":"‘Van vazen tot naakten. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="3791060"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/3791060/Een_machtige_veropenbaring_der_jeugdige_Gentsche_kunst_publieke_kunst_in_het_kader_van_de_Gentse_Wereldtentoonstelling"><img alt="Research paper thumbnail of 'Een machtige veropenbaring der jeugdige Gentsche kunst :' publieke kunst in het kader van de Gentse Wereldtentoonstelling" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/3791060/Een_machtige_veropenbaring_der_jeugdige_Gentsche_kunst_publieke_kunst_in_het_kader_van_de_Gentse_Wereldtentoonstelling">'Een machtige veropenbaring der jeugdige Gentsche kunst :' publieke kunst in het kader van de Gentse Wereldtentoonstelling</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/JanaWijnsouw">Jana Wijnsouw</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a></span></div><div class="wp-workCard_item"><span>HANDELINGEN VAN DE MAATSCHAPPIJ VOOR GESCHIEDENIS EN OUDHEIDKUNDE TE GENT</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The Ghent World Fair, organized in 1913, was a great opportunity for the city to encourage the re...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The Ghent World Fair, organized in 1913, was a great opportunity for the city to encourage the realization of public art, both on the exhibition grounds as in the city center. Already in 1911, the local press expressed its concern about the assignment of a public commission to two Brussels artists and insisted that the young and talented Ghent sculptors should not be overlooked. Though no traces of a structural, strategic commissioning program were found, the organizing committee lavishly granted this request by almost exclusively selecting Ghent sculptors for the main sculptural assignments, such as Geo Verbanck for the Monument for the Brothers Van Eyck, Aloïs De Beule for The Steed Beyaert, and Jules Van Biesbroeck (jr.) for Beauty, Strength and Wisdom. Moreover, almost all these sculptors were closely associated with members of the organizing committee, for instance belonging to the same guild or committees, or with each other, having shared mutual commissions, teachers, etc. This chapter offers an overview of the public commissions at the Ghent World Fair, and elucidates their organization, representation, reception and fate during and after the Fair. Furthermore, the exterior and interior decorations of most of the exhibition pavilions, including wall paintings, decorative reliefs, etc., are discussed. These commissions for pavilion decorations were often also assigned to local artists, with only a few exceptions. Only the decoration of the pavilions of foreign nations, some smaller commissions, and the casting of the bronzes were executed by city-outsiders. Moreover, local, ‘modern’ artists, such as George Minne, were surpassed for the public art commissions in favour of sculptors with a more academic style, belonging to the same network. Consequently, the international ambitions of the World Fair were mainly substantiated by local, traditional-style sculptors. As was the case for past and future World Fairs, the public art at the Ghent World Fair generated questions about traditionalism and modernity, as well as the balance between local, national and international ambitions and concerns.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="3791060"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="3791060"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3791060; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3791060]").text(description); $(".js-view-count[data-work-id=3791060]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3791060; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='3791060']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 3791060, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=3791060]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":3791060,"title":"'Een machtige veropenbaring der jeugdige Gentsche kunst :' publieke kunst in het kader van de Gentse Wereldtentoonstelling","translated_title":"","metadata":{"abstract":"The Ghent World Fair, organized in 1913, was a great opportunity for the city to encourage the realization of public art, both on the exhibition grounds as in the city center. 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Hanna Klarenbeek, Penseelprinsessen & broodschilderessen. Vrouwen in de beeldende kunst 1808-1913. BMGN - Low Countries Historical Review. 128(2), p.review 45. DOI: http://doi.org/10.18352/bmgn-lchr.8443" class="work-thumbnail" src="https://attachments.academia-assets.com/49748502/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/21849224/Sterckx_M_2013_Hanna_Klarenbeek_Penseelprinsessen_and_broodschilderessen_Vrouwen_in_de_beeldende_kunst_1808_1913_BMGN_Low_Countries_Historical_Review_128_2_p_review_45_DOI_http_doi_org_10_18352_bmgn_lchr_8443">Sterckx, M., (2013). Hanna Klarenbeek, Penseelprinsessen & broodschilderessen. Vrouwen in de beeldende kunst 1808-1913. BMGN - Low Countries Historical Review. 128(2), p.review 45. 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De casus Brussel’, Belgisch Tijdschrift voor Oudheidkunde en Kunstgeschiedenis, 80:1 (2011): 99-123.</a></div><div class="wp-workCard_item"><span>Belgisch Tijdschrift voor Oudheidkunde en Kunstgeschiedenis</span><span>, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="52a9eba92a9a982ae8215b52befe15d6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64845939,"asset_id":38525241,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64845939/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38525241"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38525241"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38525241; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38525241]").text(description); $(".js-view-count[data-work-id=38525241]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38525241; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38525241']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38525241, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "52a9eba92a9a982ae8215b52befe15d6" } } $('.js-work-strip[data-work-id=38525241]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38525241,"title":"Sterckx, M., ‘Publieke sculpturen van de hand van vrouwen. 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Male bodies and bonds in two fin de siècle sculptures by Constantin Meunier and George Minne" class="work-thumbnail" src="https://attachments.academia-assets.com/79541294/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/69445598/The_prodigal_son_revisited_Male_bodies_and_bonds_in_two_fin_de_si%C3%A8cle_sculptures_by_Constantin_Meunier_and_George_Minne">The prodigal son revisited. 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Sterckx, ‘Het interieur als getuige. Forensische fotografie als bron voor interieurstudie’, In: M. Sterckx (ed.), Crime Scenes. Interbelluminterieurs door de lens van de forensische fotografie (Gent: A&S Books, 2021), pp. 51-62." class="work-thumbnail" src="https://attachments.academia-assets.com/68697920/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50830479/M_Sterckx_Het_interieur_als_getuige_Forensische_fotografie_als_bron_voor_interieurstudie_In_M_Sterckx_ed_Crime_Scenes_Interbelluminterieurs_door_de_lens_van_de_forensische_fotografie_Gent_A_and_S_Books_2021_pp_51_62">M. Sterckx, ‘Het interieur als getuige. Forensische fotografie als bron voor interieurstudie’, In: M. Sterckx (ed.), Crime Scenes. Interbelluminterieurs door de lens van de forensische fotografie (Gent: A&S Books, 2021), pp. 51-62.</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9757f340db7cf765a56bcf9091774482" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68697920,"asset_id":50830479,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68697920/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50830479"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50830479"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50830479; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=50830479]").text(description); $(".js-view-count[data-work-id=50830479]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 50830479; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='50830479']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 50830479, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9757f340db7cf765a56bcf9091774482" } } $('.js-work-strip[data-work-id=50830479]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":50830479,"title":"M. 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Sterckx, ‘Het interieur zoals het was. Interbelluminterieurs in Vlaanderen door de lens van de forensische fotografie’, In: M. Sterckx (ed.), Crime Scenes. Interbelluminterieurs door de lens van de forensische fotografie (Gent: A&S Books, 2021), pp. 189-201." class="work-thumbnail" src="https://attachments.academia-assets.com/68697907/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50830462/M_Sterckx_Het_interieur_zoals_het_was_Interbelluminterieurs_in_Vlaanderen_door_de_lens_van_de_forensische_fotografie_In_M_Sterckx_ed_Crime_Scenes_Interbelluminterieurs_door_de_lens_van_de_forensische_fotografie_Gent_A_and_S_Books_2021_pp_189_201">M. Sterckx, ‘Het interieur zoals het was. Interbelluminterieurs in Vlaanderen door de lens van de forensische fotografie’, In: M. Sterckx (ed.), Crime Scenes. 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Rebuild, Remember, Repair, Reform</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The book is available in open access: https://library.oapen.org/handle/20.500.12657/43023</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="eb00019786042d478af4c2b7bfd82e53" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65003298,"asset_id":44553103,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65003298/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44553103"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44553103"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44553103; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44553103]").text(description); $(".js-view-count[data-work-id=44553103]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44553103; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44553103']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44553103, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "eb00019786042d478af4c2b7bfd82e53" } } $('.js-work-strip[data-work-id=44553103]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44553103,"title":"Expressing Grief and Gratitude in an Unsettled Time: Temporary First World War Memorials in Belgium","translated_title":"","metadata":{"doi":"10.11116/9789461663542","abstract":"The book is available in open access: https://library.oapen.org/handle/20.500.12657/43023","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Revival After the Great War. 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Sterckx, ‘The nationality of sculpture. The international mobility of nineteenth-century sculptors and their work’, in: M. Sterckx & T. Verschaffel (eds.), Sculpting Abroad. Nationality and mobility of sculptors in the nineteenth century (Turnhout: Brepols, 2020), pp. 3-16." class="work-thumbnail" src="https://attachments.academia-assets.com/64490420/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44137794/Verschaffel_Tom_and_M_Sterckx_The_nationality_of_sculpture_The_international_mobility_of_nineteenth_century_sculptors_and_their_work_in_M_Sterckx_and_T_Verschaffel_eds_Sculpting_Abroad_Nationality_and_mobility_of_sculptors_in_the_nineteenth_century_Turnhout_Brepols_2020_pp_3_16">Verschaffel, Tom & M. Sterckx, ‘The nationality of sculpture. The international mobility of nineteenth-century sculptors and their work’, in: M. Sterckx & T. Verschaffel (eds.), Sculpting Abroad. Nationality and mobility of sculptors in the nineteenth century (Turnhout: Brepols, 2020), pp. 3-16.</a></div><div class="wp-workCard_item"><span>in: M. Sterckx & T. Verschaffel (eds.), Sculpting Abroad. Nationality and mobility of sculptors in the nineteenth century, XIX. Studies in 19th-century arts and visual culture, vol. 3 (Turnhout: Brepols, 2020), pp. 3-16.</span><span>, 2020</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a7f3aeac96e662912610b5f6caa8351e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64490420,"asset_id":44137794,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64490420/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44137794"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44137794"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44137794; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44137794]").text(description); $(".js-view-count[data-work-id=44137794]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44137794; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44137794']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44137794, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a7f3aeac96e662912610b5f6caa8351e" } } $('.js-work-strip[data-work-id=44137794]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44137794,"title":"Verschaffel, Tom \u0026 M. 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Dixon & G.P. Weisberg (eds.), Making Waves: Crosscurrents in the Study of Nineteenth-Century Art, XIX. Studies in Nineteenth-Century Arts and Visual Culture, 4, Turnhout: Brepols, 2019, pp. 115-123." class="work-thumbnail" src="https://attachments.academia-assets.com/65005673/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42865046/The_Heijermans_case_censorship_of_the_female_artist_s_gaze_in_fin_de_si%C3%A8cle_Brussels_in_L_Dixon_and_G_P_Weisberg_eds_Making_Waves_Crosscurrents_in_the_Study_of_Nineteenth_Century_Art_XIX_Studies_in_Nineteenth_Century_Arts_and_Visual_Culture_4_Turnhout_Brepols_2019_pp_115_123">The Heijermans case: censorship of the female (artist’s) gaze in fin-de-siècle Brussels, in: L. Dixon & G.P. Weisberg (eds.), Making Waves: Crosscurrents in the Study of Nineteenth-Century Art, XIX. Studies in Nineteenth-Century Arts and Visual Culture, 4, Turnhout: Brepols, 2019, pp. 115-123.</a></div><div class="wp-workCard_item"><span>Making Waves: Crosscurrents in the Study of Nineteenth-Century Art</span><span>, 2019</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="74c97df79c60e2bb9569e614022d0387" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65005673,"asset_id":42865046,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65005673/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42865046"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42865046"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42865046; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42865046]").text(description); $(".js-view-count[data-work-id=42865046]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42865046; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42865046']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42865046, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "74c97df79c60e2bb9569e614022d0387" } } $('.js-work-strip[data-work-id=42865046]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42865046,"title":"The Heijermans case: censorship of the female (artist’s) gaze in fin-de-siècle Brussels, in: L. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38945801"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38945801/Women_sculptors_and_their_male_assistants_a_criticized_but_common_practice_in_France_in_the_long_nineteenth_century"><img alt="Research paper thumbnail of Women sculptors and their male assistants: a criticized but common practice in France in the long nineteenth century" class="work-thumbnail" src="https://attachments.academia-assets.com/63587168/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38945801/Women_sculptors_and_their_male_assistants_a_criticized_but_common_practice_in_France_in_the_long_nineteenth_century">Women sculptors and their male assistants: a criticized but common practice in France in the long nineteenth century</a></div><div class="wp-workCard_item"><span>Laurence Riviale & Jean-François Luneau (eds.), L’invention partagée. Elaboration plurielle dans les arts visuels (XIIIe-XXIe siècle)</span><span>, 2019</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="be8ca6175aea7f86951b477f4e650079" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63587168,"asset_id":38945801,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63587168/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38945801"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38945801"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38945801; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38945801]").text(description); $(".js-view-count[data-work-id=38945801]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38945801; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38945801']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38945801, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "be8ca6175aea7f86951b477f4e650079" } } $('.js-work-strip[data-work-id=38945801]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38945801,"title":"Women sculptors and their male assistants: a criticized but common practice in France in the long nineteenth century","translated_title":"","metadata":{"grobid_abstract":"The creation process of sculpture always has relied on the use of assistants. However, women sculptors often have faced a double standard. Despite simply following standard sculpting practices, they have commonly been reproached for not being the true authors of their works, as sceptics could hardly believe a woman, due to her slighter physique, could be a sculptor. The multitude of references to such rumours and comments in historic and more recent publications on women sculptors shows that it has been an international and persistent phenomenon. This article takes France, and particularly Paris, as a case study, covering the (very) long nineteenth century, with the aim of examining developments across different periods.","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Laurence Riviale \u0026 Jean-François Luneau (eds.), L’invention partagée. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38525251"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38525251/_T%C3%B6chter_von_Sisyphus_Bildhauerinnen_in_Westeuropa_ca_1750_1920_Sisyphus_s_daughters_Women_sculptors_in_Western_Europe_from_c_1750_1920_in_Marc_Gundel_Arie_Hartog_Frank_Schmidt_eds_Bildhauerinnen_in_Deutschland_Women_Sculptors_in_Germany_Cologne_Wienand_2019_pp_174_179"><img alt="Research paper thumbnail of ‘Töchter von Sisyphus. Bildhauerinnen in Westeuropa, ca. 1750-1920’/‘Sisyphus’s daughters. Women sculptors in Western Europe from c. 1750-1920’, in: Marc Gundel, Arie Hartog, Frank Schmidt (eds.), Bildhauerinnen in Deutschland/ Women Sculptors in Germany, Cologne: Wienand, 2019, pp. 174-179." class="work-thumbnail" src="https://attachments.academia-assets.com/64481871/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38525251/_T%C3%B6chter_von_Sisyphus_Bildhauerinnen_in_Westeuropa_ca_1750_1920_Sisyphus_s_daughters_Women_sculptors_in_Western_Europe_from_c_1750_1920_in_Marc_Gundel_Arie_Hartog_Frank_Schmidt_eds_Bildhauerinnen_in_Deutschland_Women_Sculptors_in_Germany_Cologne_Wienand_2019_pp_174_179">‘Töchter von Sisyphus. Bildhauerinnen in Westeuropa, ca. 1750-1920’/‘Sisyphus’s daughters. Women sculptors in Western Europe from c. 1750-1920’, in: Marc Gundel, Arie Hartog, Frank Schmidt (eds.), Bildhauerinnen in Deutschland/ Women Sculptors in Germany, Cologne: Wienand, 2019, pp. 174-179.</a></div><div class="wp-workCard_item"><span>Bildhauerinnen in Deutschland/ Women Sculptors in Germany</span><span>, 2019</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f788afbbf3f7607ae0b6af4faf53b960" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64481871,"asset_id":38525251,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64481871/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38525251"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38525251"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38525251; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38525251]").text(description); $(".js-view-count[data-work-id=38525251]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38525251; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38525251']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38525251, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f788afbbf3f7607ae0b6af4faf53b960" } } $('.js-work-strip[data-work-id=38525251]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38525251,"title":"‘Töchter von Sisyphus. 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class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41382136/_L_artiste_and_l_entrepreneur_La_collaboration_cr%C3%A9ative_de_Georges_Despret_et_Yvonne_Serruys_entre_1905_et_1910_"><img alt="Research paper thumbnail of ‘L’artiste & l’entrepreneur. La collaboration créative de Georges Despret et Yvonne Serruys entre 1905 et 1910’" class="work-thumbnail" src="https://attachments.academia-assets.com/61576369/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41382136/_L_artiste_and_l_entrepreneur_La_collaboration_cr%C3%A9ative_de_Georges_Despret_et_Yvonne_Serruys_entre_1905_et_1910_">‘L’artiste & l’entrepreneur. La collaboration créative de Georges Despret et Yvonne Serruys entre 1905 et 1910’</a></div><div class="wp-workCard_item"><span>Aziza Gril-Mariotte (ed.), L’Artiste & l’objet. La création dans les arts décoratifs (XVIIIe-XXe siècle) (Rennes: Presses Universitaires de Rennes)</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Sterckx, M., ‘L’artiste & l’entrepreneur. La collaboration créative de Georges Despret et Yvonne ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Sterckx, M., ‘L’artiste & l’entrepreneur. La collaboration créative de Georges Despret et Yvonne Serruys entre 1905 et 1910’, in: Aziza Gril-Mariotte (ed.), L’Artiste & l’objet. La création dans les arts décoratifs (XVIIIe-XXe siècle) (Rennes: Presses Universitaires de Rennes, 2018), pp. 185-199, XV-XX.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f7f2ac10ac00d3fa344d1b8b03566894" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61576369,"asset_id":41382136,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61576369/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41382136"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41382136"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41382136; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41382136]").text(description); $(".js-view-count[data-work-id=41382136]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41382136; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41382136']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41382136, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f7f2ac10ac00d3fa344d1b8b03566894" } } $('.js-work-strip[data-work-id=41382136]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41382136,"title":"‘L’artiste \u0026 l’entrepreneur. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36886990"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/36886990/_Avec_les_sculpteurs_belges_nous_ne_sortons_pas_de_la_France_An_art_critical_dialogue_between_Belgium_and_France_Thierry_Laug%C3%A9e_and_Carole_Rabiller_Critique_dart_et_nationalisme_Regards_fran%C3%A7ais_sur_lart_europ%C3%A9en_au_XIXe_si%C3%A8cle_Peter_Lang_Oxford_Vienna_2017_pp_123_134"><img alt="Research paper thumbnail of ‘Avec les sculpteurs belges, nous ne sortons pas de la France’, An art critical dialogue between Belgium and France, Thierry Laugée and Carole Rabiller, Critique d'art et nationalisme, Regards français sur l'art européen au XIXe siècle, Peter Lang, Oxford-Vienna, 2017, pp. 123-134." class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/36886990/_Avec_les_sculpteurs_belges_nous_ne_sortons_pas_de_la_France_An_art_critical_dialogue_between_Belgium_and_France_Thierry_Laug%C3%A9e_and_Carole_Rabiller_Critique_dart_et_nationalisme_Regards_fran%C3%A7ais_sur_lart_europ%C3%A9en_au_XIXe_si%C3%A8cle_Peter_Lang_Oxford_Vienna_2017_pp_123_134">‘Avec les sculpteurs belges, nous ne sortons pas de la France’, An art critical dialogue between Belgium and France, Thierry Laugée and Carole Rabiller, Critique d'art et nationalisme, Regards français sur l'art européen au XIXe siècle, Peter Lang, Oxford-Vienna, 2017, pp. 123-134.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/JanaWijnsouw">Jana Wijnsouw</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Nineteenth-century Belgian and French sculpture were part of similar, often entwined developments...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nineteenth-century Belgian and French sculpture were part of similar, often entwined developments. The presence of French sculptors, such as Auguste Rodin or Albert-Ernest Carrier-Belleuse in Belgium coincided with attempts to develop Belgium’s own ‘national’ sculpture school. Simultaneously, almost all major French sculptors exhibited at the Belgian Salons, while every Belgian sculptor aspiring fame, studied and exhibited in Paris. In 1878, in a review of the Fine Arts exhibition at the World Fair in Paris, sculptor Henri Chapu stated, ‘Avec les sculpteurs belges, nous ne sortons pas de la France. Beaucoup se sont formés à Paris et leur style n’est pas sensiblement distinct de celui de notre école’. At the same time, however, art critics also stressed the artists’ origin and nationality, linking them to national characteristics and establishing a hierarchy of ‘national schools’. Next to this categorization, the transnational exchange between artists also had a significant equivalent in the art critical discourse. Many Belgian francophile magazines reported of the latest developments in Paris, while French critics discussed the presence of French artists in Belgium and Belgian artists in Paris, contributing to the mental proximity between these two nations. The significant effect of this exchange is illustrated by the case of Constantin Meunier, whose early sculptures are reviewed in the Belgian press in an often positive, yet also remarkably brief way, while French art critics devote elaborate words of praise to him. In response, the Belgian avant-garde journal, L’Art Moderne, ‘promotes’ Meunier’s art by publishing excerpts from these French magazines. This way, the Parisian art critics’ high praise gradually reached Belgium and caused a rise in popularity for Meunier. This chapter focusses on the role and importance of art critical magazines in the reporting and moulding of the complex exchange between French and Belgian sculpture. Special attention is paid to nationality as a means of classification. Finally, the simultaneous dialogue between artists and art critics of different nations, as well as the used terminology and its contribution to a hierarchy of national schools are examined.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36886990"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36886990"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36886990; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36886990]").text(description); $(".js-view-count[data-work-id=36886990]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36886990; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36886990']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36886990, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=36886990]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36886990,"title":"‘Avec les sculpteurs belges, nous ne sortons pas de la France’, An art critical dialogue between Belgium and France, Thierry Laugée and Carole Rabiller, Critique d'art et nationalisme, Regards français sur l'art européen au XIXe siècle, Peter Lang, Oxford-Vienna, 2017, pp. 123-134.","translated_title":"","metadata":{"abstract":"Nineteenth-century Belgian and French sculpture were part of similar, often entwined developments. 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At the same time, however, art critics also stressed the artists’ origin and nationality, linking them to national characteristics and establishing a hierarchy of ‘national schools’. Next to this categorization, the transnational exchange between artists also had a significant equivalent in the art critical discourse. Many Belgian francophile magazines reported of the latest developments in Paris, while French critics discussed the presence of French artists in Belgium and Belgian artists in Paris, contributing to the mental proximity between these two nations. The significant effect of this exchange is illustrated by the case of Constantin Meunier, whose early sculptures are reviewed in the Belgian press in an often positive, yet also remarkably brief way, while French art critics devote elaborate words of praise to him. In response, the Belgian avant-garde journal, L’Art Moderne, ‘promotes’ Meunier’s art by publishing excerpts from these French magazines. This way, the Parisian art critics’ high praise gradually reached Belgium and caused a rise in popularity for Meunier. This chapter focusses on the role and importance of art critical magazines in the reporting and moulding of the complex exchange between French and Belgian sculpture. Special attention is paid to nationality as a means of classification. Finally, the simultaneous dialogue between artists and art critics of different nations, as well as the used terminology and its contribution to a hierarchy of national schools are examined.","internal_url":"https://www.academia.edu/36886990/_Avec_les_sculpteurs_belges_nous_ne_sortons_pas_de_la_France_An_art_critical_dialogue_between_Belgium_and_France_Thierry_Laug%C3%A9e_and_Carole_Rabiller_Critique_dart_et_nationalisme_Regards_fran%C3%A7ais_sur_lart_europ%C3%A9en_au_XIXe_si%C3%A8cle_Peter_Lang_Oxford_Vienna_2017_pp_123_134","translated_internal_url":"","created_at":"2018-06-21T05:26:23.122-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":3147016,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":31561985,"work_id":36886990,"tagging_user_id":3147016,"tagged_user_id":17200712,"co_author_invite_id":null,"email":"m***x@ugent.be","affiliation":"Ghent University","display_order":0,"name":"Marjan Sterckx","title":"‘Avec les sculpteurs belges, nous ne sortons pas de la France’, An art critical dialogue between Belgium and France, Thierry Laugée and Carole Rabiller, Critique d'art et nationalisme, Regards français sur l'art européen au XIXe siècle, Peter Lang, Oxford-Vienna, 2017, pp. 123-134."}],"downloadable_attachments":[],"slug":"_Avec_les_sculpteurs_belges_nous_ne_sortons_pas_de_la_France_An_art_critical_dialogue_between_Belgium_and_France_Thierry_Laugée_and_Carole_Rabiller_Critique_dart_et_nationalisme_Regards_français_sur_lart_européen_au_XIXe_siècle_Peter_Lang_Oxford_Vienna_2017_pp_123_134","translated_slug":"","page_count":null,"language":"en","content_type":"Work","owner":{"id":3147016,"first_name":"Jana","middle_initials":"","last_name":"Wijnsouw","page_name":"JanaWijnsouw","domain_name":"ugent","created_at":"2013-01-17T20:44:06.492-08:00","display_name":"Jana Wijnsouw","url":"https://ugent.academia.edu/JanaWijnsouw"},"attachments":[],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36708548"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36708548/J_Wijnsouw_T_Verschaffel_and_M_Sterckx_Avec_les_sculpteurs_belges_nous_ne_sortons_pas_de_la_France_an_art_critical_dialogue_between_Belgium_and_France"><img alt="Research paper thumbnail of J. Wijnsouw, T. Verschaffel & M. Sterckx, 'Avec les sculpteurs belges, nous ne sortons pas de la France’ : an art critical dialogue between Belgium and France'" class="work-thumbnail" src="https://attachments.academia-assets.com/56768129/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36708548/J_Wijnsouw_T_Verschaffel_and_M_Sterckx_Avec_les_sculpteurs_belges_nous_ne_sortons_pas_de_la_France_an_art_critical_dialogue_between_Belgium_and_France">J. Wijnsouw, T. Verschaffel & M. Sterckx, 'Avec les sculpteurs belges, nous ne sortons pas de la France’ : an art critical dialogue between Belgium and France'</a></div><div class="wp-workCard_item"><span>Thierry Laugée and Carole Rabiller, Critique d'art et nationalisme: regards français sur l'art européen au XIXe siècle, Peter Lang, 2017, pp.123-134.</span><span>, 2017</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="032720b65c5a08d1411f3de1e8cb71b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56768129,"asset_id":36708548,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56768129/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36708548"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36708548"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36708548; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36708548]").text(description); $(".js-view-count[data-work-id=36708548]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36708548; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36708548']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36708548, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "032720b65c5a08d1411f3de1e8cb71b9" } } $('.js-work-strip[data-work-id=36708548]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36708548,"title":"J. 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Kunst en grafische vormgeving in het interbellum (Leuven: Peeters, 2015): 61-71.</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="734aacbf31090cbce56bed92b2f9a933" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41939664,"asset_id":21500071,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41939664/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="21500071"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="21500071"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 21500071; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=21500071]").text(description); $(".js-view-count[data-work-id=21500071]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 21500071; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='21500071']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 21500071, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "734aacbf31090cbce56bed92b2f9a933" } } $('.js-work-strip[data-work-id=21500071]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":21500071,"title":"‘Van fotografie tot wafelijzer: Yvonne Serruys als auteur voor Arts et métiers graphiques’, in: Kristof Van Gansen (red.), Arts et métiers graphiques. 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C'est beaucoup pour une seule femme, mais on s'enrichit dans la vie multipliée par les autres […]\". 3 Die meervoudige ervaring, in de kunst en in het huishouden, spreekt uit de onderwerpen en de aanpak van Serruys' artikelen voor Arts et métiers graphiques. 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Sculpteur de la femme nouvelle" class="work-thumbnail" src="https://attachments.academia-assets.com/104087640/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104327814/Yvonne_Serruys_Sculpteur_de_la_femme_nouvelle">Yvonne Serruys. Sculpteur de la femme nouvelle</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Durant la première moitié du XXe siècle, l'artiste franco-belge Yvonne Serruys (1873-1953) fait c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Durant la première moitié du XXe siècle, l'artiste franco-belge Yvonne Serruys (1873-1953) fait carrière à Paris. Issue d'une famille bourgeoise de Menin passionnée d'art, elle bénéficie d'une solide formation intellectuelle, musicale et artistique, qu'elle complète auprès du luministe Émile Claus à Astene et du pointilliste Georges Lemmen à Bruxelles. À partir de 1898, elle participe presque chaque année aux Salons parisiens. Dès ses 30 ans, elle s'y trouve un logement et un atelier à elle. Vers 1905, après le succès de sa première exposition personnelle à Paris, elle passe définitivement à la sculpture, réalisant surtout des statuettes de jeunes femmes nues dans des poses spontanées. Parallèlement, elle conçoit des centaines de modèles d'objets décoratifs en (pâte de) verre et, avant la Première Guerre mondiale, deux groupes</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0fb51222039738ace21a936e55deccdc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104087640,"asset_id":104327814,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104087640/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="104327814"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="104327814"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 104327814; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=104327814]").text(description); $(".js-view-count[data-work-id=104327814]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 104327814; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='104327814']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 104327814, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0fb51222039738ace21a936e55deccdc" } } $('.js-work-strip[data-work-id=104327814]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":104327814,"title":"Yvonne Serruys. 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Male bonds...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Masculinities in nineteenth-century art through the lens of gender and queer history. <br />Male bonds were omnipresent in nineteenth-century European artistic scenes, impacting the creation, presentation, and reception of art in decisive ways. Men’s lives and careers bore the marks of their relations with other men. Yet, such male bonds are seldom acknowledged for what they are: gendered and historically determined social constructs. This volume shines a critical light on male homosociality in the arts of the long nineteenth century by combining art history with the insights of gender and queer history. From this interdisciplinary perspective, the contributing authors present case studies of men’s relationships in a variety of contexts, which range from the Hungarian Reform Age to the Belgian fin de siècle. As a whole, the book offers a historicizing survey of the male bonds that underpinned nineteenth-century art and a thought-provoking reflection on its theoretical and methodological implications.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1a0377a0c49d4668462c4fd0e1c08f72" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":79541365,"asset_id":69445699,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/79541365/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="69445699"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="69445699"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 69445699; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=69445699]").text(description); $(".js-view-count[data-work-id=69445699]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 69445699; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='69445699']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 69445699, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1a0377a0c49d4668462c4fd0e1c08f72" } } $('.js-work-strip[data-work-id=69445699]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":69445699,"title":"Thijs Dekeukeleire, Henk de Smaele \u0026 Marjan Sterckx (eds), Male Bonds in Nineteenth-Century Art (Leuven: Leuven University Press, 2021)","translated_title":"","metadata":{"abstract":"Masculinities in nineteenth-century art through the lens of gender and queer history.\r\nMale bonds were omnipresent in nineteenth-century European artistic scenes, impacting the creation, presentation, and reception of art in decisive ways. 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Sterckx & Tom Verschaffel (eds.), Sculpting Abroad. Nationality and mobility of sculptors in the nineteenth century, XIX. Studies in 19th-century arts and visual culture, vol. 3 (Turnhout: Brepols Publishers, 2020)." class="work-thumbnail" src="https://attachments.academia-assets.com/64478749/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44127978/M_Sterckx_and_Tom_Verschaffel_eds_Sculpting_Abroad_Nationality_and_mobility_of_sculptors_in_the_nineteenth_century_XIX_Studies_in_19th_century_arts_and_visual_culture_vol_3_Turnhout_Brepols_Publishers_2020_">M. Sterckx & Tom Verschaffel (eds.), Sculpting Abroad. Nationality and mobility of sculptors in the nineteenth century, XIX. Studies in 19th-century arts and visual culture, vol. 3 (Turnhout: Brepols Publishers, 2020).</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This volume analyses the international mobility of sculptors and their work in the nineteenth cen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This volume analyses the international mobility of sculptors and their work in the nineteenth century. The creation of nation-states at that time coincided with an increasingly international outlook shared by artists, their commissioners, sellers, buyers and critics. Sculptors were encouraged to study and work abroad, and were recognized for their foreign experiences and successes. 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Baarsen), Leuven: Peeters Publishers, 2020.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/AnnaBergmans">Anna Bergmans</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="45f37b06bd59f6b2c7d0e5745f967611" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66348263,"asset_id":47041832,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66348263/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="47041832"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="47041832"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 47041832; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=47041832]").text(description); $(".js-view-count[data-work-id=47041832]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 47041832; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='47041832']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 47041832, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "45f37b06bd59f6b2c7d0e5745f967611" } } $('.js-work-strip[data-work-id=47041832]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":47041832,"title":"Tijdschrift voor Interieurgeschiedenis en Design, red. 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Het paviljoen De Notelaer in Hingene</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/PaulVandenBremt">Paul Van den Bremt</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://trismegistos.academia.edu/VincentDebonne">Vincent Debonne</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/ABergmans">A. Bergmans</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/WillemHulstaert">Willem Hulstaert</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/ThomasVanDriessche">Thomas Van Driessche</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/JohanVanLaecke">Johan Van Laecke</a></span></div><div class="wp-workCard_item"><span>Historische Publicaties</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Anna Bergmans UGent, Joke Buijs, Marjan Buyle, Vincent Debonne, Koen Deforce UGent, Koen De Vlieg...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Anna Bergmans UGent, Joke Buijs, Marjan Buyle, Vincent Debonne, Koen Deforce UGent, Koen De Vlieger-De Wilde, Xavier Duquenne, Baudouin d&#x27;Ursel, Kristof Haneca UGent and Willem Hulstaert, et al. (2010) Historische Publicaties. 4. ... Bergmans, Anna, Joke Buijs, Marjan Buyle, Vincent Debonne, Koen Deforce, Koen De Vlieger-De Wilde, Xavier Duquenne, et al. 2010. Voor Hertog En Veerman. Het Paviljoen De Notelaer in Hingene. Historische Publicaties. Vol. 4. Antwerpen: Provinciebestuur Antwerpen. ... 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Kunstenaarsherbergen op het Belgische platteland, 1840-1914 (Gent: Mens en Cultuur, 2019), p. 7-12." class="work-thumbnail" src="https://attachments.academia-assets.com/61515134/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41301174/Sterckx_M_Woord_vooraf_Een_pleidooi_voor_herwaardering_in_Marie_Becuwe_In_de_kunst_gelogeerd_Kunstenaarsherbergen_op_het_Belgische_platteland_1840_1914_Gent_Mens_en_Cultuur_2019_p_7_12">Sterckx, M., ‘Woord vooraf: Een pleidooi voor herwaardering’, in: Marie Becuwe, In de kunst gelogeerd. Kunstenaarsherbergen op het Belgische platteland, 1840-1914 (Gent: Mens en Cultuur, 2019), p. 7-12.</a></div><div class="wp-workCard_item"><span>In de kunst gelogeerd. 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Die Bildenden Künstler aller Zeiten und Völker, Init. by Günter Meissner, Ed. by Andreas Beyer, Bénédicte Savoy, Wolf Tegethoff (München: De Gruyter, 2017), vol. 96, p. 154-155.</a></div><div class="wp-workCard_item"><span>AKL</span><span>, 2017</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="32d703a97e206672cbbeb8fc4fa9fc6a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63042740,"asset_id":42812711,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63042740/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42812711"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42812711"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42812711; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42812711]").text(description); $(".js-view-count[data-work-id=42812711]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42812711; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42812711']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42812711, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "32d703a97e206672cbbeb8fc4fa9fc6a" } } $('.js-work-strip[data-work-id=42812711]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42812711,"title":"‘Plomdeur (Morel), Simone’, in: Allgemeines Künstlerlexikon (AKL). 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Die Bildenden Künstler aller Zeiten und Völker, Init. by Günter Meissner, Ed. by Andreas Beyer, Bénédicte Savoy, Wolf Tegethoff (München: De Gruyter, 2015), LXXXVI, p. 379. 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(2014). ‘Lefèvre-Deumier, Marie-Louise (1812-1877)’, in: Allgemeines Künstlerlexikon (AKL). 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Die Bildenden Künstler aller Zeiten und Völker, Init. by Günter Meissner, Ed. by Andreas Beyer, Bénédicte Savoy, Wolf Tegethoff (München: De Gruyter, 2014), vol. 85, p. 335.</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e147d4e2c83e8f79d13064a26925a675" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":48594845,"asset_id":28270368,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/48594845/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="28270368"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="28270368"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28270368; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=28270368]").text(description); $(".js-view-count[data-work-id=28270368]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 28270368; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='28270368']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 28270368, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e147d4e2c83e8f79d13064a26925a675" } } $('.js-work-strip[data-work-id=28270368]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":28270368,"title":"Sterckx, M., ‘Lorrain, Jenny (1867-1943)’, in: Allgemeines Künstlerlexikon (AKL). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="60940315"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/60940315/CFP_Studiedag_Historisch_Interieur_en_Design_2022_Gent_28_april_2022_"><img alt="Research paper thumbnail of CFP Studiedag Historisch Interieur en Design 2022 (Gent, 28 april 2022)" class="work-thumbnail" src="https://attachments.academia-assets.com/74164734/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/60940315/CFP_Studiedag_Historisch_Interieur_en_Design_2022_Gent_28_april_2022_">CFP Studiedag Historisch Interieur en Design 2022 (Gent, 28 april 2022)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MalikaMraniAlaoui">Malika M'rani Alaoui</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Deadline: 11 nov. 2021! Voor de Studiedag Historisch Interieur en Design kunnen voorstellen inged...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Deadline: 11 nov. 2021! Voor de Studiedag Historisch Interieur en Design kunnen voorstellen ingediend worden voor presentaties van lopend of recent afgerond onderzoek in het domein van de interieur-en designgeschiedenis. De focus ligt op de geschiedenis en praktijk van interieur en design in België / de Lage Landen, of in relatie tot deze regio. De studiedag wil in eerste instantie een forum bieden en een stimulans betekenen voor diverse vormen van onderzoek gevoerd in en over België en Nederland, en gaat daarom door in het Nederlands, hoewel uitzonderlijk ook presentaties in het Frans en Engels welkom zijn. Beoogd is onderzoek gevoerd in academische en museumcontext, alsook in de monumentenzorg en erfgoedsector. Ook de presentatie van artistiek ontwerpend onderzoek is welkom, eventueel in een alternatief format. Er wordt gestreefd naar een evenwichtig programma waarin diverse wetenschappelijke disciplines (bv. kunstgeschiedenis, architectuurgeschiedenis, geschiedenis, literatuurstudie, gender studies, enz.), diverse historische periodes, materies, en werkdomeinen aan bod komen, en waarin zowel senior als junior onderzoekers een forum krijgen. De Studiedag Historisch Interieur en Design 2022 zal plaatsvinden op do. 28 april 2022 in Het Pand in Gent. Presentaties duren max. 20 minuten. Onderzoekers-ontwerpers die een ander format dan een klassieke lezing willen voorstellen, worden gevraagd hun opzet te preciseren. Stuur vóór 11 nov. per e-mail aan <a href="mailto:malika.mranialaoui@ugent.be" rel="nofollow">malika.mranialaoui@ugent.be</a> de volgende informatie in 1 bestand (max. 2 pgs.): • uw naam + e-mailadres • een werktitel • een abstract (max. 300 woorden, in het Nederlands) • een of twee afbeelding(en) met betrekking tot het voorgestelde onderzoek • een korte bio (max. 200 woorden). De voorstellen worden beoordeeld door het organiserend en wetenschappelijk comité. U ontvangt voor de Kerstvakantie bericht of uw voorstel aanvaard werd. 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Interbelluminterieurs door de lens van de forensische fotografie" class="work-thumbnail" src="https://attachments.academia-assets.com/66280735/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46902758/EXPO_CRIME_SCENES_Interbelluminterieurs_door_de_lens_van_de_forensische_fotografie">EXPO: CRIME SCENES. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="43368748"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43368748/CFP_ESNA_Talks_2020"><img alt="Research paper thumbnail of CFP ESNA Talks 2020" class="work-thumbnail" src="https://attachments.academia-assets.com/63659601/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43368748/CFP_ESNA_Talks_2020">CFP ESNA Talks 2020</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uva.academia.edu/MyrtheKrom">Myrthe Krom</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The last few months have turned the (art) world upside down. Thanks to the novel coronavirus, our...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The last few months have turned the (art) world upside down. Thanks to the novel coronavirus, our museums have been shuttered, exhibitions cancelled or delayed, our teaching moved online, and conferences and network events rescheduled. And now, as I write, a new chapter in the ongoing struggle for racial and social justice has taken center stage. ESNA stands in solidarity with those striving against violence and oppression and working for societal change. Like our colleagues around the world-in particular the Association of Historians of Nineteenth-Century Art-we see this crisis as an opportunity to begin reimagining the field of nineteenth-century art history and to commit ourselves to diversifying our own practices and setting new priorities. No small undertaking, but one that now seems more necessary than ever. These events have had a tremendous impact on all of us, both personally and as an organization. Among other things, our annual conference, Thinking in the Box-which promised to be a highlight of the year-has had to be postponed to the spring of next year (27-28 May 2021). ESNA has, however, come up with a plan to keep itself on the academic radar in these strange and often trying times. Instead of a conference, this year we will initiate ESNA Talks, an online platform for the presentation of current research into the art and culture of the long nineteenth century. We invite you to submit an abstract for a digital presentation of between 10 and 20 minutes on a topic of your choice. In honor of the seventh anniversary of ESNA's activities, we will choose seven submissions to be presented online in mid-November. Ideally abstracts should be submitted on film: one or two slides in a PowerPoint as a filmed presentation (<a href="https://support.microsoft.com/en-us/office/video-record-presentations-2570dff5-f81c-40bc-b404-e04e95ffab33" rel="nofollow">https://support.microsoft.com/en-us/office/video-record-presentations-2570dff5-f81c-40bc-b404-e04e95ffab33</a>). The deadline is 4 September 2020. We will contact you by the beginning of October if you have been chosen, and the presentations themselves will be due on 6 November 2020. Our plan is to publish the talks online via our the ESNA website and the website of the RKD under one of the creative-commons licenses. We will generate attention for the publication on social media, the press and via our partners such as the OSK, XIX, AHNCA etc.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0f0932e0e070c2fa7a583697bebd9ba3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63659601,"asset_id":43368748,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63659601/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43368748"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43368748"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43368748; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43368748]").text(description); $(".js-view-count[data-work-id=43368748]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43368748; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43368748']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 43368748, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0f0932e0e070c2fa7a583697bebd9ba3" } } $('.js-work-strip[data-work-id=43368748]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43368748,"title":"CFP ESNA Talks 2020","translated_title":"","metadata":{"abstract":"The last few months have turned the (art) world upside down. Thanks to the novel coronavirus, our museums have been shuttered, exhibitions cancelled or delayed, our teaching moved online, and conferences and network events rescheduled. And now, as I write, a new chapter in the ongoing struggle for racial and social justice has taken center stage. ESNA stands in solidarity with those striving against violence and oppression and working for societal change. Like our colleagues around the world-in particular the Association of Historians of Nineteenth-Century Art-we see this crisis as an opportunity to begin reimagining the field of nineteenth-century art history and to commit ourselves to diversifying our own practices and setting new priorities. No small undertaking, but one that now seems more necessary than ever. These events have had a tremendous impact on all of us, both personally and as an organization. Among other things, our annual conference, Thinking in the Box-which promised to be a highlight of the year-has had to be postponed to the spring of next year (27-28 May 2021). ESNA has, however, come up with a plan to keep itself on the academic radar in these strange and often trying times. Instead of a conference, this year we will initiate ESNA Talks, an online platform for the presentation of current research into the art and culture of the long nineteenth century. We invite you to submit an abstract for a digital presentation of between 10 and 20 minutes on a topic of your choice. In honor of the seventh anniversary of ESNA's activities, we will choose seven submissions to be presented online in mid-November. Ideally abstracts should be submitted on film: one or two slides in a PowerPoint as a filmed presentation (https://support.microsoft.com/en-us/office/video-record-presentations-2570dff5-f81c-40bc-b404-e04e95ffab33). The deadline is 4 September 2020. We will contact you by the beginning of October if you have been chosen, and the presentations themselves will be due on 6 November 2020. Our plan is to publish the talks online via our the ESNA website and the website of the RKD under one of the creative-commons licenses. We will generate attention for the publication on social media, the press and via our partners such as the OSK, XIX, AHNCA etc. ","publication_date":{"day":null,"month":null,"year":2020,"errors":{}}},"translated_abstract":"The last few months have turned the (art) world upside down. Thanks to the novel coronavirus, our museums have been shuttered, exhibitions cancelled or delayed, our teaching moved online, and conferences and network events rescheduled. And now, as I write, a new chapter in the ongoing struggle for racial and social justice has taken center stage. ESNA stands in solidarity with those striving against violence and oppression and working for societal change. Like our colleagues around the world-in particular the Association of Historians of Nineteenth-Century Art-we see this crisis as an opportunity to begin reimagining the field of nineteenth-century art history and to commit ourselves to diversifying our own practices and setting new priorities. No small undertaking, but one that now seems more necessary than ever. These events have had a tremendous impact on all of us, both personally and as an organization. Among other things, our annual conference, Thinking in the Box-which promised to be a highlight of the year-has had to be postponed to the spring of next year (27-28 May 2021). ESNA has, however, come up with a plan to keep itself on the academic radar in these strange and often trying times. Instead of a conference, this year we will initiate ESNA Talks, an online platform for the presentation of current research into the art and culture of the long nineteenth century. 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Preserved nude ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the nineteenth century, the life model was a cornerstone of artistic practice. Preserved nude studies offer valuable insight behind the scenes of the contemporary academy and studio. They attest to a gaze that oscillates between theory and practice, between admiration and detachment, between an aesthetic ideal and the unfiltered impression of the naked body. Through a selection of nude studies from the collections of the Ghent University Library-Book Tower and School of Arts-KASK (University College Ghent), and on the initiative of the Art, Music and Theater Sciences department of Ghent University (research group ThIS: The Inside Story), the exhibition highlights the role of the nude in the nineteenth-century art world, in particular at the Ghent Academy of Fine Arts. The male nude is granted a central place, because artists in training were made to look almost exclusively at men for most of the century: not only was When</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="711b77bdb785c32c1ea9a1579a35ddb1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62195275,"asset_id":42068727,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62195275/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42068727"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42068727"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42068727; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42068727]").text(description); $(".js-view-count[data-work-id=42068727]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42068727; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42068727']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42068727, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "711b77bdb785c32c1ea9a1579a35ddb1" } } $('.js-work-strip[data-work-id=42068727]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42068727,"title":"EXPO: Strike a pose: Nineteenth-Century Academic Nudes in Ghent Collections","translated_title":"","metadata":{"abstract":"In the nineteenth century, the life model was a cornerstone of artistic practice. 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href="https://www.academia.edu/40850400/CFP_Studiedag_Historisch_Interieur_en_Design_2020_Gent_30_apr_2020_">CFP: Studiedag Historisch Interieur en Design 2020 (Gent, 30 apr. 2020)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MarjanSterckx">Marjan Sterckx</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://ugent.academia.edu/MalikaMraniAlaoui">Malika M'rani Alaoui</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Deadline: 11 nov. 2019! Voor de Studiedag Historisch Interieur en Design kunnen voorstellen inge...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Deadline: 11 nov. 2019!<br /><br />Voor de Studiedag Historisch Interieur en Design kunnen voorstellen ingediend worden voor presentaties van lopend of recent afgerond onderzoek in het domein van de interieur-en designgeschiedenis. De focus ligt op de geschiedenis en praktijk van interieur en design in België / de Lage Landen, of in relatie tot deze regio. De studiedag wil in eerste instantie een forum bieden en een stimulans betekenen voor diverse vormen van onderzoek gevoerd in en over België en Nederland, en gaat daarom door in het Nederlands, hoewel uitzonderlijk ook presentaties in het Frans en Engels welkom zijn. Beoogd is onderzoek gevoerd in academische en museumcontext, alsook in de monumentenzorg en erfgoedsector. Ook de presentatie van artistiek ontwerpend onderzoek is welkom, eventueel in een alternatief format. Er wordt gestreefd naar een evenwichtig programma waarin diverse wetenschappelijke disciplines (bv. kunstgeschiedenis, architectuurgeschiedenis, geschiedenis, literatuurstudie, gender studies, enz.), diverse historische periodes, materies, en werkdomeinen aan bod komen, en waarin zowel senior als junior onderzoekers een forum krijgen. De Studiedag Historisch Interieur en Design 2020 zal plaatsvinden op do. 30 april 2020 in Het Pand in Gent. Presentaties duren max. 20 minuten. Onderzoekers-ontwerpers die een ander format dan een klassieke lezing willen voorstellen, worden gevraagd hun opzet te preciseren. 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The Benefits of Artistic Tradition in the Nineteenth Century (The Hague, 14-15 May 2020)" class="work-thumbnail" src="https://attachments.academia-assets.com/60950735/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40667195/CFP_ESNA_conference_2020_Thinking_in_the_Box_The_Benefits_of_Artistic_Tradition_in_the_Nineteenth_Century_The_Hague_14_15_May_2020_">CFP: ESNA conference 2020: Thinking in the Box. The Benefits of Artistic Tradition in the Nineteenth Century (The Hague, 14-15 May 2020)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Tradition is art history's eternal Other: it is that which must be overcome, resisted, thrown off...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Tradition is art history's eternal Other: it is that which must be overcome, resisted, thrown off or, if a compromise must be made, creatively appropriated. The history of the art of the nineteenth century, that "great" age of innovation, progress and revolution, is more than any other rooted in anti-traditionalist sentiment, steeped in a rhetoric that privileges innovation and bound to narrative structures geared against artistic tradition. Modernist and other teleological histories of nineteenth-century art have always emphasised change and novelty. But even revisionist accounts of the art of the nineteenth century leave scarcely any room to consider tradition in its own right. These have generally either sung the aesthetic praises of traditional art without much further reflection, or have discussed academic art as innovative in another way, either within a traditional framework or in the sense that the art under consideration points forward to developments other than those associated with formal modernism. This rejection of artistic tradition may be due to its use in fascist and totalitarian ideologies, but is also the result of a structuralist approach within the discipline of art history that continuously opposes new</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="eb3bc851b9728e4bbd62095850453290" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60950735,"asset_id":40667195,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60950735/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40667195"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40667195"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40667195; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40667195]").text(description); $(".js-view-count[data-work-id=40667195]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40667195; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40667195']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40667195, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "eb3bc851b9728e4bbd62095850453290" } } $('.js-work-strip[data-work-id=40667195]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40667195,"title":"CFP: ESNA conference 2020: Thinking in the Box. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40628080"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40628080/CFP_ESNA_Winter_Seminar_2020_Eyeopeners_Den_Haag"><img alt="Research paper thumbnail of CFP: ESNA Winter Seminar 2020: Eyeopeners, Den Haag" class="work-thumbnail" src="https://attachments.academia-assets.com/60907802/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40628080/CFP_ESNA_Winter_Seminar_2020_Eyeopeners_Den_Haag">CFP: ESNA Winter Seminar 2020: Eyeopeners, Den Haag</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Eyeopeners: inspirerende inzichten voor de studie van negentiende-eeuwse kunst In navolging van d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Eyeopeners: inspirerende inzichten voor de studie van negentiende-eeuwse kunst In navolging van de vorige editie zal het zevende Winter Seminar van de European Society for Nineteenth-Century Art (ESNA) zich opnieuw richten op het onderzoeksveld zelf. Waar in 2019 twintig specialisten hun mijlpaalmoment hebben toegelicht en die game changers binnen het eigen vakgebied kritisch zijn geëvalueerd, wordt in de editie 2020 bevraagd wat in het verschiet ligt. De 'new art history' heeft een bepalende invloed gehad op het repertoire van enkele generaties kunsthistorici en daarmee op onderdelen van het curriculum van de huidige universitaire opleidingen. Veel van die 'nieuwe' onderzoekslijnen zijn intussen niet zo nieuw meer en hebben zich vermengd met bestaande, meer traditionele onderzoekspraktijken. Er is opnieuw nood aan innovatieve methodologische en theoretische benaderingen voor het onderzoeksveld. Wij leggen de bal ditmaal in het kamp van junior kunsthistorici, PhD-kandidaten en masterstudenten in de Kunstwetenschappen. Wat houdt hen bezig? Wat of wie inspireert hen? Welke tendensen, inzichten of benaderingen zullen volgens hen invloedrijk of noodzakelijk worden bij de verdere studie van de negentiende-eeuwse kunst? ESNA biedt ditmaal een podium aan de huidige, jonge generatie Kunstwetenschappers, aan zij die ruimdenkend en met een frisse blik naar het vakgebied kijken: welke teksten, tentoonstellingen, congressen, lezingen, films, documentaires, voorstellingen, 'filmpjes', gesprekken, etc. veranderden hun begrip van de kunst van de negentiende eeuw? Hoe bepalen deze mijlpaalmomenten of eyeopeners de manier waarop zij het onderzoek naar en de omgang met negentiende-eeuwse kunst concipiëren en zouden willen inrichten of bijsturen voor de toekomst? Het programma zal wederom bestaan uit snel opeenvolgende, puntige presentaties van max. 5 min. en een slide elk. Ongeveer twintig junior Kunstwetenschappers zullen hun eigen eyeopener presenteren, die hun inzicht in kunst, en specifiek kunst van de negentiende eeuw, openbrak. Zij zullen</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6428370ce87e4d4d2bb2155df316da68" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60907802,"asset_id":40628080,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60907802/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40628080"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40628080"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40628080; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40628080]").text(description); $(".js-view-count[data-work-id=40628080]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40628080; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40628080']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40628080, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6428370ce87e4d4d2bb2155df316da68" } } $('.js-work-strip[data-work-id=40628080]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40628080,"title":"CFP: ESNA Winter Seminar 2020: Eyeopeners, Den Haag","translated_title":"","metadata":{"abstract":"Eyeopeners: inspirerende inzichten voor de studie van negentiende-eeuwse kunst In navolging van de vorige editie zal het zevende Winter Seminar van de European Society for Nineteenth-Century Art (ESNA) zich opnieuw richten op het onderzoeksveld zelf. Waar in 2019 twintig specialisten hun mijlpaalmoment hebben toegelicht en die game changers binnen het eigen vakgebied kritisch zijn geëvalueerd, wordt in de editie 2020 bevraagd wat in het verschiet ligt. De 'new art history' heeft een bepalende invloed gehad op het repertoire van enkele generaties kunsthistorici en daarmee op onderdelen van het curriculum van de huidige universitaire opleidingen. Veel van die 'nieuwe' onderzoekslijnen zijn intussen niet zo nieuw meer en hebben zich vermengd met bestaande, meer traditionele onderzoekspraktijken. Er is opnieuw nood aan innovatieve methodologische en theoretische benaderingen voor het onderzoeksveld. Wij leggen de bal ditmaal in het kamp van junior kunsthistorici, PhD-kandidaten en masterstudenten in de Kunstwetenschappen. Wat houdt hen bezig? Wat of wie inspireert hen? Welke tendensen, inzichten of benaderingen zullen volgens hen invloedrijk of noodzakelijk worden bij de verdere studie van de negentiende-eeuwse kunst? ESNA biedt ditmaal een podium aan de huidige, jonge generatie Kunstwetenschappers, aan zij die ruimdenkend en met een frisse blik naar het vakgebied kijken: welke teksten, tentoonstellingen, congressen, lezingen, films, documentaires, voorstellingen, 'filmpjes', gesprekken, etc. veranderden hun begrip van de kunst van de negentiende eeuw? Hoe bepalen deze mijlpaalmomenten of eyeopeners de manier waarop zij het onderzoek naar en de omgang met negentiende-eeuwse kunst concipiëren en zouden willen inrichten of bijsturen voor de toekomst? Het programma zal wederom bestaan uit snel opeenvolgende, puntige presentaties van max. 5 min. en een slide elk. Ongeveer twintig junior Kunstwetenschappers zullen hun eigen eyeopener presenteren, die hun inzicht in kunst, en specifiek kunst van de negentiende eeuw, openbrak. Zij zullen","publication_date":{"day":null,"month":null,"year":2020,"errors":{}}},"translated_abstract":"Eyeopeners: inspirerende inzichten voor de studie van negentiende-eeuwse kunst In navolging van de vorige editie zal het zevende Winter Seminar van de European Society for Nineteenth-Century Art (ESNA) zich opnieuw richten op het onderzoeksveld zelf. Waar in 2019 twintig specialisten hun mijlpaalmoment hebben toegelicht en die game changers binnen het eigen vakgebied kritisch zijn geëvalueerd, wordt in de editie 2020 bevraagd wat in het verschiet ligt. De 'new art history' heeft een bepalende invloed gehad op het repertoire van enkele generaties kunsthistorici en daarmee op onderdelen van het curriculum van de huidige universitaire opleidingen. Veel van die 'nieuwe' onderzoekslijnen zijn intussen niet zo nieuw meer en hebben zich vermengd met bestaande, meer traditionele onderzoekspraktijken. Er is opnieuw nood aan innovatieve methodologische en theoretische benaderingen voor het onderzoeksveld. Wij leggen de bal ditmaal in het kamp van junior kunsthistorici, PhD-kandidaten en masterstudenten in de Kunstwetenschappen. Wat houdt hen bezig? Wat of wie inspireert hen? Welke tendensen, inzichten of benaderingen zullen volgens hen invloedrijk of noodzakelijk worden bij de verdere studie van de negentiende-eeuwse kunst? ESNA biedt ditmaal een podium aan de huidige, jonge generatie Kunstwetenschappers, aan zij die ruimdenkend en met een frisse blik naar het vakgebied kijken: welke teksten, tentoonstellingen, congressen, lezingen, films, documentaires, voorstellingen, 'filmpjes', gesprekken, etc. veranderden hun begrip van de kunst van de negentiende eeuw? Hoe bepalen deze mijlpaalmomenten of eyeopeners de manier waarop zij het onderzoek naar en de omgang met negentiende-eeuwse kunst concipiëren en zouden willen inrichten of bijsturen voor de toekomst? Het programma zal wederom bestaan uit snel opeenvolgende, puntige presentaties van max. 5 min. en een slide elk. Ongeveer twintig junior Kunstwetenschappers zullen hun eigen eyeopener presenteren, die hun inzicht in kunst, en specifiek kunst van de negentiende eeuw, openbrak. 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Cultural encounters in the nineteenth century’ (The Hague, 19-20 June 2019)" class="work-thumbnail" src="https://attachments.academia-assets.com/59502204/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39360151/CONF_ESNA_conference_2019_Frictions_and_friendships_Cultural_encounters_in_the_nineteenth_century_The_Hague_19_20_June_2019_">CONF: ESNA conference 2019: ‘Frictions and friendships. Cultural encounters in the nineteenth century’ (The Hague, 19-20 June 2019)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Organized by ESNA (European Society for Nineteenth-Century Art), RKD -Netherlands Institute for A...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Organized by ESNA (European Society for Nineteenth-Century Art), RKD -Netherlands Institute for Art History, The Hague and NWO (Netherlands Organisation for Scientific Research)<br /><br />The exhibition The Dutch in Paris, which was on show in the Van Gogh Museum, Amsterdam and in the Petit Palais, Paris during the fall of 2017 and spring of 2018 respectively, aimed to visualize the artistic exchange between Dutch and French artists between 1789 and 1914. As part of a larger research project, set up by the RKD-Netherlands Institute for Art History, the exhibition generated so much response that ESNA, in collaboration with the RKD and NWO, decided to organize an international conference on the subject, focusing specifically on international as well as national and local points of encounter and how they facilitated artistic exchange. Vincent van Gogh wrote in 1883: 'I would certainly very much like to spend some time in Paris, because I believe I would get the friction [in Dutch: 'wrijving'] with artists that I'll have to have at some point'. Van Gogh used the word 'friction' in a positive sense, as an encounter in which he could learn and develop his ideas and his art. Peter Burke defined encounters as information and objects that flow in different directions, even if unequally. He noted that 'Ideas, information, artefacts and practices are not simply adopted but on the contrary, are adapted to their new cultural environment. They are first decontextualized and then recontextualized, domesticated or localized. In short, they are translated’.<br /><br />Registration Regular: € 60 (both days) | € 40 (1 day) Student: € 40 (both days) | € 25 (1 day) Tickets are available via the RKD webshop</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="390e4c0481a08eb8a55c37965345d8f4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59502204,"asset_id":39360151,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59502204/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39360151"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39360151"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39360151; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39360151]").text(description); $(".js-view-count[data-work-id=39360151]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39360151; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39360151']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 39360151, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "390e4c0481a08eb8a55c37965345d8f4" } } $('.js-work-strip[data-work-id=39360151]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39360151,"title":"CONF: ESNA conference 2019: ‘Frictions and friendships. 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Vincent van Gogh wrote in 1883: 'I would certainly very much like to spend some time in Paris, because I believe I would get the friction [in Dutch: 'wrijving'] with artists that I'll have to have at some point'. Van Gogh used the word 'friction' in a positive sense, as an encounter in which he could learn and develop his ideas and his art. Peter Burke defined encounters as information and objects that flow in different directions, even if unequally. He noted that 'Ideas, information, artefacts and practices are not simply adopted but on the contrary, are adapted to their new cultural environment. They are first decontextualized and then recontextualized, domesticated or localized. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37577873"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37577873/CONF_ESNA_Winter_Seminar_2019_Game_changers_Den_Haag_25_jan_2019"><img alt="Research paper thumbnail of CONF: ESNA Winter Seminar 2019: Game changers. Den Haag, 25 jan. 2019" class="work-thumbnail" src="https://attachments.academia-assets.com/57557230/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37577873/CONF_ESNA_Winter_Seminar_2019_Game_changers_Den_Haag_25_jan_2019">CONF: ESNA Winter Seminar 2019: Game changers. Den Haag, 25 jan. 2019</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Game changers: negentiende-eeuwse kunst, vroeger en nu Het onderzoek naar de kunst uit de negenti...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Game changers: negentiende-eeuwse kunst, vroeger en nu Het onderzoek naar de kunst uit de negentiende eeuw is drastisch veranderd tijdens de afgelopen decennia. Met de opkomst van de new art history in de jaren 1970, werden marxistische, feministische, postkoloniale, freudiaanse en andere onderzoeksperspectieven toegevoegd aan het repertoire van de kunsthistoricus. Veel van deze nieuwe onderzoekslijnen evolueerden ook verder en vermengden zich met bestaande, meer traditionele onderzoekspraktijken. Ook vandaag pogen kunsthistorici om innovatieve methodologische en theoretische benaderingen van hun onderzoeksveld te ontwerpen of te combineren met bestaande perspectieven. Dit voortdurende project van disciplinaire vernieuwing is een voorwerp van kritiek, waarbij het wordt weggezet als het product van een modieuze academische progressistische schijnlogica, maar ook de kern van de reflectie op het eigen vak die de bestaansvoorwaarde is van elke levende en relevante wetenschappelijke discipline. Tijdens het zesde winterseminarie van de European Society for Nineteenth-Century Art proberen we daarom het kaf van het koren te scheiden: welk onderzoek, welke publicaties, welke tentoonstellingen of congressen veranderden nu écht ons begrip van de kunst van de negentiende eeuw en hoe bepalen deze " game changers " tot op vandaag mee de manier waarop we ons onderzoek naar negentiende-eeuwse kunst concipiëren en inrichten? In snel opeenvolgende, puntige presentaties, pikken maar liefst twintig specialisten hun mijlpaalmoment uit de recente geschiedenis van het onderzoek naar de kunst van de negentiende eeuw en lichten zij toe waarom en hoe dit moment het vak fundamenteel veranderd heeft. Samen genomen geven deze korte presentaties niet alleen een ongezien overzicht van de ontwikkeling van het vak tijdens de afgelopen decennia, maar leveren zij ook stof voor discussie over de toekomst van het vak.<br /><a href="https://esnaonline.wordpress.com/conferences/save-the-date-esna-winter-seminar-2019/" rel="nofollow">https://esnaonline.wordpress.com/conferences/save-the-date-esna-winter-seminar-2019/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="59e0551399873f2b265fbc9b63e418be" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57557230,"asset_id":37577873,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57557230/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37577873"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37577873"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37577873; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37577873]").text(description); $(".js-view-count[data-work-id=37577873]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37577873; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37577873']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37577873, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "59e0551399873f2b265fbc9b63e418be" } } $('.js-work-strip[data-work-id=37577873]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37577873,"title":"CONF: ESNA Winter Seminar 2019: Game changers. 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As part of a larger research project, set up by the RKD – Netherlands Institute for Art History, the exhibition generated so much response that ESNA, in collaboration with the RKD and NWO, decided to organize<br />an international conference on the subject, focusing specifically on international as well as national and local points of encounter and how they facilitated artistic exchange.<br />For this conference, we welcome papers in English, French or German which discuss the role of encounters, how they came about and how they facilitated artistic exchange during the long nineteenth century. We specifically welcome papers that present the mechanisms and prerequisites which make a site, a person or an institution an effective point of encounter, with a special focus on the contextual, theoretical and methodological aspects. <br />Please send proposals (max. 300 words) for a 20-minute paper in English, French or German for this conference to <a href="mailto:esnaonline@hotmail.com" rel="nofollow">esnaonline@hotmail.com</a> by 1 January 2019 at the latest. 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Het gebruik en hergebruik van bedrukt papier in 16de-eeuwse interieurs in Antwerpen Julien Fornari (Master in de Kunstwetenschappen): Het 'Huis Beaucarne': de evolutie van smaak in het decor van een burgerhuis vanaf de 18de eeuw tot aan WOII Evelien Vandenberghe (Musea Brugge): Het Hospitaalmuseum (Musea Brugge) en de afdeling houtbewerking van het Vrij Technisch Instituut: het verhaal van een succesvolle samenwerking 12u30: Middagpauze: broodjeslunch 13u30: Namiddagprogramma | chair: Ann Verdonck (VUB) Laura Roscam Abbing (Radboud Universiteit Nijmegen): Decoratieve ramen van de Koninklijke Nederlandsche Glasfabriek J.J.B.J. 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De focus ligt op de geschiedenis en praktijk van interieur en design in België/ de Lage Landen, of in relatie tot deze regio. De studiedag wil in eerste instantie een forum bieden en een stimulans betekenen voor diverse vormen van onderzoek gevoerd in en over België en Nederland, en gaat daarom door in het Nederlands, hoewel uitzonderlijk ook Frans en Engels welkom zijn.<br />Beoogd is onderzoek gevoerd in academische en museumcontext, alsook in de monumentenzorg en erfgoedsector. Ook de presentatie van artistiek ontwerpend onderzoek is welkom, eventueel in een alternatief format. 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Beeldhouwer van de nieuwe vrouw" class="work-thumbnail" src="https://attachments.academia-assets.com/104087624/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104327729/Yvonne_Serruys_Beeldhouwer_van_de_nieuwe_vrouw">Yvonne Serruys. Beeldhouwer van de nieuwe vrouw</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Tijdens de eerste helft van de 20e eeuw maakte de Frans-Belgische kunstenaar Yvonne Serruys (1873...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Tijdens de eerste helft van de 20e eeuw maakte de Frans-Belgische kunstenaar Yvonne Serruys (1873-1953) carrière in Parijs. Afkomstig uit een kunstminnend burgergezin in Menen kreeg ze een degelijke intellectuele, muzikale en artistieke scholing. Die werd vervolledigd bij de luminist Emile Claus in Astene en bij pointillist Georges Lemmen in Brussel. Vanaf 1898 stelde ze haast jaarlijks tentoon op de Parijse salons. Vanaf haar dertigste betrok ze er een eigen atelier en woonst. Omstreeks 1905, na een succesvolle eerste solotentoonstelling in Parijs, maakte ze voorgoed de overstap naar de beeldhouwkunst. Ze realiseerde nu vooral statuettes van naakte jonge vrouwen in spontane poses. Tegelijk ontwierp ze honderden modellen voor decoratieve objecten in glas-(pasta), en nog voor de Eerste Wereldoorlog twee monumentale beeldengroepen voor de</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0a6b065417086b807f86df04900c17e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104087624,"asset_id":104327729,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104087624/download_file?st=MTczMjUwOTI4Myw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="104327729"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="104327729"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 104327729; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=104327729]").text(description); $(".js-view-count[data-work-id=104327729]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 104327729; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='104327729']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 104327729, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a0a6b065417086b807f86df04900c17e" } } $('.js-work-strip[data-work-id=104327729]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":104327729,"title":"Yvonne Serruys. 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