On the Artistic Representation of Industrial Disputes in the Shadow of Repression in European Art: From 1870 to 1914 and Beyond
暫譯: 歐洲藝術中工業爭議的藝術表現：1870年至1914年及其後的壓迫陰影下
Dorssemont, Filip
相關主題
商品描述
This book is the first volume on the artistic representation of industrial disputes in European art (from 1870 to 1914) since the catalogue of the landmark exhibition Streik, Realität und Mythos, organized by the Deutsches Historisches Museum (1992). It has been written by a group of scholars who share a keen interest in social history and the history of art, as well as in-depth knowledge of industrial relations and collective labour law.
Seeking to transcend a purely western European perspective, the book offers unprecedented insights into artistic production in Poland and Hungary from the 19th century to the communist era. It even goes beyond the European continent, examining the United States and Mexico.
The media explored include painting, sculpture, the graphic arts and photography. Further, the book deals with artists great (Carlo Carrà, Walter Crane, James Ensor, Juan Gris, Käthe Kollwitz, Constantin Meunier, Mihály Munkácsy, Théophile-Alexandre Steinlen and Jan Toorop) and small, sometimes even anonymous. The artistic styles range from (social) realism, naturalism and neo-impressionism to futurism and socialist realism.
All stages of industrial disputes (from the causes of strikes to their violent suppression) are subjected to iconographical and iconological analysis, combined with perspectives from visual studies, critical art and gender studies. Agricultural workers, miners, construction workers and textile workers fill the scenes. Most of them are subordinate workers; others are (bogus) independent workers and migrant workers.
Given its scope, the book will be of interest to (art) historians, labour law scholars, and specialists in industrial relations.
商品描述(中文翻譯)
這本書是關於歐洲藝術中工業爭議的藝術表現的第一卷（1870年至1914年），自德國歷史博物館於1992年舉辦的標誌性展覽《罷工、現實與神話》目錄以來，尚無類似作品。這本書由一群對社會歷史和藝術史有濃厚興趣的學者撰寫，他們對工業關係和集體勞動法也有深入的了解。
本書旨在超越純粹的西歐視角，提供前所未有的見解，探討19世紀至共產主義時代波蘭和匈牙利的藝術創作。它甚至超越歐洲大陸，考察美國和墨西哥的情況。
所探討的媒介包括繪畫、雕塑、平面藝術和攝影。此外，本書還涉及了偉大的藝術家（如Carlo Carrà、Walter Crane、James Ensor、Juan Gris、Käthe Kollwitz、Constantin Meunier、Mihály Munkácsy、Théophile-Alexandre Steinlen和Jan Toorop）以及一些小型甚至匿名的藝術家。藝術風格涵蓋（社會）現實主義、自然主義、新印象派、未來主義和社會主義現實主義。
所有工業爭議的階段（從罷工的原因到其暴力鎮壓）都受到圖像學和圖像學分析的檢視，並結合視覺研究、批判藝術和性別研究的觀點。農業工人、礦工、建築工人和紡織工人充斥著這些場景。他們大多是從屬工人；其他則是（虛假的）獨立工人和移民工人。
鑒於其範疇，本書將引起（藝術）歷史學家、勞動法學者和工業關係專家的興趣。
作者簡介
Prof. Dr. Filip Dorssemont is full professor of Labour Law at the Faculty of Law of the UCLouvain (in Louvain-La-Neuve). He is the President of the School of Labour Sciences (UCLouvain) and member of the Transnational Trade Union Rights Expert Network (European Trade Union Institute). Filip Dorssemont has read law (Antwerp University, Master in Law 1993), studied philosophy (bachelor Antwerp University 1990, and a Complementary Studies in Philosophy at the Institute of Philosophy, Leuven University, 1994). In 2001 he defended a Ph.D. thesis in law. In 2023 he obtained a Master in History of Art (UCLouvain).
作者簡介(中文翻譯)
菲利普·多爾塞蒙特教授是烏克蘭洛萬大學法學院的勞動法全職教授。他是勞動科學學院（UCLouvain）的院長，也是跨國工會權利專家網絡（歐洲工會研究所）的成員。菲利普·多爾塞蒙特在安特衛普大學獲得法律學位（1993年法律碩士），並在安特衛普大學學習哲學（1990年學士），以及在魯汀大學哲學研究所進行哲學的補充研究（1994年）。他於2001年完成法律博士論文，並在2023年獲得烏克蘭洛萬大學藝術史碩士學位。
