Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887

Detalhes bibliográficos
Autor(a) principal: Dhaenens, Laurens
Data de Publicação: 2019
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: http://hdl.handle.net/10362/117545
Resumo: The present paper studies two exhibitions that are virtually unknown in the field: the Belgian art expositions in Philadelphia and Buenos Aires in 1882 and 1887. The exhibitions took place outside the contexts of universal expositions and world fairs but they were not private commercial ventures. They were government projects, driven by consuls and by the King Leopold II. For this reason, I consider these exhibitions as results of economic, political and colonial endeavors rather than artistic products. The focus is not on the artworks, but on the dynamics underlying, and generated by, the exhibitions. As this study demonstrates, these art shows were not just instruments to open new markets for Belgian art abroad, but also constituted a medium to negotiate and shape relationships and narratives with and in foreign countries.
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spelling Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887Belgian artBuenos airesPhiladelphiaExhibition historyCultural diplomacyArte belgaFiladélfiaHistória das exposiçõesThe present paper studies two exhibitions that are virtually unknown in the field: the Belgian art expositions in Philadelphia and Buenos Aires in 1882 and 1887. The exhibitions took place outside the contexts of universal expositions and world fairs but they were not private commercial ventures. They were government projects, driven by consuls and by the King Leopold II. For this reason, I consider these exhibitions as results of economic, political and colonial endeavors rather than artistic products. The focus is not on the artworks, but on the dynamics underlying, and generated by, the exhibitions. As this study demonstrates, these art shows were not just instruments to open new markets for Belgian art abroad, but also constituted a medium to negotiate and shape relationships and narratives with and in foreign countries.O presente artigo estuda duas exposições praticamente desconhecidas: as exposições de Arte Belga em Filadélfia e Buenos Aires, realizadas em 1882 e 1887 respetivamente. Nenhuma das exposições se enquadra no contexto das exposições universais e das feiras mundiais, nem representa empreendimentos comerciais privados. Porém, ambas configuram projetos governamentais, promovidos por cônsules e pelo próprio rei Leopoldo II. Por essa razão, estas exposições são aqui consideradas mais como resultados de esforços económicos, políticos e coloniais, do que como produtos artísticos. O foco de interesse não se centra nas obras de arte, mas na dinâmica subjacente às exposições, e por elas gerada. Como este estudo demonstra, estas mostras artísticas não serviam apenas como dispositivos para abrir novos mercados para a arte Belga no exterior; elas constituíam também um meio ideal para negociar e moldar relações e narrativas feitas com, e em, países estrangeiros.Instituto de História da ArteRUNDhaenens, Laurens2021-05-12T14:59:54Z20192019-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10362/117545eng1646-1762info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-03-11T05:00:36Zoai:run.unl.pt:10362/117545Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T03:43:38.758299Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887
title Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887
spellingShingle Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887
Dhaenens, Laurens
Belgian art
Buenos aires
Philadelphia
Exhibition history
Cultural diplomacy
Arte belga
Filadélfia
História das exposições
title_short Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887
title_full Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887
title_fullStr Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887
title_full_unstemmed Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887
title_sort Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887
author Dhaenens, Laurens
author_facet Dhaenens, Laurens
author_role author
dc.contributor.none.fl_str_mv RUN
dc.contributor.author.fl_str_mv Dhaenens, Laurens
dc.subject.por.fl_str_mv Belgian art
Buenos aires
Philadelphia
Exhibition history
Cultural diplomacy
Arte belga
Filadélfia
História das exposições
topic Belgian art
Buenos aires
Philadelphia
Exhibition history
Cultural diplomacy
Arte belga
Filadélfia
História das exposições
description The present paper studies two exhibitions that are virtually unknown in the field: the Belgian art expositions in Philadelphia and Buenos Aires in 1882 and 1887. The exhibitions took place outside the contexts of universal expositions and world fairs but they were not private commercial ventures. They were government projects, driven by consuls and by the King Leopold II. For this reason, I consider these exhibitions as results of economic, political and colonial endeavors rather than artistic products. The focus is not on the artworks, but on the dynamics underlying, and generated by, the exhibitions. As this study demonstrates, these art shows were not just instruments to open new markets for Belgian art abroad, but also constituted a medium to negotiate and shape relationships and narratives with and in foreign countries.
publishDate 2019
dc.date.none.fl_str_mv 2019
2019-01-01T00:00:00Z
2021-05-12T14:59:54Z
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv http://hdl.handle.net/10362/117545
url http://hdl.handle.net/10362/117545
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv 1646-1762
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Instituto de História da Arte
publisher.none.fl_str_mv Instituto de História da Arte
dc.source.none.fl_str_mv reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron:RCAAP
instname_str Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron_str RCAAP
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reponame_str Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
collection Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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