The Routledge Companion to Digital Humanities and Art History

525 Pages·2020·15.259 MB·English

by  Kathryn Brown (editor)

THE ROUTLEDGE COMPANION TO
DIGITAL HUMANITIES AND ART HISTORY
The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-
edge intersections between digital technologies and the study of art history, museum practices,
and cultural heritage.
The volume focuses not only on new computational tools that have been developed for
the study of artworks and their histories but also debates the disciplinary opportunities and
challenges that have emerged in response to the use of digital resources and methodologies.
Chapters cover a wide range of technical and conceptual themes that define the current state
of the field and outline strategies for future development. This book offers a timely perspective
on transdisciplinary developments that are reshaping art historical research, conservation, and
teaching.
This book will be of interest to scholars in art history, historical theory, method and
historiography, and research methods in education.
Kathryn Brown is a lecturer in art history and visual culture at Loughborough University, UK.

THE ROUTLEDGE
COMPANION TO DIGITAL
HUMANITIES AND ART
HISTORY
Edited by Kathryn Brown
First published 2020
by Routledge
52 Vanderbilt Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2020 Taylor & Francis
The right of Kathryn Brown to be identified as the author of the editorial
material, and of the authors for their individual chapters, has been asserted
in accordance with sections 77 and 78 of the Copyright, Designs and
Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Brown, Kathryn (Kathryn J.), editor.
Title: The Routledge companion to digital humanities and art history /
edited by Kathryn Brown.
Description: New York : Routledge, 2020. | Series: [Routledge art history
and visual studies companions] | Includes bibliographical references and
index.
Identifiers: LCCN 2019056562 (print) | LCCN 2019056563 (ebook) |
ISBN 9781138585584 (hardback) | ISBN 9780429505188 (ebook)
Subjects: LCSH: Digital humanities. | Art—Historiography—
Data processing.
Classification: LCC AZ105 .R68 2020 (print) | LCC AZ105 (ebook) |
DDC 001.30285—dc23
LC record available at https://lccn.loc.gov/2019056562
LC ebook record available at https://lccn.loc.gov/2019056563
ISBN: 978-1-138-58558-4 (hbk)
ISBN: 978-0-429-50518-8 (ebk)
Typeset in Bembo
by Apex CoVantage, LLC
CONTENTS
List of Figures ix
List of Tables xiv
List of Contributors xv
Introduction 1
Kathryn Brown
PART I
Histories and Critical Debates 7
1 Digital Methods and the Historiography of Art 9
Paul B. Jaskot
2 Blind Spot: Information Visualization and Art History 18
Johanna Drucker
3 The Digital Transformation of Art History 32
Harald Klinke
4 Feminist Digital Art History 43
Kathryn Brown and Elspeth Mitchell
5 Slow Digital Art History and KUbism: Or, Situation Awareness and
the Promise of Open-World Games 58
Koenraad Brosens, Bruno Cardoso, and Fred Truyen
v
Contents
PART II
Archives, Networks, and Maps 71
6 Tangled Metaphors: Network Thinking and Network Analysis in the
History of Art 73
Matthew D. Lincoln
7 Digital Humanities for a Spatial, Global, and Social History of Art 88
Béatrice Joyeux-Prunel
8 Mapping Paintings, or How to Breathe Life Into Provenance 109
Jodi Cranston
9 Qualitative Approaches to Network Analysis in Art History: Research
on Contemporary Artists’ Networks 120
Sanja Sekelj
10 Mapping Senufo: Mapping as a Method to Transcend Colonial
Assumptions 135
Susan Elizabeth Gagliardi
11 X-Reception: Re-mediating Trans- Feminist and Queer
Performance Art 155
T.L. Cowan
12 Digital Methods and the Study of the Art Market 167
Pamela Fletcher and Anne Helmreich
13 Noise Management in the Archival Ecosystem: Debating Principles
for Classification 178
Anna Dot and Pablo Santa Olalla
PART III
Museums: Real, Virtual, and Augmented 189
14 Digital Imaging Projects for Asian Art and Visual Culture:
Transcultural Mediations and Collaborations 191
Katherine R. Tsiang
15 A Field Guide to Digital Surrogates: Evaluating and Contextualizing a
Rapidly Changing Resource 203
Emma Stanford
vi
Contents
16 A Service-Orientation and Open-Source Approach to Developing
Virtual Museums 215
Martin White and Ben Jackson
17 Art History, Heritage Games, and Virtual Reality 238
Erik Champion and Anna Foka
18 Art With a Lifespan: Digital Technologies and the Preservation of BioArt 254
Christl Baur
19 The Expanding Role of Digitized Collections: The Medici Archive 266
Alessio Assonitis
20 Digital Languages for Art History: Audience Engagement, Virtual and
Augmented Reality 275
Stefania De Vincentis and Luca Nicolò Vascon
PART IV
Computational Techniques for Analyzing Artworks 287
21 Curation, Content, Creation: Computer Approaches to the Fine Arts 289
Javier de la Rosa and Juan-Luis Suárez
22 Computerized Analysis of Paintings 299
James Z. Wang, Baris Kandemir, and Jia Li
23 Digital 3D Modeling for the History of Art 313
Amy Jeffs
24 Metadata, Material Culture, and Global Art History 326
Robert Wellington
25 Image Processing and Computer Vision in the Field of Art History 338
Nuria Rodríguez-Ortega
26 Pointers and Proxies: Thoughts on the Computational Modeling of
the Phenomenal World 358
Alison Langmead and David Newbury
27 Approaching Aby Warburg and Digital Art History: Thinking
Through Images 374
Amanda Du Preez
vii
Contents
28 Analyzing Gesture in Digital Art History 386
Leonardo Impett
29 Digital Techniques for the Study of Portuguese Azulejos (Glazed
Tiles): Between Alice’s White Rabbit and the Mad Tea Party 408
Rosário Salema de Carvalho, Rafaela Xavier, and Inês Leitão
PART V
Digital Resources, Publication, and Education 421
30 The Database of Modern Exhibitions (DoME): European Paintings
and Drawings 1905–1915 423
Christina Bartosch, Nirmalie Mulloli, Daniel Burckhardt, Marei Döhring,
Walid Ahmad, and Raphael Rosenberg
31 The Art-Historical Catalogue in the Digital Era 435
Anne Collins Goodyear
32 Digital Provenance, Open Access, and Data-Driven Art History 448
Anne Luther
33 Research, Process, Publication, and Pedagogy: Reconstructing the
World’s Columbian Exposition of 1893 459
Lisa M. Snyder
34 Social Media in the Art History Classroom 480
Lauren Jimerson and Allison Leigh
Index 495
viii
FIGURES
2.1 William Playfair, 1821. Letter on our agricultural distresses, their causes and
remedies; accompanied with tables and copperplate charts shewing and comparing
the prices of wheat, bread, and labour from 1565 to 1821 24
2.2 W.E.B. DuBois and Thomas Calloway, graphics for the Exposition
Universelle, Paris, 1900 26
5.1 The world of KUbism, (left) scenario for user testing and (right) KUbism
blocks side by side: (a) the “question” block used to ask questions and
verify answers; (b) two columns of vertically aligned Entity Blocks, the
left column contains a block for each Place and the right column a block
for each Actor; (c) Entity Block held by the player’s avatar; (d) another
Entity Block; (e) Union Block; (f) Intersection Block; (g) Difference
Block; (h) Entity Exploration Block; (i) Relation Exploration Block; and
(j) the player avatar’s empty hand 62
5.2 The seven challenges of the authors’ task-based user study, along with an
efficient path to a solution, in terms of number of steps 64
6.1 Alfred H. Barr, Jr., “Diagram of Stylistic Evolution from 1830 until
1935,” in Cubism and Abstract Art (1936), reprint (New York: Museum of
Modern Art, 1966) 75
6.2 Stanisław Karłowski, “A Graph of Influences on Peter Paul Rubens,”
in Juliusz A. Chrościcki and Vladimir P. Odinec, “On Directed Graph
Models on Influences in Art Theory,” Artibus et Historiae 2, no. 3 (January,
1981), fig. 19 77
7.1 Première Biennale de la Méditerranée—Alexandria, 26 July 1955–15
September 1955. Birthplaces and addresses of exhibitors 91
7.2 Distribution of Amedeo Modigliani’s exhibitions from 1951 to 1960 92
7.3 The diffusion of Amedeo Modigliani’s work in individual and collective
exhibitions over time (1920–1960) 93
7.4 The internationalization of Futurism (1909–1914) 95
7.5 Screenshot of a request result on the Artl@s Exhibition Catalogue Database 97
7.6 Some data taken from the Catalogue of the Kassel documenta, 1955 98
ix