Debora L Silverman
Biographic Data
| ID | 1594911 |
|---|---|
| NAME | Debora L Silverman |
| GIVEN NAMES | Debora L |
| FAMILY NAME | Silverman |
| SIGNATURE | SILVERMAN D L |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1989 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 2 |
Diasporas of Art
Art Nouveau, Art of Darkness
This article is the last of a three-part study that identifies Belgian art nouveau as “imperial modernism” and its interlocking history with the Royal Museum for Central Africa. Part III opens by discovering the sixth and final element of a distinctively Congo lexicon of modern design in the “steamer style” of Henry van de Velde, who began and ended his career in Tervuren. The body of the article provides a critical account of the Royal Museum’s …
Art Nouveau, Art of Darkness
This article is the first of a two-part study. Part I identifies Belgian art nouveau as a specifically Congo style and as “imperial modernism,” created from Congo raw materials and inspired by Congo motifs—the lash, the vine, and the elephantine. Focusing closely on works by Victor Horta, Henry van de Velde, and Philippe Wolfers, Part I suggests how stylistic forms of modernism expressed a displaced encounter with a distant but encroaching imperi…
Art Nouveau in Fin-de-Siecle France
Art Nouveau in Fin-de-Siècle France
Art Nouveau, Art of Darkness
This article is the first of a two-part study. Part I identifies Belgian art nouveau as a specifically Congo style and as “imperial modernism,” created from Congo raw materials and inspired by Congo motifs—the lash, the vine, and the elephantine. Focusing closely on works by Victor Horta, Henry van de Velde, and Philippe Wolfers, Part I suggests how stylistic forms of modernism expressed a displaced encounter with a distant but encroaching imperi…
Art Nouveau, Art of Darkness
This article is the last of a three-part study that identifies Belgian art nouveau as “imperial modernism” and its interlocking history with the Royal Museum for Central Africa. Part III opens by discovering the sixth and final element of a distinctively Congo lexicon of modern design in the “steamer style” of Henry van de Velde, who began and ended his career in Tervuren. The body of the article provides a critical account of the Royal Museum’s …
Diasporas of Art
Art Nouveau in Fin-de-Siècle France
Art Nouveau in Fin-de-Siecle France
Art Nouveau, Art of Darkness
This article is the first of a two-part study. Part I identifies Belgian art nouveau as a specifically Congo style and as “imperial modernism,” created from Congo raw materials and inspired by Congo motifs—the lash, the vine, and the elephantine. Focusing closely on works by Victor Horta, Henry van de Velde, and Philippe Wolfers, Part I suggests how stylistic forms of modernism expressed a displaced encounter with a distant but encroaching imperi…
Art Nouveau, Art of Darkness
This article is the last of a three-part study that identifies Belgian art nouveau as “imperial modernism” and its interlocking history with the Royal Museum for Central Africa. Part III opens by discovering the sixth and final element of a distinctively Congo lexicon of modern design in the “steamer style” of Henry van de Velde, who began and ended his career in Tervuren. The body of the article provides a critical account of the Royal Museum’s …
Diasporas of Art
Art (5 works) · Art history (4 works) · African history and culture studies (3 works) · Cultural Identity and Heritage (3 works) · History (3 works) · Law (3 works) · Political science (3 works) · Sociology (3 works) · Visual arts (3 works) · Anthropology (2 works)