Bernadette van Haute
Biographic Data
| ID | 5226971 |
|---|---|
| NAME | Bernadette van Haute |
| GIVEN NAMES | Bernadette |
| FAMILY NAME | van Haute |
| SIGNATURE | VAN HAUTE B |
| AFFILIATIONS | University of South Africa |
| ORCID | 0000-0003-0261-931X |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1990 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
The Contemporary South African Artist as Global Citizen
In this article I investigate the ways in which a new humanism can assist contemporary artists in South Africa in making their work relevant to a global audience. Following the ideas of Chielozona Eze (Race, Decolonization, and Global Citizenship in South Africa. Rochester: University of Rochester Press, 2018), I argue that decolonisation in art is possible through a cosmopolitan mindset built on inclusion and openness to otherness. Eze's ideas o…
Black tronies in seventeenth-century Flemish art and the African presence
In this article I examine the production of tronies or head studies of people of African origin made by the Flemish artists Peter Paul Rubens, Anthony van Dyck, Jan I Brueghel, Jacob Jordaens and Gaspar de Crayer in an attempt to uncover their use of Africans1 as models. In order to contextualise the research, the actual presence of Africans in Flanders is investigated. Although no documentation exists to calculate even an approximate number of A…
African tourist art as tradition and product of the postcolonial exotic
Figurative art made in Central and West Africa for the global market is a form of tourist art – a category that has been plagued in art historical research by misconstrued concepts such as the authenticity of traditional/precolonial art. Following its categorisation as a commodity, studies focused on the decontextualisation of the object, thus marginalising the producing culture. In this article I investigate the role of the artist in preserving …
Ryckaert at work
In his depictions of men at work, David III Ryckaert reveals an acute awareness of social differentiation on the basis of professional identity. The craftsman is invariably depicted as an example of industry and diligence, a view strengthened by the inclusion of the artisan’s spinning wife. Ryckaert, however, made sure to remind the viewer of the fundamental baseness of the labouring classes, whereas professions of a more intellectual nature (suc…
Seventeenth-century Flemish paintings in South African collections
(2002). Seventeenth-century Flemish paintings in South African collections: a colonial heritage. de arte: Vol. 37, No. 65, pp. 58-87
Books
No prominent works on this page.
Books
Seventeenth-century Flemish paintings in South African collections
(2002). Seventeenth-century Flemish paintings in South African collections: a colonial heritage. de arte: Vol. 37, No. 65, pp. 58-87
African tourist art as tradition and product of the postcolonial exotic
Figurative art made in Central and West Africa for the global market is a form of tourist art – a category that has been plagued in art historical research by misconstrued concepts such as the authenticity of traditional/precolonial art. Following its categorisation as a commodity, studies focused on the decontextualisation of the object, thus marginalising the producing culture. In this article I investigate the role of the artist in preserving …
Ryckaert at work
In his depictions of men at work, David III Ryckaert reveals an acute awareness of social differentiation on the basis of professional identity. The craftsman is invariably depicted as an example of industry and diligence, a view strengthened by the inclusion of the artisan’s spinning wife. Ryckaert, however, made sure to remind the viewer of the fundamental baseness of the labouring classes, whereas professions of a more intellectual nature (suc…
Black tronies in seventeenth-century Flemish art and the African presence
In this article I examine the production of tronies or head studies of people of African origin made by the Flemish artists Peter Paul Rubens, Anthony van Dyck, Jan I Brueghel, Jacob Jordaens and Gaspar de Crayer in an attempt to uncover their use of Africans1 as models. In order to contextualise the research, the actual presence of Africans in Flanders is investigated. Although no documentation exists to calculate even an approximate number of A…
The Contemporary South African Artist as Global Citizen
In this article I investigate the ways in which a new humanism can assist contemporary artists in South Africa in making their work relevant to a global audience. Following the ideas of Chielozona Eze (Race, Decolonization, and Global Citizenship in South Africa. Rochester: University of Rochester Press, 2018), I argue that decolonisation in art is possible through a cosmopolitan mindset built on inclusion and openness to otherness. Eze's ideas o…
Art (5 works) · Archaeology (4 works) · History (4 works) · Sociology (4 works) · Art history (3 works) · Flemish (3 works) · Painting (3 works) · Aesthetics (2 works) · African history and culture studies (2 works) · Financial Crisis of the 21st Century (2 works)