Nathan J Timpano
University of Miami, Art & Art History, Faculty Member
- German Expressionism, Austrian Expressionism, Vienna Secession, Critical Theory, Historiography, Art History, and 5 moreModernism (Art History), Modern & Contemporary Latin American Art, Art Theory, German/Austrian/Swiss Drama and Theatre, and 19th- and 20th-century German and Austrian literatureedit
- Nathan Timpano is Chair and Associate Professor of Art History within the Department of Art & Art History at the Univ... moreNathan Timpano is Chair and Associate Professor of Art History within the Department of Art & Art History at the University of Miami. His research is focused on modern art and visual culture in Europe and the Americas, and his courses include: 19th-century European Art, European Modernism, Austrian & German Expressionism, Surrealism, and Latin American Modernism.
University webpage: https://web.as.miami.edu/personal/ntimpano/edit
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2023 exhibition catalogue for the "Spirits of Time: Netsuke from the Joseph and Elena Kurstin Collection" show at the Lowe Art Museum, University of Miami.
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Research Interests: Russian Studies, Russian Literature, Constructivism, Modern Art, Modernism (Art History), and 13 moreModernism, Leo Tolstoy, Russia, Wassily Kandinsky, marc Chagall, Russian Modernism, Suprematism, El Lissitzky, Russian Neo-primitivism, Alexander Rodchenko, Russian Theater, Natalia Goncharova, and Mikhail Larionov
You can find a limited (though lengthy) preview here on Google Books:... more
You can find a limited (though lengthy) preview here on Google Books:
https://books.google.com/books?id=H0ElDwAAQBAJ&pg=PA61&lpg=PA61&dq=schiele+hysteria&source=bl&ots=HLw31o7SJa&sig=ACfU3U09NSs3wrxdlE_XkRYv5iP7hK346w&hl=en&sa=X&ved=2ahUKEwj4rs-vkJjoAhVwdt8KHexVA-UQ6AEwCHoECAoQAQ#v=onepage&q&f=false
https://books.google.com/books?id=H0ElDwAAQBAJ&pg=PA61&lpg=PA61&dq=schiele+hysteria&source=bl&ots=HLw31o7SJa&sig=ACfU3U09NSs3wrxdlE_XkRYv5iP7hK346w&hl=en&sa=X&ved=2ahUKEwj4rs-vkJjoAhVwdt8KHexVA-UQ6AEwCHoECAoQAQ#v=onepage&q&f=false
Research Interests: Modern Art, Sigmund Freud, Modernism (Art History), 19th Century (History), 20th century Avant-Garde, and 16 moreWilhelm Worringer, Egon Schiele, Gustav Klimt, Human Body, Hugo von Hofmannsthal, Rainer Maria Rilke, Fin-de-Siecle Vienna, Arthur Schnitzler, Cabaret, Jean-Martin Charcot, Modernism and Theater, Oskar Kokoschka, Max Reinhardt, Hermann Bahr, Viennese Art, and Koloman Moser
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Research Interests: Jewish Studies, Jewish Mysticism, Modern Art, Modernism (Art History), Historiography (in Art History), and 15 moreSymbolism (Art History), Kabbalah, Fin de siècle Vienna, Karl Kraus, Egon Schiele, Gustav Klimt, Iconography and Iconology, Masonry, Art Theory and Criticism, Adolf Loos, Modern Jewish Art and Visual Culture, Signs and Symbols, Oskar Kokoschka, Austrian Expressionism, and Hand Gestures
This article addresses the uniqueness of Aubrey Beardsley’s late nineteenth-century Poe “illustrations” as works that enjoy a complex relationship with the writer’s theory of graphicality—specifically the dichotomy that exists between... more
This article addresses the uniqueness of Aubrey Beardsley’s late nineteenth-century Poe “illustrations” as works that enjoy a complex relationship with the writer’s theory of graphicality—specifically the dichotomy that exists between exteriority and interiority in both text and image. This essay posits that Beardsley’s use of vague open-endedness (in terms of visual narrative) was deliberately intended to reside in tandem—but not supersede or compete with—the graphicality of Poe’s words. By theorizing the exteriority/interiority binary around two Poesian themes—decay and speciesism—this study seeks to explain how the iconography of Beardsley’s images is at the very crux of graphicality, especially as this concept applies to writing-as-art and the art of illustration.
Research Interests: Iconography, Art History, Art Theory, Rare Books and Manuscripts, Modern Art, and 13 moreIllustration, Ekphrasis, 19th-Century American Literature, Aubrey Beardsley, Edgar Allan Poe, Interiority, Visual Analysis, Speciesism, Decay, Interdisciplinarity in the Arts (experimental poetry, ekphrasis, contemporary art), Anthropocentric Speciesism, Exteriority, and Japanese Ukiyo-E
Research Interests: German Studies, German Expressionism, Art Criticism, Wassily Kandinsky, London, and 12 moreVisual Analysis, Critical Literacy, Franz Marc, Der Blaue Reiter, Exhibitions, History of Exhibitions, 20th Century German Art, Edinburgh, Tate Gallery, Francophiles, The Blue Rider Group and Music, and Blauer Reiter
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This article addresses the uniqueness of Aubrey Beardsley’s late nineteenth-century Poe “illustrations” as works that enjoy a complex relationship with the writer’s theory of graphicality—specifically the dichotomy that exists between... more
This article addresses the uniqueness of Aubrey Beardsley’s late nineteenth-century Poe “illustrations” as works that enjoy a complex relationship with the writer’s theory of graphicality—specifically the dichotomy that exists between exteriority and interiority in both text and image. This essay posits that Beardsley’s use of vague open-endedness (in terms of visual narrative) was deliberately intended to reside in tandem—but not supersede or compete with—the graphicality of Poe’s words. By theorizing the exteriority/interiority binary around two Poesian themes—decay and speciesism—this study seeks to explain how the iconography of Beardsley’s images is at the very crux of graphicality, especially as this concept applies to writing-as-art and the art of illustration.
Research Interests: American Literature, Iconography, Illustrations, Art History, Art Theory, and 15 moreRare Books and Manuscripts, Modern Art, Illustration, History of Art, Ekphrasis, Aubrey Beardsley, Edgar Allan Poe, Interiority, Speciesism, Decay, The Fall of the House of Usher, Anthropocentric Speciesism, The Black Cat, Exteriority, and The Masque of the Red Death
Underwater Worlds throws open a new area in the emerging field of “blue” environmental humanities by exploring how subaqueous environments have been imagined and represented across cultures and media. The collection pursues this theme... more
Underwater Worlds throws open a new area in the emerging field of “blue” environmental humanities by exploring how subaqueous environments have been imagined and represented across cultures and media. The collection pursues this theme through various disciplinary perspectives and methodologies, including history, literary and film criticism, myth studies, legal studies and the history of art. The essays suggest that, since the nineteenth century, technologies of underwater exploration have generated novel sensory experiences that have destabilized conventional modes of representation and influenced new aesthetic forms from fiction and television to virtual reality. The collection also examines how representations of underwater environments have reflected and critiqued humans’ relationships with marine ecology and life-forms. It reflects on the deeper cultural and symbolic resonances of mythical figures such as mermaids, sea monsters and the ghosts of drowned seafarers. The contribut...
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First delivered in January 1912 as a lecture at Vienna’s Akademischen Verband für Literatur und Musik, Oskar Kokoschka’s canonical essay ‘Von der Natur der Gesichte’ (‘On the Nature of Visions’) speaks to the decisive role of visions –... more
First delivered in January 1912 as a lecture at Vienna’s Akademischen Verband für Literatur und Musik, Oskar Kokoschka’s canonical essay ‘Von der Natur der Gesichte’ (‘On the Nature of Visions’) speaks to the decisive role of visions – both optical and inner, conscious and unconscious – in the development of modern art. Although only twenty-five years of age at the time, Kokoschka spoke with the authority of an artist who had long recognized the stakes involved in defining one’s art (and one’s self) as avant-garde within the milieu of fin-de-siècle Vienna. As a burgeoning young expressionist painter and playwright, he equally understood the importance of establishing a theoretical basis in which to root the iconography of
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Timpano reviews the visual manifestation of the arc de cercle—a specific movement in hysterical attacks coined by Jean-Martin Charcot in the 1870s—in order to better comprehend how and why hysteria was not the invention of... more
Timpano reviews the visual manifestation of the arc de cercle—a specific movement in hysterical attacks coined by Jean-Martin Charcot in the 1870s—in order to better comprehend how and why hysteria was not the invention of nineteenth-century French medicine, but rather, a theatrically expressive “attitude” identifiable throughout the visual and performing arts from the Early Modern period to the present era. His research demonstrates that any distinction between “dramatic swooning” and “hysterical arcs” was largely an arbitrary division for artists and theater directors working from the Baroque era to the contemporary scene. Instead, the codification of the arc de cercle by modern medicine in the late nineteenth century was, in truth, a rather late attempt to explain a long-standing tradition of hysterical expressions that had already found power and meaning in the realm of the arts.
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"The Semblance of Things: Corporeal Gesture in Viennese Expressionism" examines the critical discourse surrounding the iconography of expressive gesture in fin-de-siècle Viennese visual culture, including their... more
"The Semblance of Things: Corporeal Gesture in Viennese Expressionism" examines the critical discourse surrounding the iconography of expressive gesture in fin-de-siècle Viennese visual culture, including their manifestation in early twentieth-century figural painting, modern cabaret and marionette theater productions, and alongside their theoretical explication in the emerging psychoanalytic discourse on clinical hysteria. Within this study, I consider how, and to what
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art, in all its varied forms, is having a major come-back in American and European museums and is attracting renewed attention from the general public. Judging from the recent efforts of New York’s Museum of Modern Art, we observe a... more
art, in all its varied forms, is having a major come-back in American and European museums and is attracting renewed attention from the general public. Judging from the recent efforts of New York’s Museum of Modern Art, we observe a serious commitment to the subject. In 2010-2011 MoMA mounted a major show entitled Abstract Expressionist New York (drawn from its own immense holdings in this area) and in 2011-2012, De Kooning: A Retrospective allowed us a ‘close up and personal’ look at the work of this great pioneer of American abstraction. As this essay was being written (in winter, 2012-2013) a major exhibition entitled Inventing Abstraction: 19101925 was seen at MoMA. Investigating the roots of non-objective art in Europe and the United States (with particular attention being paid to the contributions of Russian, German, Dutch, Italian and Central European artists as well as to some of the North Americans associated with the Synchromist movement), this exhibition and its valuable ...