The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

"Cómo pintar el aire". Fundamentos científicos de la perspectiva atmosférica

La perspectiva aérea o atmosférica es juzgada por los pintores como parte esencial de la pintura, una vez establecidos los presupuestos geométricos de la representación naturalista mediante la perspectiva lineal. Leonardo da Vinci fue el primer autor en definir la perspectiva aérea o atmosférica, conocidos ya a través de L. B. Alberti los fundamentos geométricos de la perspectiva lineal en el tratado De Pictura (1435). Doscientos años después, tras la influyente publicación del Optics de Newton, contextualizadas bajo el espíritu racionalista del siglo XVIII, el artículo estudia las recomendaciones que desde la ciencia y los científicos (específicamente a través de tres figuras relevantes: Brook Taylor, J. H. Lambert y Gaspard Monge) se dan a los pintores con la pretensión de arbitrar una medición exacta del color, en confrontación con el tradicional empirismo del mundo artístico. Este tema puede considerarse un capítulo de gran interés en la larga historia de la pintura y la representación de los fenómenos atmosféricos, cuyos antecedentes teóricos tienen su inicio en el Débat sur le Coloris de la Académie Française del siglo XVII y sus resultados, conducirán hacia el nacimiento de la moderna Teoría del color, en respuesta a una cuestión tan compleja sobre cómo pintar el aire.

James Anderson's Political Economy--His Influence on Smith and Malthus

James Anderson's powerful critique of Adam Smith's position on the corn export bounty was published in 1777. It focuse d on Smith's proposition that the bounty could not lead to increased corn production because it could not increase corn's real price. Smit h's response to the critique is traced in later editions of Wealth of Nations. While Anderson's critique of Smith influenced Thomas Malthu s's writings from 1803 onwards, his theory of differential rent did n ot influence Malthus at this stage. An examination of the evolution o f Malthus's ideas on rent between 1803 and 1815, however, indicates t hat Malthus knew and used Anderson's work on rent.

James Croll, metaphysical geologist

James Croll (1821–90) occupies a prominent position in the history of physical geology, and his pioneering work on the causes of long-term climate change has been widely discussed. During his life he benefited from the patronage of leading men of science; his participation in scientific debates was widely acknowledged, not least through his election as a Fellow of the Royal Society in 1876. For all that, the intellectual contribution that Croll himself considered to be of most significance—his articles and two books on metaphysics—has attracted very little attention. In addressing this neglect, it is argued here that Croll's interest in metaphysics, grounded in his commitment to a Calvinist form of Christianity, was central to his life and thought. Examining together Croll's geophysical and metaphysical writings offers a different and fruitful way of understanding his scientific career and points to the wider significance of metaphysics in late-Victorian scientific culture.