I am a Postdoctoral Research Associate & Lecturer in Modern & Contemporary Art History. More specifically, I am an art historian of modernity. Having first trained as an art historian of medieval art, I deepened my expertise, in particular of the 19th and 20th century, with a PhD on modern art, Surrealism specifically.
My current postdoc project, for which I was awarded the prestigious 3-year VENI-grant from NWO--part of the Netherlands Organisation for Scientific Research's Innovative Talent Scheme, brings to those two interest--the medieval and the modernist avant-garde--together, as it focusses on the reception of the medieval and medieval art in modernity, specifically in Surrealism. Find a summary of my postdoctoral project below. The monograph will be published in 2018.
In 2016 I am Visiting Academic Fellow of Coventry University, Department of Art History and Visual Arts Research. Since 2016 I am also serving on the Board of the VVViO, the Association of Talent Scheme Laureates.
This project examines surrealist medievalism: the reception and construction of the medieval in well-known avant-garde movement Surrealism. It aims to answer the question how the medieval—in particular, medieval art—was constructed in Surrealism, and why.
Scholars increasingly pay attention to modern, Modernist, and avant-garde medievalism. Studies of surrealist medievalism are however few and focussed upon literary reception, even though medieval art and visual culture played prominent roles in the surrealist discourse. Besides being the first to comprehensively address this, the proposed research will, innovatively, move beyond Surrealism’s internal discourse and include the art-critical discourse directly surrounding it, shaped by prominent art critics, curators and dealers. The focus will lie in particular upon late-medieval art (“Northern Primitivism”) which was marketed by art critics and curators to cultural elites as modern. In contrast, the surrealists positioned the medieval as pre-modern or even anti-modern, a unique and understudied development this study will expose.
This project offers an original perspective upon Surrealism’s own temporality and historicity, the process of passing into history that the surrealists actively tried to influence—not least by appropriating medieval art and artists. It will showcase the unique character of surrealist medievalism in relation to other modern medievalist traditions, including developing academic scholarship. Furthermore, it will provide a new perspective upon the 20 th-century reception (by curators, critics, surrealists) of 16 th-century artists such as Jeroen Bosch, Pieter Bruegel, Matthias Grünewald and Albrecht Altdorfer. Proceeding from a compact body of textual, visual and curatorial sources from French, Belgian and international Surrealism and selected art debates, the study combines historical, primary source-based research with critical analysis and interpretation. Results will be disseminated through publications, public events, teaching, and an exhibition.
Several factors underscore this project’s timeliness: the upcoming centennial of Surrealism (2019-24); the current critical re-evaluation of the (canonisation of the) avant-gardes; the fifth centennial of Bosch’s death (2016) and 450 th year of Breugel’s (2019), in combination with growing general interest in (the modern reception of) those two and other 15 th and 16 th.-c artists; as well as medievalism’s quick rise to prominence as a new field of enquiry about modernity.
For more info about me, see:
Bauduin, T.M. 2014. Surrealism and the Occult. Occultism and Esotericism in the Work and Movement of André Breton. Amsterdam: Amsterdam University Press/Chicago University Press.
Get your hardcopy or ebook via AUP.
Find my dissertation online: Bauduin, T.M.. 2012. The Occultation of Surrealism: A Study of the Relationship between Bretonian Surrealism and Western Esotericism. University of Amsterdam: PhD-dissertation, published online.
Information about all my publications, including links, downloadable tables of contents and downloadabel texts, please visit my academia profile.
Full teaching portfolio and other documents on academia.
Dr. Tessel M. Bauduin - University of Amsterdam - Lecture 10 March, 2016, Dept. of Art History, Coventry University
In 1936 MoMa-director Alfred Barr, jr., entitled his grand exhibition of Surrealism and Dada: ‘Fantastic Art, Dada, Surrealism’. The first showcase of dada and surrealist art on this scale in the US, it’s original title had been ‘The Fantastic in Art’. The category, or perhaps genre, of “fantastic art” was a relatively recent French-Belgian scholarly invention. Flemish, Netherlandish and German Primitivist artists such as Van der Weijden, Bosch, Bruegel, and Cranach, as well as modernist artists such as James Ensor and surrealists such as René Magritte and Salvador Dalí were all placed under the heading of this rather odd, and also centuries-spanning, supergenre.
‘Fantastic Art’ is no longer used in art history today, but its impact has been far-reaching. In this lecture I will briefly trace the construction of this fascinating genre, and highlight the role it played in both the academic and institutional reception of Bosch and similar artists, and the popular reception of Surrealism outside of France.