arthistoricum.net-ART-Books

With the aim of further developing his painting technique and improving the durability of his paintings, the Swiss painter Hans Emmenegger (1866-1940) meticulously documented his working processes, materials and techniques between 1901 and 1905. His ‘painting technique notebook’ was evaluated at the Swiss Institute of Art Research in Zurich and linked to the results of technological painting analyses. This volume presents the results of this research. Emmenegger's search for subjects, the function of studies, the painting process, his struggle for pictorial colour, his technical experiments and much more are explained.

The former Swiss textile factory “Hanro” produced knitted fabrics, underwear and outerwear in the 20th century. Seamlessness as a concrete textile technique as well as a design ideal was an important factor within the internal production processes. The author examines the textile design process in the context of changing fashion cycles and serial production. She provides new insights into the conditions of emergence of today’s globalized industry.

Funded by the SNSF (Swiss National Science Foundation)

The guidelines offer a practical introduction into provenance research on human remains from colonial contexts. Though focussed on German institutions, they also give a glance at the situation in Austria. They apply to collections of human remains kept in universities and museums, mostly in the fields of anthropology, anatomy and medical history. The interdisciplinary approach combines several research methods. The guidelines provide extensive guidance for historical, anthropological and natural sciences methods of provenance research. They also explain the cross-cultural and transnational dimensions of provenance research and discuss how to document the results of the research.

In the early modern period drawing was one of the main working practices of artists. Since the 16th century more and more dilettanti showed interest for learn drawing. For the first time Nanobashvili opposes learning techniques of artists and dilettanti, by which she can shed new light on drawing practices and theoretical questions. This approach allows a new understanding of Alessandro Alloris Ragionamenti delle regole del disegno, the Carracci-academy in Bologna, as well as the life drawing by examining an informal circle of venetian artist Filippo Esengren.

The conference proceedings outline the contributions presented at the online conference of the same name organised by the Bomann Museum in Celle and held on 1 March 2021. Locating sources for provenance research into the regional art trade is often difficult as business records or auction and sales catalogues have not been preserved in most cases. Therefore the central question at the conference was how to achieve the best possible provenance research nevertheless. Individual contributions provide examples from various museums and research projects in northern Germany how this can be accomplished.

Volume 2 of the LIDO Handbook is dedicated to painting and sculpture. It describes a specific application profile of the internationally established metadata standard LIDO (Lightweight Information Describing Objects) and serves as a guide for the coherent structuring of information in local collection management systems. Each data field contains a definition, tips for data entry, examples as well as instructions for exporting data based on the LIDO XML schema. All recommendations support the objective of preparing data from different sources in ways that enable comprehensive and precise search results and open opportunities for further cross-linking and integration of information.

With his multifaceted work as an art historian, medieval and building archaeologist, Matthias Untermann has made a particular contribution to the study of medieval architecture and its semantics. Not only the objects of his research are frequently characterized by changes of plans, but also his own career: In 2000, Matthias Untermann became a professor of art history at Heidelberg University after having worked as a monument conservator for 15 years. For his 65th birthday, friends, colleagues and companions honour him with this collection of 55 essays, which reflect this change of plans by means of interdisciplinary collaboration.

Art and Politics between Germany and France from the interwar period to 1945. Sixteen case studies on the actors of the artmarket; an original view of networks, of the artists‘ careers and collections, of  transnational relationships between Arts and Politics in the XXth century.

Qui sont les acteurs du marché de l’art entre la France et l’Allemagne ? Quelle lecture politique peut-on faire de l’histoire des collections ? Alors que le début des années 1920 témoigne, après la rupture de la guerre, d’une reprise dynamique des échanges entre les deux États, ces derniers furent modifiés par l’instauration du nazisme à partir de 1933, puis l’Occupation de la France. À partir d’études de cas concernant des institutions culturelles, des réseaux marchands, ainsi que des parcours et collections d’artistes, les 15 contributions de cet ouvrage se consacrent aux réseaux transnationaux du marché de l’art de l’Entre-deux-guerres aux années suivant la Libération. Elles donnent à voir les enjeux et les implications politiques des transactions commerciales relatives aux œuvres d’art, mettant en lumière la complexité des rapports, encore largement inédits à ce jour, entre arts et politiques.

This study examines the reception of architecture in travel descriptions of three German-speaking architects on Paris and Versailles around 1700: Christoph Pitzler, Lambert Friedrich Corfey and Leonhard Christoph Sturm. For this purpose, a new quantitative-qualitative method was applied in art historical source analysis, which focuses on the identification of the contents mentioned, the architects' approach to the description and the sources used for it. The extensive data collection and interpretation provide numerous new results on the reception of architecture in the parts of France that have hardly been studied so far, as well as on the genesis of the travelogues.

Cette étude examine la réception de l'architecture dans les descriptions de voyage de trois architectes germanophones sur Paris et Versailles autour de 1700 : Christoph Pitzler, Lambert Friedrich Corfey et Leonhard Christoph Sturm. À cette fin, une méthode quantitative-qualitative, nouvelle dans l'analyse des sources de l'histoire de l'art, a été appliquée, qui se concentre sur la détermination des contenus mentionnés, l'approche des architectes à la description et les sources utilisées pour celle-ci. La collecte et l'interprétation approfondies des données fournissent de nombreux résultats nouveaux sur la réception de l'architecture dans les sections françaises qui n'ont guère été abordées jusqu'à présent, ainsi que sur la genèse des carnets de voyage.

Related research data on arthistoricum.net@heiDATA

The spaces in which academic research and teaching take place are often considered a minor matter. For the most part, they only receive attention when drastic changes are made. It then becomes clear that the campus has always offered space for very different designs.he contributions in this volume address historical and contemporary transformations of the campus. Distinctive architectural examples from Germany, but also from the Anglo-Saxon and French contexts are discussed. Political programs, ideological charges and critical perceptions of modern university spaces are made visible. The medial dimension of the built environment is also discussed. What is the role of artistic research and intervention in this? Can they uncover, subvert or even break the dominant logics of the campus and thus open it up for new appropriations?

Cultural institutions hold extensive cultural assets that have universal and timeless value. Digitisation simplifies access and expands and multiplies the usability of the cultural treasure managed by these institutions. However, open access is often severely hampered by legal, technical, or financial constraints.
Therefore, in 2021, the most important cultural heritage institutions in the state of Hesse committed to a joint Open Access Policy. This guide explains the policy and gives people working in cultural heritage institutions – not only in Hesse – practical advice on how to implement it.

The meeting of art historians paying a visit to the sculpture of St. Georg on the Exhibition on the Art of the Luxemburger 1979 in Cologne did not enhance further scientific observations in terms of cultural history or art technology. Hence, the historical context of the sculpture’s singularity has remained unquestioned. The polychromy’s virtual reconstruction ends in a survey on both the cultural history and art technology, revealing along with the history on applications on painted figures up to 1400 strong ties to goldsmithing and panel painting in North Italy.

This “Timeline of Selected Historical Building Facades in Aleppo” highlights primarily exterior facades with a particular focus on doors and windows from the Seljuk period to modern times. The elements are chosen from 60 historical buildings including religious, commercial and residential buildings. The focus is on the presentation of a general chronological sequence. All pictures are selected from the collections of the Syrian Heritage Archive Project (SHAP). Many of these monuments were affected, damaged or destroyed, by the conflict in Syria, the clashes of which lasted in Aleppo from 2012 to 2016; reconstruction work is ongoing. Thus, it seems particularly important to recall and document the diversity and richness of detail in the city’s built heritage, which give testimony to the traditional skills and competence of the builders, architects and craftsmen and which contribute to Aleppo's local identity and its position as a distinguished and beautiful city.

In the 1950s and 1960s, artists in Europe and Asia worked in a radically abstract manner, combining a reduction of subject matter and color palette with a reflection on materials and techniques. In West Germany, major impulses came from the Düsseldorf group around Heinz Mack, Otto Piene, and Günther Uecker, as well as the international ZERO network. In South Korea, the so-called Dansaekhwa ("monochrome painting") artists such as Park Seo-Bo, Ha Chong-Hyun, Lee Ufan, and Kwon Young-Woo were central to Korean modernism.

This anthology opens up a so far unexplored field of research, in which the art of ZERO and Dansaekhwa is considered together for the first time through introductory overviews as well as dedicated analyses of works and exhibitions.

The uncertain journey of the ἀνήρ (man), who initially remains nameless in the Odyssey, who fails and succeeds as Οὔτις (nobody), is experiencing a new boom as a timeless construct that can be adapted to different areas of today’s globalized world, characterized by mobility and migration movement.

This volume provides a comprehensive overview of the Odyssey’s reception in a wide variety of genres from different cultural contexts from Europe to North and South America and aims to encourage further interdisciplinary and transmedia research.

The Flemish painter Michele Desubleo (* 1601, Maubeuge; † 1676, Parma) had a successful career in Italy. In Rome, Bologna and Venice, he established contacts with some of the most renowned painters and art collectors of his time and secured honourable commissions. He thus represents a special case of an immigrant painter. However, the artistic recognition he received during his lifetime could not prevent Desubleo’s name from rapidly disappearing from art historical literature after his death.

This monograph explores for the first time the complex mechanisms that led to the success and oblivion of a foreign painter in 17th century Italy. The study reveals the multi-faceted picture of a gifted artist and traces his unusual rise far from official career paths.

The years before World War I were marked by political upheaval and uncertainty in the eastern Mediterranean. 1910–1914 excavations of the Royal Prussian Museums in Berlin took place on the island of Samos. Numerous finds from the excavation reached Berlin, only a part of them by way of the official division of finds. In 1913–1914 Germany also negotiated with the Sublime Porte about the pledging of antiquities from the Archaeological Museum of Constantinople/Istanbul with the aim of permanent possession by the Berlin museums. The articles presented in this volume shed light on the intensive entanglement between politics, business, science and culture in the late phase of the German Reich.

Hitherto, art forgeries have merely been perceived as a shadow of art history. In fact, they are not only interwoven with it in manifold ways, but also part of the (global) cultural transfer. The forgeries of Giovanni Bastianini and Wolfgang Beltracchi, for example, arise against the background of a changing European art history from its development as a scientific discipline in the 19th century and a national concept of art to its erosion in the 21st century due to an increasingly globalized concept of art. In the context of this history of art history, forgeries are analyzed both as part of the reception history of a work of art and in their interaction with art history.

The divine heaven is a complicated, albeit ubiquitous pictorial object whose theologically justified 'non-representability' places special demands on visualisation. Although none of the painters knew their subject matter, recurring principles can be discerned with which approaches to solving the problem of depicting the 'invisible' were formulated and the viewer could thus be brought closer to the beyond. Modes of images abstracted from the analysis enable a systematic recording of the celestial images. Here, traditional designs and new conventions are juxtaposed, which need to be evaluated and contextualised in this framework.

Since 2006, the author has been systematically collecting images of works as well as digital data on Lucas Cranach and his environment. In January 2010, an overview of the panel works was published within the database cranach.net, which included about 3060 works at the time of the catalog publication. All individual works are documented in detail in dossiers with a constantly growing volume of data, taking into account the scientific discourse. With more than 11000 painting images, 6100 documents, 21000 files and 3000 recorded publications, unprecedented possibilities are available to the scientific community. As tools of digital art history, the linked database structure forms the prerequisites for an accelerating gain in knowledge.
CORPUS CRANACH shows an overview of all works, which are provided with persistent work numbers for identification and are catalogued according to motif. This makes it possible for the first time to systematically evaluate the oeuvre of the Cranach workshops and their epigones.

Since the years around 1500, there have been printed reproductions of ancient statues and other monuments of antiquity. After a long period of mainly investigating which works these prints represent, interest is now increasingly turning to how they do so.
This paper examines when and in what contexts ancient works began to be systematically reproduced from multiple views in the 16th and 17th centuries. The antiquarian, and not only the artistic, preoccupation with antique sculptures made a decisive contribution to 'multiple views' and 'documentary modes of representation'. Unusual antique works from Egypt, for example, or non-European figures of gods and 'idols' required innovative illustrations from several perspectives.
It was not until the 19th century that new forms of reproduction of sculpture were to be experimented with and their use discussed - right up to Heinrich Wölfflin's reflections on "how to photograph sculpture", which were geared towards photography.

This volume examines one of the rarely studied phenomena in East Asian Art: the cross-media flows of images between porcelain, paintings, prints and souvenir photography in China and Japan during the 18^th to early 20^th centuries. Focusing on both concepts of femininity and their transcultural impact in the production of meanings, a wide range of issues are discussed in essays by closely investigating selected objects from three collections of the Staatlichen Kunstsammlungen Dresden, Germany.

Vera Beyer compares transformations of gazes and dispositifs of the gaze in Persian and Western European book illumination from the 13th to the 16th century. How are desirous gazes rendered legitimate? What are the conditions of seeing God? When is the contemplation of an image idolatry? The book examines such questions regarding topoi that circulate in both visual cultures: Glimpses of the beauty of the Old Testament Joseph, the curtain before the throne of God, the portrait of Alexander the Great, dreaming authors and unbelieving idol worshippers.
The transformations of these topoi counteract universalisations as well as essentialisations, such as an image-hostile Islam versus an image-friendly Christianity. By combining transcultural art history and image studies, the book thus tests a transcultural critique of the gaze.

Daniel Spoerri's oeuvre occupies the intersection of several artistic trends and tendencies. Most commentators on his work, on the other hand, considered him a New Realist artist, and his work is often reduced to that of the trap paintings. This abbreviation, consolidated by art historiography and largely formed by the classificatory efforts of Pierre Restany, corresponds, however, to only a small part of his oeuvre. Spoerri's films, his poetry, his books, the MAT editions, his importance as an organiser of events and exhibitions are examples of the diversity and openness of his activities. In the 1960s he was close to Fluxus and Zero and laid the foundation for Eat Art. Understanding the artist's work as part of transnational networks that combine different disciplines and theoretical and material approaches suggests a re-evaluation of Spoerri's interactions with a wide range of contemporary actors. This book explores these questions as the proceedings of the colloquium "Topographies of Daniel Spoerri: the artist in his networks" organised by Jill Carrick and Déborah Laks at DFK Paris on 22 and 23 October 2018.

Le travail de Daniel Spoerri se situe au croisement de plusieurs courants et tendances artistiques. Pour la plupart des commentateurs, il est pourtant généralement abordé comme un artiste du Nouveau Réalisme, et son œuvre antonnée au Tableau-Piège. Cette place délimitée, forgée par une historiographie largement marquée par les efforts classificateurs de Pierre Restany, ne correspond en réalité qu’à une petite partie de son travail. Ses films, sa poésie, ses livres, les éditions MAT, ses activités d’organisateur d’évènements et d’expositions sont autant d’exemples de la diversité et de l’ouverture de ses champs de recherche. Dans les années 1960, il se rapproche de Fluxus et de Zero et pose les fondements du Eat Art. Son œuvre s’inscrit dans des réseaux transnationaux mêlant des disciplines, des approches théoriques et matérielles différentes, et il importe aujourd’hui de réévaluer ses interactions avec les différents acteurs de la période. Cet ouvrage constitue les actes du colloque « Topographies de Daniel Spoerri : l’artiste en ses réseaux » organisé au DFK Paris par Jill Carrick et Déborah Laks les 22 et 23 octobre 2018.

The "emotional turn", it seems, has meanwhile arrived in the field of Heritage Studies. The connection between emotions and heritage/monuments can be regarded as a reciprocal and interdependent relationship. Understood as an integral part of processes of individual and collective meaning-making, emotions are being reconceived as a formative aspect of valorization, appropriation and rejection rather than their mere by-product, and as such are being recognized as constitutive for the field of heritage conservation. The essays gathered here reflect in their range the different facets of the complex relationship between Heritage Studies and emotions, be it in relation to the political dimensions of that relationship, to the development of new emotional points of reference or to very concrete processes of the appropriation or rejection of heritage.