This volume presents three articles that reflect on the reception of the art legacy of the former GDR in the years following the Reunification of Germany. The aim is to offer Spanish speaking readers a wider perspective of the art scene in Germany that is no longer restricted to the art of the former West Germany. The first article deals with the most important exhibitions of painting of the GDR. The second one examines the case of the painter Bernhard Heisig, whose numerous paintings have been interpreted by West German historians as an Aufarbeitung der Vergangenheit. The third one gives an overview of the art scene during the 40 years of existence of the GDR.

Hubertus Kohle is an art historian and professor who has made a name for himself in Germany especially with his research on the art of the European Enlightenment and the nineteenth century. He opened up his discipline early on to digital processes and concepts and has been committed to electronic publishing in Open Access for years. As one of the two directors of the renowned DFG Priority Programme "The Digital Image", he is currently also working on a multidisciplinary approach to the subject of the digital. On the occasion of his 60th birthday, he was honoured by numerous friends and academic companions with this commemorative publication, the content of which ties in with the focal points of his work - from the analogue beginnings dedicated to the art of the Age of Enlightenment to the current field of "digital art history". This commemorative volume is understood as an experimental online publication that is presented first to the birthday celebrant in a purely virtual version.

Since this is deliberately a "digital work in progress", further contributions will be added later to finalise the commemorative volume as an e-book, which will then be available at the end of 2019 in parallel as an analogue book edition

Friedrich Hermann Ernst Schneidler’s (1882 – 1956) work is defined by his creation as a book artist, commercial artist and professor of fonts and graphic design; it is what he is particularly renowned for within the literary world. However, in his 50 yearlong creative period, he also produces a vast corpus of fine art pieces on the sidelines to his daily work - a corpus he mostly keeps concealed from the public. Only a few of his closest confidants are lucky enough to be permitted a glance at these works, he devotes his nights and vacations to.
Therefore, this book mainly discusses Schneidler’s rather under researched alternative corpus. How it came into being will be linked to a context of art history and biographically as well as historically analyzed.

Aussehen und Material von Reisegepäck passten sich in den letzten 250 Jahren den veränderten Verkehrsmitteln und Bedürfnissen einer zunehmend mobileren Gesellschaft an. Die 23 Beiträge des Ausstellungsbegleitbandes präsentieren die breite Palette an Gepäckstücken von der Gesindetruhe über den Schrankkoffer bis zu Bord-Case und Plastiktüte und bilden nahezu alle Exponate der Ausstellung zumeist in Farbe ab.
Erstmals sind Materialität, Funktionalität und zeitliche Einordnung gemeinsam erfasst. Unterschiedlichste Facetten von „Reisebegleitern“ wie Kofferwerbung, der Gepäckverkehr bei der Bahn, Militärgepäck, der Koffer im Museum, Gepäckversicherung, das Schreiben auf Reisen oder umfangreiche Reiseservice erscheinen in ihrem jeweiligen kulturgeschichtlichen Kontext. Im Anhang sind nach dem Ausstellungsplan die technischen Daten der Exponate erfasst.

In einem vierjährigen Projekt wurden 21 hochrangige Gemälde und Skulpturen, u.a. von Riemenschneider, Altdorfer, Wertinger, Mauch und Kremser Schmidt, kunsttechnologisch untersucht und restauriert. Die Ergebnisse der Restaurierung sowie die kunsttechnischen und kunstgeschichtlichen Forschungen werden erstmals im Rahmen der Ausstellung und in der vorliegenden Begleitpublikation präsentiert.

This conference volume deals with the issue of art and inclusion from interdisciplinary perspectives: Experts from museums as well as from the fields of Rehabilitation Sciences, Art Theory and Disability Studies discuss the artistic production, presentation, mediation and reception of works by artists in need of assistance. In addition to academic research the book also contains methodological reflections: Artist collectives and studios present their working methods and networks, drawing on sample projects they have completed. Questions concerning curatorial practice, inclusive exhibition concepts and the role of the institutions are addressed as well as inclusive approaches to art education. Interviews and reviews introduce the reader to some artists in need of assistance and provide an insight into their work.

Museums are the treasure troves of cultural heritage, places of remembrance and selfassurance. But whose stories are they telling? What is remembered in museums, what is ‘forgotten’? – Around 200 museum experts discussed different concepts of action at the international ICOM 2017 conference. Interim results: In order to secure their acceptance by as many reference groups as possible, museums need to communicate their profiles and environments proactively. They make visible different groups of the population, make their life stories heard and present them as equal parts of a shared cultural heritage.
The conference volume brings together numerous examples from European museums, with which the experts involved would like to strengthen the exchange of expertise and contribute to mutual learning.

On the occasion of the anniversary of their foundation, the ZADIK - Central Archive of the International Art Trade in cooperation with the Institute of Art History of the University of Cologne, basis wien and the Institute of Modern Art Nuremberg organized a conference for international art archives. This conference catalogue assembles the oral presentations given by representatives of the art archives that were invited, providing information on their institutional situation and collection priorities as well as their work and their user services.

„Too much importance is attached to the silence of Marcel Duchamp.“ When Joseph Beuys expressed this in 1964, he could not have guessed that thirty years later the literature on Duchamp would reach such a scale that it is impossible even for specialists to gain an overview let alone to understand it. Nevertheless, many blind spots are remaining: Take for instance “the in some details unclear attempt by R. Mutt to smuggle a pissoir into an exhibition that did not have a jury and where he himself was part of the committee.” In his detailed research the author deals with this “case Mutt” dismissing some speculations and correcting many errors and untruths.

Veröffentlichung des Instituts für Kunsttechnik und Konservierung am Germanischen Nationalmuseum; Band 9
Der Tagungsband verbindet aktuelle wissenschaftliche Forschungsergebnisse aus dem Gebiet der Kunst- und Kulturgeschichte, Archäologie und Volkskunde mit Fallbeispielen aus der handwerklichen sowie der restauratorischen Praxis und Forschung. Die Beiträge erörtern die Aspekte der historischen Wohnforschung, der Werkstattpraxis oder des Auftragswesens. Es werden Facetten der Firmengeschichte, der Materialkunde und der Sammlungsgeschichte angerissen. V.a. die restauratorischen Beiträge behandeln ein bislang vernachlässigtes Thema: Sie zeigen nicht nur die komplexen Tätigkeitsfelder auf, sondern auch Möglichkeiten im Umgang mit Kachelöfen und Einzelkacheln in Museen und Denkmalpflege im Spannungsfeld zwischen konservatorisch-restauratorischer und handwerklich-traditioneller Herangehensweise. Die 14 Beiträge sind in Deutsch und Englisch zusammengefasst.

Geschichte der klassischen Bildgattungen in Quellentexten und Kommentaren, Band 1
Mit 43 Quellentexten von Alberti bis ins späte 19. Jahrhundert gibt der Band "Historienmalerei" einen umfassenden Überblick über die Theoriegeschichte dieser Gattung, der die führende Rolle in der Hierarchie der Bildaufgaben zugewiesen worden ist. die vorliegende Textsammlung bietet damit die Möglichkeit, bei der Deutung des einzelnen Kunstwerks und seiner historischen Stellung die kunsthistorische Debatten der unterschiedlichen Epochen stärker zu berücksichtigen.

Kulturgeschichtliche Spaziergänge im Germanischen Nationalmuseum, Band 10

Der Band stellt Schlitten und Schlittendarstellungen aus den reichen Beständen des GNM vor und behandelt die kulturgeschichtliche Bedeutung des Schlittenfahrens vom 16. Jh. bis heute. Hervorgehoben wird die mit den geselligen Vergnügungen von Adeligen und Patriziern verbundene Repräsentation von Herrschaft und Macht. Neben Prachtfahrzeugen werden Schlitten als Transport- und Verkehrsmittel in der Arbeitswelt der Neuzeit thematisiert, ferner Aspekte ihrer Verwendung im kindlichen Spiel und in der winterlichen Freizeitgestaltung. Schlitten und Schlittenfahren stehen darüber hinaus metaphorisch etwa für die Eitelkeit oder die Wechselfälle des Lebens. Die zahlreichen, meist farbigen Abbildungen vermitteln dazu informative, individuell künstlerische und überraschende Einblicke.

The 25th EVA Berlin Conference [Electronic Media & Visual Arts] bridges between material culture and virtual representation. The concept of «Digital Twins», transferred into the field of Cultural Heritage, is currently changing our practices of curating, scholarly documentation and communication. Digital Twins provide broader access to the collections and allow for innovative narration and visualization concepts. E-installations and streaming services give duration to the performative arts or turn music into a perfect listening experience in the digital concert hall.

Monastic manor houses of the 16th-18th century served as administrative centres of Further Austrian Saint Blaise Abbey’s large and remote holdings: In townhouses, rural administrative buildings and provosts, levies – natural produces and money – were collected, stored, sold or redistributed. There was room for public gatherings as well as administrators, visiting abbots, convent’s members and guests. The buildings thus had to fulfill not only very practical tasks but also representative demands.
This study pays special attention to the buildings’ function, their contribution to the territory’s definition, and the question to what extent form and style were used as a rhetorical device to communicate the principal’s social position and rank to the viewer.
Comparisons with contemporary manor houses of Säckingen ladies’ chapter and of secular lords of Schönau complete the investigation.

Albinmüller (d. i . Albin Müller, 1871–1941), Mitglied des Deutschen Werkbunds und der Darmstädter Künstlerkolonie, entwarf eine Vielzahl an Raumausstattungen sowie Gebrauchs- und Ziergeräten, welche hier erstmals übergreifend in ihrer Gesamtheit betrachtet werden. Ebenso wird die Lehrtätigkeit an der Magdeburger Kunstgewerbeschule (1900–1906) und den Großherzoglichen Lehrateliers in Darmstadt (1907–1911) behandelt. Albinmüller war überzeugt, dass eine moderne, zeitgemäße Formgebung „ohne Zutat überlieferter Formen“ möglich sei. Seine Entwürfe wurden u. a. auf den Weltausstel-lungen in St. Louis 1904 und Brüssel 1910 sowie der III. Deutschen Kunstgewerbe-Ausstellung in Dresden 1906 prämiert.

The digital transformation of cultural heritage is a generative and co-creative process. It has long ceased to be the reproductive digitization of collection objects, but rather the imprinting of authentic experience equivalents. Telepresence technologies and three-dimensional visualizations enable a virtual re-enactment of the collections in documentation and mediation. Not as a digital twin, but as a documentary and functional enriched digital unicum, the object leaves the museum space and unfolds its own virtual, smart and shared heritage its own, auratic effectiveness in the Internet of Things, in social networks, on gaming platforms or in research and science. In addition to broader access to cultural heritage, new forms of circulation of knowledge and the differentiation of public media environments are on the digital agenda of the GLAM institutions.
The 24th Berlin EVA Conference 2017 is the forum where these topics are developed - at the interface between memory institutions, technology developers, information scientists and public administrations.

The biblical story about Christ and the adulteress is among the most often religious picture themes of Lucas Cranach the Elder and his sons. From the 1530s onwards, the biblical ›historia‹ from the Gospel of John was painted in numerous versions by the Cranach-workshop. Their rhetorical visual language teaches, delights and moves the viewer.
The media-historical study focusses on visual culture in the Reformation period. The history paintings are not only a manifestation of Martin Luther’s teaching of divine grace. They also serve as visual mirror of prince’s virtues and ›exempla‹ of mild and wise judgement – further they invite Christian believers to inner contemplation.

Spätestens seit der berühmten Anekdote vom Bild der schönen Helena gilt körperliche Schönheit als ein Kunstprodukt. Für sein Bildnis der Helena soll der griechische Maler Zeuxis die fünf hervorragendsten Jungfrauen ausgewählt und von jedem Modell den jeweils schönsten Körperteil gemalt haben.
Nach dieser Vorstellung ist vollkommene Schönheit erst durch einen künstlichen Eingriff zu erzielen; das gilt sowohl für den lebendigen Körper als auch für sein künstlerisches Abbild. Kunst und Körperpflege stehen damit in einem spannungsvollen Wechselverhältnis. Denn die Grundlagen und Mittel zur Erzeugung und Steigerung von körperlicher Schönheit, die in beiden Bereichen zur Verfügung stehen, über- schneiden, ergänzen und beeinflussen sich. Das Buch beleuchtet dieses Wechselverhältnis anhand ausgewählter Grundlagentexte in deutscher Übersetzung, ergänzt um fundierte Kommentare zum historischen Kontext.

Der Arbeitskreis Digitale Kunstgeschichte versteht sich als Netzwerk, das digitale Methoden im Fach Kunstgeschichte stärkt und gleichsam bildwissenschaftliche Forschung weitreichender in den Digital Humanities etabliert. Dazu richtet sich das Engagement des Arbeitskreises und seiner Mitglieder nicht nur auf die Weiterentwicklung digitaler Infrastrukturen und Werkzeuge, sondern auch auf die methodenkritische Vermittlung vielfältiger Ansätze digitaler Kunstgeschichte in der Lehre.
Der Computing Art Reader — Einführung in die digitale Kunstgeschichte stellt einen Schritt zur Umsetzung dieser Aufgaben dar. Studierende und Lehrende der Kunstgeschichte und der Digital Humanities erhalten einen ersten Überblick über die verschiedenen Inhalte und Institutionen der digitalen Kunstgeschichte; festgehalten durch einige der Akteurinnen und Akteure selbst. Die Texte bilden ein Mosaik aus theoretischen Essays, praxisnahen Projektbeschreibungen, Überblicken über Forschungszweige und kontroversen Positionstexten, in denen konkrete Technologien, aktuelle Diskurse und zukünftige Ziele des Teilgebiets ersichtlich werden.

Being a co-founder of important institutions like the Werkbund and the Deutscher Bund Heimatschutz, Paul Schultze-Naumburg (1869-1949) belongs to the most important representatives of German cultural history of the early 20th century. After the First World War, though, the painter, author, entrepreneur, architect and politician radicalised himself developing an increasingly racist attitude and joining the NSDAP at an early stage.

From 1930 to 1940 Paul Schultze-Naumburg directed the “Staatliche Hochschulen für Baukunst, bildende Künste und Handwerk“ in Weimar. In his attempt to align the former Bauhaus with the new rulers' ideology, he developed an explicitly anti-modern didactic concept which focused on glorifying the tradition of german craftsmanship.

This volume takes a closer look at Paul Schultze-Naumburgs life and work as well as at the profile the Hochschule Weimar was given under his directorship. Further, the impact of this contradictory, difficult personality are discussed. The book presents the results of a scientific symposium, organized by the Bauhaus-Institut für Geschichte und Theorie der Architektur und Planung which was held at the Bauhaus-Universität Weimar on December 3rd & 4th, 2015.

In April 1906, Arnold Genthe takes a series of photographs of a San Francisco ravaged by earthquake and fires. While his images remain ubiquitous documents of this disaster, Genthe himself is all but forgotten today, the dreamlike, blurry portraits and expressionist dancers that make up most of this once-famous artist’s oeuvre having no place in the canon established by later avant-garde photographers. This book takes Genthe’s most popular images of the 1906 disaster as the starting point for a discussion of the aesthetic, epistemological and sociopolitical conflicts that shaped the various world-views in the Far West at the turn of the century.

This Volume offers two languages (german/english)
If “Sharing Heritage” is to be taken seriously, then it must have consequences for the assessment of value – in Europe, but also beyond: in place of the more exclusionary “World Heritage”, which tends to foreground each country's own, often nationally-defined achievements and merits, we should strive toward the creation of a “Global Heritage,” one capable of building bridges on the basis of universal values, thereby bringing the world’s people closer together as a global community with a common destiny.
The 2017 Annual Meeting of the Working Group on Theory and Education in Heritage Conservation on the topic “Monument – Patrimony – Heritage” at the TU Berlin was at the same time the first Annual Meeting of the Research Training Group 2227 “Identity and Heritage” (GRK 2227), funded by the DFG. A cooperation between the two was particularly opportune, as the Working Group had decided on Berlin as the location of the annual meeting and, in view of the motto “Sharing Heritage” of the European Cultural Heritage Year 2018, to dedicate it to a discussion of monument and heritage terminology, while the Research Training Group, with seats in Berlin and Weimar, had been launched to address such questions and a number of colleagues are active in both bodies.

Whereas the enthusiasm of private individuals for collecting musical instruments remains undiminished, public museums are too often restricted in their desire to augment their collections by lack of storage space and money.
When the Rück Collection was sold to the Germanisches Nationalmuseum at the beginning of the 1960s, it was the last sizeable collection of musical instruments within Germany to pass from private to public ownership. In keeping with Rück’s example, private collecting of musical instruments forms the central theme of the conference, with contributions on historical and contemporary collections from all over Europe. In addition such topics as the function of musicology and related themes, such as the display of public collections are being addressed and complemented by the experiences of private collectors. Positions from the fields of literary studies, cultural management, transcultural music studies, and art history provide cross-disciplinary correctives and complete the conference proceedings.

This volume is dedicated to the study of the in- and outside of princely residences and of their setup as the stage for a developing European early modern court culture. At a time of increasing aristocratization (1400-1700) and with many new nascent princely courts, both the princely person and the performance of princely power required an appropriate type of elaborate backdrop as its setting. Even though such an interest in the palace interior and its functions is not entirely new, interior architecture and court culture have only recently come to be seen as two sides of the same medal: embodiment and expression of the princely presence.
Therefore, the essays included focus in particular on diverse types of functions that palaces and apartments, state rooms and privy chambers had to fulfil at certain periods and in certain residential contexts between the ages of feudalism and absolutism at courts in London, Edinburgh, Neuburg am Inn, Karlstein and Prague, Červený Kameň and Ludwigsburg. They compare and contrast specific local examples with international trends such as, for example, the palace and court ceremonial developed at or adapted to diverse circumstances in Burgundy, Spain or Lithuania. Consequently, the aim of this volume consists of the combination of personal and dynastic ambitions with fashionable trends and court etiquette followed by royalty and minor princes alike during a period of calculated magnificence. It considers processional routes towards the presence of the ruler or towards its image. Thereby, it helps to define the complementary roles of residential interiors and of the courtly personnel at the same time.
The ten papers collected in this volume were first presented at the PALATIUM colloquium The Interior as an Embodiment of Power―The Image of the Prince and its Spatial Setting (1400–1700), organized by Stephan Hoppe, Krista De Jonge and Stefan Breitling and held in Bamberg in October 2013.

This volume focuses on the leisure buildings – often called casino, palazotto or Lusthaus – which formed an integral part of princely residential complexes in Europe in the period 1400–1700. The aim of this collection is to study these satellite buildings as counterparts to the main palaces. The relatively small size of these structures belies their importance. They took on representative roles and developed certain  ideological programmes that would have been difficult to achieve in the larger residential buildings.
Many of these buildings were meant only for seasonal use. Their primary role was as a place of rest, leisure and repose. This relaxation could either take a contemplative form or could include such vigorous  activities as hunting, sports and various court festivities. The case studies presented here illustrate the shared principles of these recreational buildings and investigate how their architects and patrons attempted to realize a ‘paradise on earth’ and managed to bring the human world into harmony with the natural world.
Discussing examples from all over Europe – from Central Europe via Italy and France to Denmark and Scotland – the seventeen papers gathered in this volume address four different aspects of ‘palazotto culture’: the terminology that was used to identify these small palaces, which reflects the wide variety of needs they fulfilled; the functions and typologies of these buildings; their artistic decorations; and their gardens and natural surroundings.

This socio- and media-historical research on Peter Paul Rubens's title page design shows that he consciously developed its traditions. In collaboration with engravers and publishers, Rubens created 48 visual and intellectual masterpieces for a great variety of books which belonged in every seventeenth-century library of rank. His designs were not only advertisements for these works, but also for their authors and publishers, often Balthasar Moretus. Rubens's title pages were repeatedly copied, and their wide distribution contributed immensely to Rubens's fame as a learned artist, antiquarian, humanist and Catholic.

The catalogue is dedicated to an important part – both in quantity and in quality – of the museum library’s collection: the botanical-pharmaceutical books. A foray into the history of botanical literature and illustration portrays the exploration of the flora, from its beginnings in antiquity until the 19^th century and its reflections in often gloriously illustrated books. The catalogue of around 330 botanical books from five centuries offers information on distinctive technical details on each book, as well as short texts on content, authors and illustrations. Several cross-reverences between historical forays and individual descriptions illustrate the comprehensiveness of the collection. An author index and an index of persons as well as an extensive bibliography offer further guidance. The book provides an insight into current botanical views: the perspectives of science, especially pharmaceutics, agriculture – and garden lovers.

The Cadolzburg was an important administrative centre of the house of Hohenzollern in Franconia and ranked among the best-preserved castles in Germany until its devastating destruction during the Second World War. The Germanische Nationalmuseum (GNM) was involved in deciding how to make use of the Cadolzburg after the war, and assigned Daniel Burger to create a concept for a German Castle Museum on that location. This monograph is a result of this project. It contains the current state of research on the castle, a historical summary, an analytical building specification, followed by a description of the Cadolzburg in the context of other Hohenzollern castles in Franconia. Topics covered include stonemason’s marks, the fortifications of the market Cadolzburg, and torture in the castle; finally, a list of officials, inventories, and a register of persons and locations associated with the Cadolzburg.

Kulturgeschichtliche Spaziergänge im Germanischen Nationalmuseum, Band 16

500 years ago Peter Henlein, a locksmith from Nuremberg, was among the first to create small-scale portable clocks. His contemporaries already praised him for this masterly performance. But do original "Henlein pocket watches" still exist? If so, how can they be identified? Collectors and specialists in museums have been concerned with this issue for a long time now, up to the discussion which clock could and should receive the title of the "World's Oldest Pocket Watch".
The accompanying volume to the exhibition is part of the series "Kulturgeschichtliche Spaziergänge im GNM" ["Cultural Strolls in the GNM"] and presents the most recent scientific findings on the "Henlein pocket watch" in a larger historical context.

Accompanying the exhibition in the Germanisches Nationalmuseum from 3 December 2015 until 6 March 2016 the volume features 50 costumes from the museum's collection dated between 1560 and 1650 that - along with international loans - were shown in this special exhibition for the first time. They are presented in the context of contemporary paintings and graphic art works that depict the original effect of the clothes and the way they were worn, in this way indicating a person's social status. Illustrated leaflets included in the volume furthermore show critical views on fashion that were spread at the same time. The exhibition volume also features rare pieces of everyday clothing from the 16th and 17th centuries, including the finds from a tailor's workshop in Bremen, as well as of working equipment such as needles, scissors, thimbles or clothes brushes. The section "Focus on Restauration" concentrates on the elaborate forms of production and conservatory work using the example of chosen exhibits. The appendix lists materials of and techniques relevant to the garments. The catalogue, finally, features close ups of forms, materials and decor of early modern clothing, thus making the forgotten messages engrained in the garments visible to observers and readers today.

2nd Edition

How do we perceive the world and pictures? The book is based around the hypothesis that we initially perceive the world as well as  pictures by feelings and that there is a direct connection between the two. By debating fascination and horror, such as can be triggered by Anselm Kiefer´s Deutschlandbilder, the author discusses their consequences and conclusions for our cultural self-perception. The author develops a comprehensive theory on image and culture which is new in this field of research and also includes the special status of the art.

The phenomenon of 'cold paint', that is, unfired painting on medieval and early modern glass paintings, has only recently come into the focus of restoration and research. In March 2016, a workshop organized by the National Committee of the Corpus Vitrearum Germany together with the Germanisches Nationalmuseum Nürnberg was dedicated to this topic. The presentations and lectures are now available in published form.

If works of art are looked at really intensively, then visual perception will become an incomparable adventure. Then one immerses in their phenomenal world and in the intrinsic reality of painting. Only then also the genuine potential of the pictures will be seen. In three detailed chapters, a receptive-aesthetic-phenomenological journey through magnificent picture landscapes is undertaken.

In Théodore Géricault's Raft of the Medusa, it is important to follow the dynamic visual experience and the complex formations that disclose the work‘s previously unseen dimensions of meaning.The hunt for Moby Dick is once again painted by Frank Stella. Everything revolves around the question: how can his non-representational works follow Melville's novel, if the story itself already deals with the impossibility of narration? The pictorial landscape unfolded by Anselm Kiefer in his history painting Varus requires an entrance into the founding myth of the Hermannsschlacht. Here, one encounters not only a detailed genealogy of patriotic thinking developed in a picture-logical manner – but also the fractures and instabilities and the apocalyptic consequences of this German narration.It is always about what is visible to the eye and about what remains invisible but yet is indispensable.

Mit den Namen Luther und Kolumbus verbinden sich heute meist Vorstellungen von Aufbruch, Expansion und Glaubensfreiheit. Ausstellung und Katalog fragen anlässlich des 500. Reformationsjubiläums nach den Folgen der Gleichzeitigkeit von Glaubens- und Weltbildwandel im 16. Jahrhundert. Wie konnte eine sich auf die Autorität des Alten berufende Gesellschaft mit dem Veränderungsdruck ihrer Zeit umgehen? Ein 185 Nummern umfassender, reich illustrierter Katalog und sieben wissenschaftliche Beiträge beleuchten eine faszinierende Welt im Wandel, in der Aufbruchs-und Endzeitstimmung gleichermaßen ihren Platz hatten und der Umgang mit Neuem und Fremdem erst erprobt werden musste.

Die Schausammlungen des Germanischen Nationalmuseums, Band 1

Die Neukonzeption der Schausammlung »Kleidung des 18. bis 20. Jahrhunderts« konnte 2002 mit einer feierlichen Eröffnung abgeschlossen werden. Die neue Dauerausstellung der Kostümsammlung führt durch 300 Jahre Kleidungskultur. Da sie nicht nur den Wandel der Kleider und Moden zeigt, sondern auch inhaltlich und ausstellungstechnisch auf neuen Grundlagen beruht, trägt sie den Titel »Kleiderwechsel«. Die Kostümsammlung des Germanischen Nationalmuseums gehört zu den ältesten textilen Fachsammlungen. Begleitet wird die Ausstellung vom ersten Band einer Publikationsreihe, mit der das Germanische Nationalmuseum seine neu eingerichteten Schausammlungen erschließt.

Accompanying the exhibition of the same title ("Aufbruch der Jugend - Deutsche Jugendbewegung zwischen Selbstbestimmung und Verführung") in the Germanisches Nationalmuseum from 26 September 2013 until 19 January 2014.
In the time around 1900, “youth” was synonymous with awakening and renewal, future and visions. Young middle-class people were challenging their elders. Many of the aims of these young people were met by the demands of the Lebensreform movement. Many young people joined organisations like “Wandervogel”, joint activities strengthening a sense of belonging.
In 35 critical essays and illustrated by 280 objects this volume depicts the youth movement from its beginnings, its political ideologisation, until the FRG’s first open-air festival in Schloss Waldeck in 1964.

Third, completely revised edition 2018.

Friedrich Albert Schmidt, 1846–1916, belonged to the Weimar school of painters during the end phase of Realism and the transition to Impressionism. After studying art in Munich with Anschütz and Diez, the most formative years for his painting career resulted from his apprenticeship with Eugène Lavieille and his artistic friends in Barbizon, which was followed by more than five years with Arnold Böcklin in Florence. The influence of both masters can be seen clearly in his Weimar paintings and this influence continued well beyond the turn of the century. Schmidt reveals an impressive diversity in his artistic work which can be attributed to his various life phases and their associated painting periods, and which is also reflected in his choice of his tools. These range from large format oil paintings of studio work, up to paintings of medium and small sized formats from outdoor work, as well as etchings, watercolors and drawings in ink.

This presentation on the life of the German landscape painter Friedrich Albert Schmidt came from the desire to present an updated biography of the artist, along with images of his artistic work. Although he was well known and highly esteemed during his lifetime, today only a small group of art lovers of 19th Century landscape painting are familiar with his work. It is therefore the author’s objective to revive his work and communicate it to the current generation. Bearing this in mind, the presentation will primarily concentrate on documenting the formative stages of the artist’s life and his artistic painting periods. This third, completely revised edition of "Biography and painting register" 2018 records the latest insights about the artist and his work.

Friedrich Albert Schmidt is the great great uncle of the author.

Since not many decades a new type of artist has evolved, whose sole existence can be understood as another symptom of a total economisation of all areas of life: the business artist. He is an entrepreneur and manager, art director and designer. He organizes his production highly economic and delegates all work to his numerous assistants. He has become a global brand and strategically controls all marketing efforts. As an Art Star he stages his image and merges with global luxury brands.

In the tradition of Andy Warhol, Damien Hirst, Jeff Koons and Takashi Murakami are the three most successful business artists of our time are chosen, who represent this type of artist at best within the actual discourse.

The volume sheds new light on the Parisian art world after the Second World War, its protagonists, inter(national) dimensions and aesthetic challenges. It assembles a selection of contributions of the annual congress 2014/15 held at the German Center for Art History Paris as well as  further results of research undertaken during that same year. Besides questions of historiography the publication focuses on case studies in which renowned artists like Giacometti, Picasso and Brassaï are analized. Furthermore, new protagonists, institutions and media are introduced and innovative perspectives developed. The volume thus makes a valuable contribution to the reevaluation of art of the postwar period.

The exegetical Beuys-reception assumes that he is an ‘authentic’ artist and that a certain immediacy defines his performance. The study, on the other hand, shows by analysing the tatar-legend as a narrative story, some autobiographical documents, performances and medialisations as well as the Beuys-retrospective at the Guggenheim Museum in 1979 as a platform for the artistic staging that Beuys is an auto-fictional figure, which exposes its artificiality, constructiveness and fictionality. Thus, the irony of Beuys’ performance becomes apparent as a comment on the role and significance of the artist, that he maintained so offensively at the same time.

The mistresses of the French kings are decisive elements in common notions of living at Early Modern courts – a magnificent life full of glamour, affairs and intrigues, animated by beautiful women, who had lots of power and influence. This art historical study seeks to critically review and specify such popular assumptions. By exploring artifacts in diverse media (visual arts, architecture, poetry), which in the time of the French Renaissance were made either for or on the occasion of the royal favorite, she becomes vivid as a particularly multifarious figure of Early Modern court life.

Two female figures in French history are particularly focused upon here: Anne de Pisseleu (1508-1580?) and Diane de Poitiers (1500-1566). The images, residences und texts devised for both of them evoke the complex roles they were assigned at the courts of the Valois-kings Francis I and Henri II respectively. Their persona – generated by diverse media and developed in competition with the ones of powerful male favorites – cannot be considered role models for those royal mistresses that later, during the reign of Louis XIV and in the age of Absolutism, became regular members of the king’s court. Instead, they should be looked upon as historically highly specific prospects for female power that made use of the arts and their specific potential as agency.

In the 1950s the medical student Dietrich Lehmann (1929-2014) did create a series of hand-painted film posters for the student film club at the university of Heidelberg. Hereby, the impressive effect this film club had did reach out way beyond Heidelberg into post-war Federal Germany. The catalogue, which accompanies the eponymous exhibition at the University Museum in Heidelberg, contextualises Lehmann’s posters within the history and the development of the genre of the film poster and discusses in articles as well as in the individual entries the history of the Heidelberg film club as well as that of the German film clubs in general. Moreover, the national as well as local history of film and the personality of Dietrich Lehmann are examined.

Under the motto A Future for Our Past, the European Architectural Heritage Year of 1975 was the most important and successful campaign of its time for the preservation and valorisation of architectural heritage in Europe. With its recognition of the importance of urbanistic ensembles, of the plurality within the categories of historic monuments, of citizens’ engagement, and finally, of legal and administrative measures for monument protection, this European campaign had a sustainable impact. Its programmatic approaches and conceptual ideas are of high importance for the present, and motivate new interpretations for the future. With more than 40 contributions this publication is the first comprehensive appraisal of 1975 European Architectural Heritage Year for its 40^th anniversary in 2015.

The ‘digital revolution’ is now in full swing. For heritage conservation, digital tools have opened new perspectives, finding application in the interactive visualization of past situations, the monitoring of threatened sites and artefacts, or the complex cross-referencing of heterogeneous collections of knowledge. At the same time, the limits and unsolved problems associated with using digital technologies are also becoming more apparent, for example with regard to maintaining the rapidly-growing volumes of data being generated.
And yet with digitization, we are not dealing primarily with a ‘technical’ innovation. Thus the effort to conserve digital heritage, including documenting, researching and publishing cultural assets, will transform more than just the institution of the museum. The new abundance of digitally-generated images can also be seen to be changing the standards of the scientific and academic discipline. A further and as yet underappreciated aspect of the digital revolution is the way it is rearranging the foci of attention in the knowledge ‘market’.
Perhaps the most noticeable consequence of digitization’s promise of exact and comprehensive reproduction is the knee-jerk insistence, following every instance of the spectacular destruction of a famous monument, on creating a reconstruction. Here it is clear that an affinity for reconstruction is inherent in the digital, to the extent that its primary feature is its capacity to translate all information into binary code, to capture and copy exactly, supposedly without loss of detail. In the digital age, the distinction between original and copy will therefore lose relevance – at the cost of a total manipulability of data, and of reality.

It took generations for the Cathedral of Auxerre to be completed and yet the building shows a remarkable homogeneity. Along with the architecture, particularly the numerous cycles of images deserve recognition. These "talking Pictures" are not merely decorative elements but integral components of the bishop`s church. It is the interaction between many singular pieces of art by which the Cathedral Saint-Étienne conveys a realistic impression of the complexity of medieval sacral buildings and the religiousness of an urban society in the 13^th century.

Die Schausammlungen des Germanischen Nationalmuseums, Band 3

This title accompanies the permanent exhibition at the Germanisches Nationalmuseum on art and cultural history of the German-speaking world during the 16^th to 18^th centuries. The exhibition has been on display since 2010. It features about 1,000 exhibits in 33 rooms and addresses central themes of the early modern period such as collecting and presenting, the reception of antiquity and nature studies, the correlation between art and religion and the changing image of humanity. The complementing publication includes papers that deal with these key themes in a detailed manner. It also comprises a scientific catalogue of all exhibits. Paintings and sculptures, including masterpieces by Albrecht Dürer, Peter Vischer, Lucas Cranach or Franz Xaver Messerschmidt, as well as stained glasses, graphic prints and illustrated books, art handicraft, textiles, jewellery, medals, furniture and musical instruments are being put into their artistic and historical contexts on the basis of the most recent research. In this attractively designed volume about two thirds of the 1,000 exhibits are being presented in high quality colour prints.

How do visual artists argue with one another and how do they use their works as weapons? This question was the subject of the congress 'From argument to image – visual polemics and other artists' weapons, organised by the DFG project 'The argumentative strategies of visual artists in the modern era'. The essays encourage a debate on the artistic argument as a phenomenon and the creative potential it unleashes. The examples of such clashes include attacks on rivals, critics and patrons.

Schriftenreihe des Museums Europäischer Kulturen, Band 19

The starting point of this publication is the presentation daHEIM: Glances into Fugitive Lives realized in Berlin by the Museum Europäischer Kulturen with the artist barbara caveng and the initiative KUNSTASYL in 2016/17. Against the background of the situation of immigrants fleeing to Europe since 2015, it highlights the experiences and dreams of its protagonists from a residential hostel in the Berlin district of Spandau. Biographical examples of people who have migrated within, to and from Europe in the last two centuries are brought into comparison with current fates. This demonstrates that flight is not a new phenomenon, but has always been with us - at various times and in various places. Twelve authors from Europe, North and South America describe individual migration experiences, looking back as far as the 19th century from 2016. Over and beyond this, European migration movements are placed in global contexts, and forms of institutional migration remembrance presented.

2nd edition 2017.

Schriftenreihe des Museums Europäischer Kulturen, Band 19

The starting point of this publication is the presentation daHEIM: Glances into Fugitive Lives realized in Berlin by the Museum Europäischer Kulturen with the artist barbara caveng and the initiative KUNSTASYL in 2016/17. Against the background of the situation of immigrants fleeing to Europe since 2015, it highlights the experiences and dreams of its protagonists from a residential hostel in the Berlin district of Spandau. Biographical examples of people who have migrated within, to and from Europe in the last two centuries are brought into comparison with current fates. This demonstrates that flight is not a new phenomenon, but has always been with us - at various times and in various places. Twelve authors from Europe, North and South America describe individual migration experiences, looking back as far as the 19th century from 2016. Over and beyond this, European migration movements are placed in global contexts, and forms of institutional migration remembrance presented.

2nd edition 2017.

The volume presented here examines the influence of one of the most splendidly representative achievements of the early modern period upon the European courts of the 17^th and 18^th centuries.  The Palace of Versailles was a showroom which made French luxury items known, and desired, far beyond the borders of France, drawing the attention of all regents of the time, and although numerous forms and ideas were borrowed by the artists and craftsmen who settled in the various European courts, the persistence of local traditions should not be under-estimated.

Starting with an analysis of the form and function of the Versailles apartments, the French model is considered for its influence upon the concept of the apartment at other European courts.  The contributions to this volume analyse the interplay between architecture, décor and ceremony and the particular importance of the apartments for the representation of the court. The arrangement of the rooms is shown to be a complex referral system that decided the presentation of power and accessibility to the regent.  The rationale of the interior design is only revealed through an interdisciplinary examination which also takes into consideration the social and political/historical conditions.  Already existing traditions of the European houses were transferred and adapted, and therefore newly configured, as part of this process.

The first part of the volume concentrates on the model of the apartment developed in France and attempts an understanding of the complex development in Versailles up to 1701, within which the Chambre de Parade became the centrepiece of the Palace.  The second part contains case studies of residences in the German-speaking countries and examines the complex exchange and variety of the heterogeneous solutions.  The study concludes with contributions about various important European courts in England, Holland, Sweden, Poland, Spain and Italy.

__________

Le présent volume trouve son origine dans un projet aussi légitime qu’attendu : étudier l’influence sur les autres cours européennes de celle qui fut la plus brillante d’entre elles. Le château de Versailles, « showroom » étincelant contribuant à l’exportation des biens luxueux de la culture française hors des frontières, était au centre de tous les regards européens. Si des artistes et artisans français partis s’installer dans les pays germanophones empruntèrent nombre de ses formes et idées, sous-estimer la persistance des traditions locales serait néanmoins une erreur.

Analysant la forme et la fonction de l’appartement royal du château de Versailles, cet ouvrage examine sa portée en tant que modèle de référence pour les conceptions ultérieures d’appartements princiers en Europe. Le livre rassemble des travaux relatifs à l’architecture, à la décoration et au cérémonial des appartements des résidences royales et princières en Europe. L’accent est mis sur leur rôle spécifique dans le cérémonial de la cour. Dans cette perspective, l’effet conjoint de la disposition spatiale, de l’architecture et de la décoration apparaît comme un facteur complexe, influençant de manière considérable la mise en scène du pouvoir monarchique, la fonction de représentation du souverain et son accessibilité. C’est l’articulation interdisciplinaire des différents types de savoir qui permet de comprendre la logique d’aménagement des appartements des cours européennes, ainsi que leur usage et l’étiquette qui les gouvernait. Les traditions préexistantes des maisons européennes se voient repositionnées dans ce processus.

La première partie de cet ouvrage se concentre sur les appartements officiels français, qui, en tant que principal lieu à la mode au XVIIIe siècle, disposaient d’un important pouvoir d’attraction. Les premières contributions s’attachent surtout à présenter l’évolution complexe de l’appartement officiel du château de Versailles, des origines jusqu’en 1701, lorsque la chambre de parade devient le cœur architectural du château. La deuxième partie de l’ouvrage se consacre aux résidences du Saint Empire romain germanique. Le champ d’investigation s’étend enfin aux principales cours de Grande-Bretagne, des Pays-Bas, de Suède, de Pologne, d’Espagne et d’Italie. Les exemples analysés donnent un aperçu des échanges complexes et hétérogènes entre les cours européennes.

Skatestickers are graphically designed stickers distributed by skate labels (manufacturers of skateboards and accessories). Originally, they were produced for advertising purposes only, but have now become icons for the scene:  “the visual expression of a lifestyle”, “the visual imprint of our feelings”, “a simple way of demonstrating the identification with a group”. Skaters collect, trade and value these stickers. Our visual research approach allows us to analyse and recognise the complex image motifs, which often adapt the visual arts, in these graphic design items and their increasingly autonomous function as visual media for a scene.

Art law has evolved into being an independent and important discipline within the constantly growing art market. The new German Kulturgutschutzgesetz (Act to Protect German Cultural Property) exemplarily shows this growing importance.

Artists, collectors, gallery owners, merchants, art mediators, auctioneers, trustees, museum people, journalists, and lawyers hereby have a quickly accessible collection of legislation, regulations and ethical guidelines from different fields of law being relevant for the daily work with art and art law.

 The collection combines both applicable German legislation, european guidelines and regulations, international conventions (e.g. the Washington Principles, UNIDROIT) and ethical principles of different art trade associations in one volume.

Quotation, copy, montage, reconstruction, imitation and mimicry are typical approaches in the architect's daily routine. Until today, the paradigm of originality is still predominant and clouding the view on mimetic phenomena. In 2016, the convention "Resemblance: Processes and Forms" was held at the library of the Werner Oechslin foundation in Einsiedeln. This volume is a collection of twelve papers contributed to the convention and two additional articles by the editors. The focus was set on researching the methods of generating similarity in recent architecture and was organised by the projects encompassed by the DFG-SNF-research group "Media and Mimesis."

Schriftenreihe des Museums Europäischer Kulturen, Band 19

The starting point of this publication is the presentation daHEIM: Glances into Fugitive Lives realized in Berlin by the Museum Europäischer Kulturen with the artist barbara caveng and the initiative KUNSTASYL in 2016/17. Against the background of the situation of immigrants fleeing to Europe since 2015, it highlights the experiences and dreams of its protagonists from a residential hostel in the Berlin district of Spandau. Biographical examples of people who have migrated within, to and from Europe in the last two centuries are brought into comparison with current fates. This demonstrates that flight is not a new phenomenon, but has always been with us - at various times and in various places. Twelve authors from Europe, North and South America describe individual migration experiences, looking back as far as the 19th century from 2016. Over and beyond this, European migration movements are placed in global contexts, and forms of institutional migration remembrance presented.

Schriftenreihe des Museums Europäischer Kulturen, Band 19

Ausgangspunkt der Publikation ist die Präsentation daHEIM: Einsichten in flüchtige Leben, die das Museum Europäischer Kulturen 2016/17 in Zusammenarbeit mit der Künstlerin barbara caveng und der Initiative KUNSTASYL in Berlin realisiert hat. Vor dem Hintergrund der Situation von Zuwander_innen durch Flucht in Europa seit 2015 stellt sie Erfahrungen und Träume der Protagonist_innen aus einem Wohnheim in Berlin-Spandau dar. Mit biografischen Beispielen von Menschen, die in den letzten beiden Jahrhunderten in, nach und aus Europa migriert sind, werden die aktuellen Schicksale verglichen. Dies zeigt, dass Flucht kein neues Phänomen ist; es hat sie immer gegeben - zu unterschiedlichen Zeiten, an unterschiedlichen Orten. Zwölf Autor_innen aus Europa, Nord- und Südamerika beschreiben individuelle Migrationserfahrungen von 2016 rückblickend bis ins 19. Jahrhundert. Darüber hinaus werden europäische Wanderungsbewegungen in globale Zusammenhänge gestellt und Formen der institutionellen Erinnerung an Migration präsentiert.

In his 1881 article about the Salon des Beaux-Arts, the critic Jules Buisson distinguished between the prints by the great engravers of the seventeenth and eighteenth centuries, which he referred to as “Chant du Triomphe”, and those of the late nineteenth century, which he characterized as “Chant du Cygne”. The latter term, the French for “swan song”, alludes unambiguously to the fact that printed reproductions of artworks – a genre by all means perceived as artistic – would soon be made obsolete by photographic methods.
This study of French reproduction prints is based on the Gazette des Beaux-Arts, an art magazine founded in 1859 and one of the most important of its kind in the nineteenth century. Reproduction prints were published in it until 1927, and original works of printmaking until 1933; printmaking was also the subject of numerous articles. The latter were concerned primarily with the expectations placed on printed reproductions, the assessment of individual prints and graphic artists, and – in view of the new photographic means of reproduction – the question of whether the “mere” reproduction of paintings and sculptures in the printmaking medium was to be considered an art form in its own right, and if so why.
Of the approximately 1,450 plates published in the Gazette until 1900, 64 reproduction prints were selected. The examination of these and other examples shows that, over the course of the good fifty years marking the transition from the manual to the photographic reproduction of art, there were two fundamental tendencies in the stylistic development. Initially the printmakers took as their orientation engraved reproductions of previous centuries as well as the painter-etcher medium, which underwent a revival in the 1840s. Later many of them developed a reproduction style clearly influenced by photography.

The Gipsformerei, the oldest establishment of the Staatlichen Museen zu Berlin still active today, will be celebrating its 200^th anniversary in a few years time. The Gipsformerei’s forthcoming anniversary is a welcome opportunity for us to address the following question: How can an institution whose core activity lies in traditional handcrafted production hold its own in the face of technical innovation? The publication addresses that question and adds an interesting cross-section on the current research debate. Besides all the papers presented at the symposium the panel discussion and the final discussion are summarized in English and German at the end of the production.
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This volume explores the potential role of virtual models for scientific research on historic palaces. The rise of digital surveying and modelling techniques has revolutionized the ways in which historic buildings such as court residences can be studied. These new techniques offer unprecedented opportunities for architectural historians but also lead to new challenges.

One challenge is the reliability and verifiability of the data that is used to make digital models, whether surveys of extant buildings or reconstructions of lost buildings. Another is the use of virtual palaces as research instruments in their own right – not just to communicate results to the wider public, but as genuine research tools that help visualize and clarify hypotheses about issues such as construction phases or the spaces’ ceremonial use.

This volume deals with digital reconstructions and visualizations of palaces, castles, and other kinds of residential architecture of the early modern period. It focuses not so much on the digital modelling of extant buildings, but rather on the virtual reconstruction of ‘lost’ buildings – in particular of palaces destroyed or drastically altered, or which were never actually built in the first place.

The thirteen papers collected in this volume were first presented at the PALATIUM workshop Virtual Palaces, Part II held in Munich in April 2012.

Play, participation and relational aesthetics are central concepts in ARKEN’s research-based online publication on Palle Nielsen’s reinterpretation of The Model at ARKEN in 2014. This pioneering artwork – a gigantic playground for children – was installed for the first time at Moderna Museet in Stockholm in 1968. In connection with its reappearance at ARKEN, The Model 1968/2014 became part of ARKEN’s collection and is documented in this publication.

Three new texts approach The Model from the perspective of the curator, the art historian and the play researcher. What kind of participation occurs in The Model today? How has the idea of utopia changed since 1968? And what are the sensuous forces of play unleashed by The Model that generate its creative and formative potential as a playground? The publication also includes an interview with Palle Nielsen, as well as several of his own previously unpublished and reprinted texts. Finally, the publication includes the first comprehensive biography of the artist.

This volume examines the architecture and culture at the various courts of one of Europe’s most important royal dynasties, the Habsburgs. It looks for a specific Habsburg idiom in the sphere of princely representation at the courts in Madrid, Brussels, Vienna, Prague, Bratislava and Budapest, and contrasts the supranational features of this dynastic identity to its regional incarnations.

The nucleus of princely representation was the court residence. Hence the Habsburgs’ official apartments are studied in relation to their court ceremony, to see if a unifying model was adopted in the different palaces in Brussels, Madrid and Central Europe. The supranational dynastic identity developed by the Habsburgs is then compared with local forms of identity, as articulated by the nobility in Bohemia, Hungary and Poland. This shows how the palaces and their decoration also expressed loyalty to the traditions of the homeland, so-called Landespatriotismus.

Für den Heidelberger Philosophen Hans-Georg Gadamer ist ein Kunstwerk kein statisches Objekt, sondern ein sich wandelndes Subjekt, das uns dialogisch gegenübertritt. Kunstwerke sieht Gadamer in ihrem prozesshaften Wesen bestimmt, die im Vollzug überhaupt erst zu ihrem vollen Sein gelangen - der Sinn von Kunst geschieht. Das "Bild als Ereignis" bezeichnet somit viel mehr als nur einen materiellen Bildträger und einen darüber vermittelten geistigen Gehalt, sondern ein dynamisches Sinngeschehen zwischen Werk und Betrachter. Ausgehend von diesen Überlegungen Gadamers sollen in vorliegendem Band unterschiedliche Formen spätmittelalterlicher Kunst neu diskutiert und so eine Erweiterung kunsthistorischer Betrachtungsweisen angeregt werden. An dieser Stelle erscheint die ausführliche Einleitung des 38. Bandes der Heidelberger Forschungen (Winter Universitätsverlag).

Noch nicht komplett online.

Nach erfolgter Rechteklärung werden weitere Beiträge des Konferenzbandes sukzessive online gestellt werden.

"Der Mathematisch-Physikalische Salon besitzt eine Sammlung digitaler und analoger mechanischer Rechengeräte vom 17. bis 19. Jahrhundert, von denen einige auf Grund ihrer Seltenheit von großem internationalen Interesse sind. Hierzu gehören eine Rechenmaschine von Blaise Pascal, Frankreich, um 1650, eine Art Taschenrechner von Jacob Auch, Vayhingen, 1790, und eine Rechenmaschine von Curt Dietzschold, Glashütte/Sa., 1878. Hinzu kommen verschiedene in Glashütte und Dresden gefertigte Maschinen, die den Beginn der industriellen Fertigung von mechanischen Rechenmaschinen in Deutschland belegen. Weitere teilweise seltene digitale Rechengeräte vermitteln einen Einblick in die Vielfalt derartiger Geräte in der Zeit um 1900. […]" (Vorwort)

"Mit dem Katalog "Erd- und Himmelsgloben" setzt der Staatliche Mathematisch-Physikalische Salon seine Veröffentlichungen über die einzelnen Sammlungen fort. Die Globensammlung gehört zu einer der international bedeutendsten Sammlungen dieser Art und wird hier erstmals in geschlossener Form für die Öffentlichkeit publiziert. In einer etwas ausführlicher gehaltenen Einführung wird zunächst die historische Entwicklung beider Globengruppen behandelt. Dabei wird insbesondere auch auf Herstellungstechnologie von Globen eingegangen. Anschließend erfolgt eine getrennte Vorstellung der Globensammlung nach Erd- und Himmelsgloben. […]" (Vorwort)

„Auf Grund der Bedeutung, die Brennspiegel und Brenngläser im 17. und 18. Jahrhundert als Wärmequelle zur Erzeugung hoher Temperaturen mittels Sonnenstrahlung für Experimentierzwecke erlangten, scheint es gerechtfertigt, diese kleine, aber interessante Spezialsammlung des Staatlichen Mathematisch-Physikalischen Salons in einem gesonderten Katalog der Öffentlichkeit vorzustellen. Dies erscheint umso wichtiger, da es in jüngster Vergangenheit an experimentellen Untersuchungen und technischen Versuchsanlagen zur Nutzung der Sonnenstrahlen als Energiequelle nicht gefehlt hat. […]“ (Vorwort)

"Anlaß für diese Publikation war der 400. Jahrestag des Beginns der ersten kursächsischen Landesaufnahme im Sommer 1586. Die Markscheider Matthias Öder und Balthasar Zimmermann führten in fast fünfzigjähriger Arbeit die Vermessung des kursächsischen Territoriums in einem für ihre Zeit ungewöhnlich großen Maßstab aus. Das kann noch heute als eine Pionierleistung angesehen werden, zumal diese Landeskartierung nach Umfang und Genauigkeit unter den kartographischen Arbeiten des ausgehenden 16. und beginnenden 17. Jahrhunderts eine herausragende Stellung in Europa einnimmt." (Vorwort)

„Der Staatliche Mathematisch-Physikalische Salon Dresden besitzt eine wissenschaftlich wertvolle Sammlung historischer Zeicheninstrumente vom 16. bis zur Mitte des 19. Jahrhunderts, die im vorliegenden Katalog erstmals zusammenhängend interessierten Besuchern vorgestellt wird. Ihre Anfänge reichen bis in die Gründungszeit der Dresdner Kunstkammer zurück. Für die ersten Dezenien des Bestehens der 1560 von Kurfürst August von Sachsen (Regierungszeit 1553—1586) gegründeten Kunstkammer ist charakteristisch, daß ihre Hauptbestandsgruppen Werkzeuge, Meß- und Demonstrationsinstrumente sowie sonstige Hilfsmittel für wissenschaftlich-praktische Arbeiten waren. […]“ (Vorwort)

"Mit dem vorliegenden Katalog über Kunst- und Automatenuhren beginnt der Staatliche Mathematisch Physikalische Salon die Vorstellung seiner umfangreichen Sammlungen an wissenschaftlichen Instrumenten aus der Zeit vom 13. bis 19. Jahrhundert. Damit wird ein erster Schritt getan, um in den folgenden Jahren entsprechend den gegebenen Möglichkeiten zu einer umfassenden, für die Öffentlichkeit zugänglichen Katalogdarstellung unserer Sammlungsbestände zu gelangen. Es ist vorgesehen, die einzelnen Sammlungsgruppen in speziellen Katalogen vorzustellen, wodurch es möglich ist, sowohl dem Fachmann als auch dem besonders interessierten Besucher möglichst rasch wichtige Informationsmittel in die Hand zu geben bzw. seinen spezifischen Interessen besser gerecht zu werden. […]" (Vorwort)

„Im vorliegenden Katalog stellt der Staatliche Mathematisch Physikalische Salon Dresden erstmals die Sammlungsgruppe „Astronomische Instrumente" geschlossen der Öffentlichkeit vor. Sie umfaßt u.a. Linsenfernrohre, Spiegelteleskope, Passageinstrumente, Quadranten sowie Halb- und Vollkreisinstrumente aus dem 17. bis 19. Jahrhundert. Einige der hier vorgestellten Instrumente dokumentieren die Tatsache, daß astronomische und geodätische Meßprobleme häufig eng miteinander verknüpft sind. Dies spiegelt sich in einer teilweise engen Verwandtschaft von Instrumenten-konstruktionen für die Lösung astronomischer bzw. geodätischer Meßaufgaben wider. […]“ (Vorwort)

"Die umfangreiche Sammlung der vielfältigen geodätischen Instrumente — mit hervorragenden frühen handwerklichen Meisterleistungen an wissenschaftlichen Arbeitsgeräten — bildet die Grundlage auch für diesen Beitrag zur Geschichte der kursächsischen Feldmeßkunst und der artilleristischen Meßtechnik. Er ist mit seiner wissenschaftlichen Genauigkeit der Bearbeitung der historischen Landesvermessung, der damaligen allgemeinen Meßkunst und des artilleristischen Messens im 16. und 17. Jahrhundert von großer Bedeutung für die Darstellung der praktischen Mathematik der Renaissance und ihrer wissenschaftlichen Arbeitsinstrumente." (Vorwort)

"In der Schriftenreihe des Staatliehen Mathematisch-Physikalischen Salons werden neben den eigenen Forschungsberichten auch wissenschaftliche Arbeiten anderer Autoren aus den Bereichen der Geschichte und Entwicklung der Naturwissenschaften, des Kunsthandwerkes und der frühen Feinmechanik veröffentlicht, die mit den vielseitigen Sammlungen des Museums und seiner Forschungsstelle auch fachwissenschaftlich und museumstechnisch in Verbindung stehen. Deshalb ist auch in Zusammenarbeit mit den Städtischen Kunstsammlungen Görlitz eine umfangreiche wissenschaftliche Arbeit über das Lebenswerk des Naturforschers, Ökonomen und Sozialreformers Adolf Traugott von Gersdorf für diesen Band 6 als ein bedeutungsvoller Beitrag zu unserer Museumsgeschichte übernommen worden." (Vorwort)

Helmut Grötzsch

"Dieser Band soll dagegen das fachwissenschaftliche Veranstaltungsprogramm des im Oktober 1965 in Dresden durchgeführten II. Internationalen Symposiums des Coronelli-Weltbundes der Globusfreunde widerspiegeln, an dem über 70 Wissenschaftler aus 10 Ländern teilnahmen. Dabei sollen neben den Begrüßungen alle in Dresden gehaltenen Vorträge veröffentlicht werden, die sich besonders mit thematischen Globen, mit technischen Fragen der Globenherstellung, mit thematischen Elementen auf historischen Globen und mit speziellen Fragen der historischen Globenkunde beschäftigen." (Vorwort)

„Nachdem bereits in den letzten Jahren die ersten Bände der 'Veröffentlichungen des Staatlichen Mathematisch-Physikalischen Salons' erscheinen konnten, wird, heute ein weiteres Heft dieser eigenen Schriftenreihe der Fachwelt vorgelegt. Durch eine seit Jahren bestehende enge wissenschaftliche Zusammenarbeit mit der Jagiellonischen Universität in Krakau war es möglich, einige bedeutende Arbeiten einer international bekannten Wissenschaftlerin für den Math.-Phys. Salon zu übernehmen. Nach einer Vortragsveranstaltung mit Fräulein Dr. EWA CHOJECKA in Dresden und nach den sich anschließenden Besprechungen stellte sie bereitwilligst einige Arbeiten zur Verfügung, die durch ihre astronomischen, astrologischen und kalendarischen Aussagen auch für die Instrumente der eigenen Sammlungen wissenschaftlich von großem Interesse sind. […]“ (Vorwort)

„Es gehört zu den Zielen dieser Veröffentlichungsreihe des Staatlichen Mathematisch Physikalischen Salons, nach Möglichkeit alle naturwissenschaftlich-technischen Fachgebiete, die mit dem Museum und seinen verschiedenartigen Sammlungen und mit der Forschungsstelle und ihren Aufgabenstellungen in Verbindung stehen, bei der Publikation neuer Forschungs- und Arbeitsergebnisse zu berücksichtigen.
Nachdem sich die ersten Bände ausführlich mit dem wohl bedeutendsten mathematischen Meßinstrument des 16.Jahrhunderts, dem „Quadratum geometricum" von CHR. SCHISSLER, und mit den ersten Forschungsergebnissen der Globusinventarisierung in der Deutschen Demokratischen Republik beschäftigt haben, wird heute eine Arbeit aus einem Teilgebiet der Chronometrie veröffentlicht. […]“ (Vorwort)

„Bereits 1961 konnte der erste Band einer neuen eigenen Schriftenreihe des Staatlichen Mathematisch Physikalischen Salons der Fachwelt des In- und Auslandes vorgelegt werden. In zahlreichen Zuschriften maßgebender Institutionen und bedeutender Wissenschaftler wurden die erstmalig erschienenen „Veröffentlichungen" des Museums und der Forschungsstelle lebhaft begrüßt. Heute wird nun der Band 2 dieser in unregelmäßiger Folge erscheinenden Arbeiten herausgegeben. Er enthält die Ergebnisse eines Forschungsauftrages, den das Staatssekretariat für das Hoch- und Fachschulwesen der Deutschen Demokratischen Republik für die Bearbeitung aller Erd- und Himmelsgloben in der Deutschen Demokratischen Republik vergeben hat. […]“ (Vorwort)

Nach einem jahrhundertelangen Bestehen tritt jetzt der Staatliche MathematischPhysikalische Salon mit einer eigenen Schriftenreihe an die Öffentlichkeit. In diesen neu herausgegebenen Bänden, die nunmehr periodisch erscheinen werden, sollen hauptsächlich die fachlichwissenschaftlichen Arbeiten Aufnahme finden, deren Inhalt mit den vielseitigen Sammelgebieten des Museums und Forschungsinstitutes wissenschaftlich und museumstechnisch in engem Zusammenhang stehen. Seit der um 1728 erfolgten Ausgliederung des „Physikalischen Cabinetts" aus der Dresdner Kunstkammer hat sich der MathematischPhysikalische Salon zu einem der bekanntesten und berühmtesten Museen naturwissenschaftlicher Instrumente, Apparate und Kunstgegenstände entwickeln können. Nach einer fast restlosen Zerstörung der Arbeits- und Sammlungsräume im Februar 1945 konnte das Institut bereits im Sommer 1952 mit einer Teilausstellung in seinem wiederaufgebauten früheren einzigen Ausstellungspavillon unter Teilnahme des In- und Auslandes an die Öffentlichkeit treten. Weitere Sammlungsräume — wie der ehemalige Grottensaal und die lange Bogengalerie — konnten 1954 und 1956 mit der fortschreitenden Restaurierung des Dresdner Zwingers übernommen und als neue Museumssäle den Besuchern übergeben werden. […]" (Vorwort)