With the editorial participation of Sara Alonso Gómez, François Aubart, Juliette Bessette, Marie-Laure Delaporte, Claus Gunti, Caroline Marié, Julie Martin and Marie Vicet.

Research in art history on the relations between the arts and new media interrogates not only the wealth of experimental forms but also issues of resistance to visual hegemony – from the debut of cinema to virtual reality devices, and by way of video art and cybernetic art.
This publication distances itself from the mythology of new media as a symbol of modernity, seeking to grasp these issues through artistic practices. Far from the technological determinism that has contributed to structuring the field, it approaches media and techniques as tools for investigating art and culture. Twenty-four scholarly and artistic contributions offer an extensive mapping of the most recent research, reconfiguring our understanding of museum practices, of the role of technology, and of the artistic object and the experience of audiences. 

Many works of goldsmiths’ art once presented themselves in a surprising range of colors, their appearance dominated by the use of paints. Since these treatments were subject to deterioration over time, the polychromatic surfaces are today often only partially extant and were thus given little attention by scholars. In this volume, experts from several European cultural institutions look at this realm of research in terms of art history, restoration and conservation, and with a scientific perspective, spanning a period from the Middle Ages to the early nineteenth century. Complementing Grünes Gewölbe’s 2018 publication Natürlich bemalt: Farbfassungen auf Goldschmiedearbeiten des 16. bis 18. Jahrhunderts am Dresdner Hof, the first to explore the subject in a comprehensive way, now additional findings are available on this fascinating creative device.

The publication documents the first European solo presentation of conceptual photography by Hollis Frampton (1936–1984) at UG im Folkwang, Essen, in 2018. The book features reproductions of the eleventh edition of ADSVMVS ABSVMVS, in memory of Hollis William Frampton, Sr., 1913–1980, abest (1982) as well as a re-design of the exhibition brochure and installation views. The texts collected in this volume place ADSVMVS ABSVMVS in the history and theory of art, photography and exhibition making. The exhibition and catalog resulted from a collaboration between Freie Universität Berlin and Folkwang University of the Arts in Essen.

Aleppo is one of the oldest, constantly inhabited cities of the world. The old city still bears the remains of the Hellenistic street grid and historic monuments of various periods. The area of the study “Suwayqat Ali” is located to the north of the suq (market area). It is a mixed quarter that contains public and private buildings. The area was selected due to its functional diversity, historic importance and the serious damage it has sustained. The study presents a holistic view on the quarter: an urban analysis and the history and architecture of the most prominent buildings, including the present state. The publication is presented in English and Arabic.

This book is dedicated to a Neapolitan crucifixion panel from the first half of the fourteenth century, acquired by the Musée du Louvre in 1999. It was the aim of the study to analyse the crucifixion iconographically to determine its origin. In doing so it becomes clear that this representation shows motifs, already known from Central Italy as well as new motifs, that are only allegeable in a local Neapolitan context. This leads to the attribution of the panel to the Neapolitan workshop of Giotto. The dating of the crucifixion to years 1332/1333 results from the debate around the visio beatifica Dei, an important issue at the court of Robert of Anjou at that time, that had a huge impact on the panels composition. The placement of the crucifix-ion in the courtly context is thereby proven.

The bibliography seeks to provide a complete list of publications issued since 1800, concerning the history and holdings of the electoral and royal treasury in Dresden (or Grünes Gewölbe), of the Kunstkammer and of the Green Vault museum (Grünes Gewölbe).
Beside inventory catalogues and museum guides, many articles in scientific journals, exhibition catalogues and monographs were published - by the museum’s staff and by academics all over the world. All these works are compiled in this bibliography.
The text is divided into three chronological sections: 1800-1945, 1959-1989 and 1990-2020.

Scientific publishing is in a state of upheaval, and no one can avoid the universal game changer that is digital. It is highly doubtful whether the printed book will be the standard model in this field in the future. Instead, the internet offers itself as an extremely flexible medium, which clearly offers both added value and a common method of reception. The many possibilities that digital publishing opens-up are examined in this volume, in a series of 14 essays from an art historical perspective.

The proceedings are published not only as a PDF e-book, HTML version and print-on-demand edition, but also as an XML version enriched with standards data tagging.

Located on the eastern border of the Papal States near Ancona, the Sanctuary of Loreto cannot compete in size and decoration with Florence Cathedral or St. Peter's Basilica in Rome, but it reflects, more clearly than any other monumental church building of the period, eighty years of development in Renaissance architecture.
The construction of the sanctuary and surrounding buildings is owed to Pope Paul II Barbo, who, after a miraculous recovery, promised Our Lady that he would build her a magnificent shrine. From the beginning of construction in 1468 and throughout the following pontificates until Paul III, eminent architects, sculptors and painters such as Francesco dal Borgo, Giuliano da Maiano, Baccio Pontelli, Donato Bramante, Andrea Sansovino, and Antonio da Sangallo the Younger were involved in the execution of this work, which was never completely finished.
Based on decades of study, Christoph Luitpold Frommel has comprehensively presented the history of this monument for the first time in this monograph, which was funded by the Fondazione Cassa di Risparmio di Loreto and published in Italian in 2018. The volume, which also includes extensive source indexes compiled by Marco Calafati, is now published online on ART-Books.

This volume commemorates the awarding of the AICA Prize for a Distinguished Contribution to Art Criticism to Walter Grasskamp.
Under the poetic and mysterious title The Angel Vanishes, Grasskamp has collected nineteen monographic portraits of artists – written between 1979 and 2019 – which appear here in chronological order. The anthology focuses on the work of artists with whom he has been associated over a longer period of time and has written about on several occasions, including Hans Haacke, Sigmar Polke, and Gerhard Richter. In addition to these are artists such as Markus Raetz, Aldo Walker, Axel Kasseböhmer, and Ben Willikens, who have drawn attention to themselves with their idiosyncratic works. This is followed by Grasskamp’s detailed reflections on the ‘art market hangover’, in which he discusses the changing role of art criticism.

Mit der Besetzung Frankreichs im Sommer 1940 setzte, dank Wegfall vermögender Käufer und eines von den Deutschen festgelegten günstigen Wechselkurses, ein Run der Deutschen auf den Pariser Kunstmarkt ein. Zahlreiche Kunstsammler und auch Mitarbeiter deutscher Museen reisten nach Paris und verfielen in einen Kaufrausch. Hans Möbius, Archäologe und stellvertretender Direktor der Staatlichen Kunstsammlungen Kassel, der als Mitarbeiter des Kunstschutzes 1941 nach Paris beordert wurde, nutzte ebenfalls die günstige Gelegenheit.
Der Band, der in Zusammenhang mit der gleichnamigen Ausstellung in Kassel entstanden ist, widmet sich dem Thema und stellt anhand von erhaltenen Dokumenten und Fotos die Umstände der Erwerbungen vor sowie die Vorgänge der Rückgabe an Frankreich nach dem Kriegsende. Im Zentrum stehen dabei die in Kassel verbliebenen Kunstwerke und Bücher. Warum wurden diese nicht zurückgegeben? Was wissen wir über deren Erwerb? Und wie gehen wir heute mit ihnen um?
Vieles ist im Zusammenhang der Pariser Erwerbungen noch offen, was im internationalen Netzwerk der Provenienzforschung zukünftig erarbeitet werden wird.

The thoroughly original French sculpture of the 18th and 19th centuries has so far too often been discussed only in the context of an illustrated history of mentality, thereby failing to recognize its independence. Certainly, the weighty assessment of Erwin Panofsky, who attested to a lack of innovative spirit in funerary sculpture after Bernini, also contributed to this. This volume seeks to explore the “spaces of possibilities” that contribute to a deeper understanding of memorial culture and its transformations, and argues to overcome the rigid division into pre- and post-revolutionary art. In addition to the spaces of the monument, which were subject of a transition around 1800 due to the change of the burial site, the contributions perspective the different public spheres of these transformations, they ask about the innovative power of the “enlightened” (grave) monument and its new and resilient functions.

La sculpture française des XVIIIe et XIXe siècles, qui était en tout cas originale, n’a jusqu’à présent trop souvent été abordée que dans le cadre d’une histoire illustrée des mentalités, ne reconnaissant ainsi pas son indépendance. Certes, l’évaluation pesante d'Erwin Panofsky, qui avait attesté d’un manque d’esprit novateur dans la sculpture funéraire après Bernin, y a également contribué. Le présent volume se propose au contraire d’explorer les « espaces de possibles » permettant une meilleure compréhension de la culture du monument funéraire et de ses transformations ; il plaide ce faisant pour un dépassement de la stricte démarcation entre art pré- et postrévolutionnaire. Outre les espaces du monument, métamorphosés sous l’effet du changement de lieu des sépultures au tournant du XIXe siècle, les articles ici réunis interrogent les différentes sphères publiques de ces mutations, la puissance d’innovation du monument (funéraire) « éclairé », hérité des Lumières ou encore les nouvelles fonctions de résilience qui lui sont attribuées.

Malgré ses six années d’existence, le royaume de Westphalie dirigé par le plus jeune des Napoléonides Jérôme Bonaparte (1784-1860), surnommé le « König Lustik », apparaît comme un exemple paradigmatique des transferts artistiques et culturels entre la France et l’Allemagne. Les textes réunis dans le présent volume explorent les modèles et influences françaises de même que les tendances locales à l’assimilation ou à la modification de la vie culturelle multiforme de la capitale westphalienne et de ses provinces. Étayée par une sélection d'archives conservée en Allemagne et en France traitant de la thématique de « l'art et de la culture sous le roi Jérôme Napoléon », cette étude aspire à fournir une base essentielle pour l'exploration précise de la relation entre centre et périphérie dans l'Europe napoléonienne.

The 1970s were a heyday of performance and conceptual art in Yugoslavia. Among the most important places of art production were the self-managed Student Cultural Centers founded in the wake of the 68 riots, especially the one in the capital Belgrade. Seraina Renz examines selected works and exhibitions from this hitherto little explored place and section of recent European art history. For the first time, contemporary historical testimonies and theoretical debates are analyzed and the works are placed in an international art historical context.

Animé par l’augmentation des flux migratoires au cours du 20e siècle, le surréalisme s’est développé en un mouvement artistique unique – et à bien des égards « pionnier » – dont l'influence fut mondiale. Cette anthologie analyse pour la première fois les rôles qu’ont joués les artistes, les marchands d’art, les collectionneurs et les musées au sein des réseaux fondateurs du surréalisme en Europe, hissant ce dernier au rang des courants avant-gardistes du 20e siècle. Cet ouvrage présente 20 essais sur les différents acteurs du marché de l’art, du surréalisme et sur leurs interactions dans l’Europe de 1924 à 1969.

The hand-book serves as an introduction to the topic of digitization at art museums. It sets the focus on digital collection management and explains all steps related to the computer-aided documentation of a collection and the subsequent publishing and connecting data on the web. The guideline builds on internationally established standards as well as the direct work experience of the authors. The recommendations can be adapted to the individual needs and requirements of a museum, regardless of type and size. Valuable practical tips and literature recommendations make it a useful working tool.

What will the future bring? The exhibition "Signs of the Future. Divination in East Asia and Europe" is the first to showcase instruments, methods and practitioners of fortune-telling in a cross-cultural dialogue. In this bilingual catalogue, leading international experts explore 130 objects from the Germanisches Nationalmuseum, the National Museum of Taiwan History and the Academia Sinica, including a Feng Shui compass, scientific instruments and even tarot cards.
Due to the COVID-19-Pandemic, the exhibition opening at the Germanisches Nationalmuseum, scheduled for December 2020, takes place in 2021.

The publication collects the contributions of the conference of the same name on 4 November 2019, that was organised by the Network for Provenance Research in Lower Saxony, the Regional Association of Southern Lower Saxony and the municipal Museum of Einbeck. Editors and authors discuss how the results of so-called "first-check" projects of provenance research for the search for and identification of Nazi looted cultural goods in city and regional museums in southern Lower Saxony can be sustainably documented, used in a participatory way and permanently made visible or communicated.

In early modern European interiors, textiles played a crucial role as material and medium. Anika Reineke offers new research on the aesthetics of 18^th-century art and the Rococo period, with a special focus on concepts of space, illusion, and decorative arts. By focusing on tapestries, silk wall coverings and folding screens, this transmedial study opens fresh perspectives on the shared authorship of craftsmen and artists, on visual effects of interior decoration and the ambivalent relationship between 18^th-century guilds, manufactories, and academies.

The study approaches art by focusing on visual perception and trying to answer the central question of how communication is possible through art, i.e. through perception. Taking sacred interiors of modern age as an example, the relationship between observer and image is problematized in order to identify the cornerstones of an art historical method based on a difference-theoretical concept of art (Luhmann, Spencer-Brown), with which the reception of images based on perception can be examined and interpreted with regard to art communication. Such a method is called Morphology of the Image.

The demands on a modern museum are many and varied: How can a diverse audience be reached? How can an object be presented best? How can the security of artworks be ensured? These questions are not new, as handwritten records of the gallery inspector Victor Barvitius (1834-1902) from 1883 show. Barvitius had been entrusted with the establishment of the Prague Picture Gallery. In August and September 1883, Barvitius visited the Picture Galleries in Dresden, Berlin and Munich in order to learn about all aspects of museum life. He discussed with museum directors and restorers, studied visiting regulations, documented the condition of individual paintings, and observed everyday museum life.