Sigrid Ruby

Mit Macht verbunden
Bilder der Favoritin im Frankreich der Renaissance

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.

Henry Keazor (Ed.)

Film - Plakat - Kunst
Dietrich Lehmann und der Heidelberger Filmclub der 50er Jahre

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.

Click here to learn more about the exhibition (October 27, 2017 - April 15, 2018).

Michael Falser, Wilfried Lipp (Eds.)

A Future for Our Past
The 40th anniversary of European Architectural Heritage Year (1975–2015)

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 40th anniversary in 2015.

Birgit Franz, Gerhard Vinken (Eds.)

Das Digitale und die Denkmalpflege
Bestandserfassung – Denkmalvermittlung – Datenarchivierung – Rekonstruktion verlorener Objekte

Veröffentlichungen des Arbeitskreises Theorie und Lehre der Denkmalpflege e.V., Vol. 26

Die „digitale Revolution“ ist längst in vollem Gange. Für die Denkmalpflege haben digitale Anwendungen neue Perspektiven geöffnet, etwa in der interaktiven Visualisierung verlorener Zustände, im Monitoring bedrohter Stätten und Artefakte oder in der komplexen Vernetzung heterogener Wissensbestände. Deutlicher werden inzwischen auch Grenzen und ungelöste Probleme im Einsatz digitaler Technologien, etwa was die Nachhaltigkeit der rapide wachsenden Datenmengen betrifft.
Doch haben wir es in Bezug auf die Digitalisierung nicht in erster Linie mit einer nur „technischen“ Neuerung zu tun. So wird das Bemühen um das digitale Erbe, mit dem Auftrag zur Dokumentation, Erforschung und Publizierung von Kulturgütern, nicht nur die Institution Museum transformieren. Zu beobachten ist auch, dass sich mit der neuen Fülle an digital erzeugten Bildern die wissenschaftlichen Standards verändern. Ein weiterer unterschätzter Aspekt der digitalen Revolution ist eine Umschichtung der Aufmerksamkeiten auf dem „Markt“ der Wissenschaften.
Die wohl auffälligste Folge des digitalen Versprechens einer genauen und verlustfreien Reproduktion des Verlorenen ist, dass bei jeder spektakulären Zerstörung von bekannten Monumenten reflexhaft die Forderung nach einer Rekonstruktion aufkommt. Deutlich wird hier, dass dem Digitalen eine innere Affinität zur Rekonstruktion innewohnt, insofern seine Leistungsfähigkeit in der Übersetzung aller Informationen in einen binären Code, in der angeblich verlustfreien Speicherung und Kopie beruht. Im digitalen Zeitalter wird die Unterscheidung von Original und Kopie so an Relevanz verlieren – auch zu dem Preis einer totalen Manipulierbarkeit der Daten, wie der Realität. (Gerhard Vinken)

Marius Lausch

Sprechende Bilder
Architektur, Glasmalerei und Ikonographie der Kathedrale Saint-Étienne in Auxerre

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 13th century.

Daniel Hess, Dagmar Hirschfelder (Eds.)

Renaissance · Barock · Aufklärung
Kunst und Kultur vom 16. bis zum 18. Jahrhundert

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 16th to 18th 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.

Doris H. Lehmann (Ed.)

Vom Streit zum Bild
Bildpolemik und andere Waffen der Künstler

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.

Elisabeth Tietmeyer (Ed.)

Glances into Fugitive Lives

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.

Elisabeth Tietmeyer (Ed.)

Einsichten in flüchtige Leben

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.

Thomas W. Gaehtgens, Markus A. Castor, Frédéric Bussmann, Christophe Henry (Eds.)

Versailles et l'Europe
L’appartement monarchique et princier, architecture, décor, cérémonial

Passages online, Vol. 1

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 17th and 18th 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.

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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.

Pamela Sylvia Pachl

Das Phänomen Skatesticker
Bildrezeptionen und Kunstadaptionen in der Skateboardszene

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.

Nicolai Kemle (Ed.)

Kunstrecht
Normen, Gesetze und Vorschriften

Kunstrecht kompakt, Vol. 1

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.

Eva von Engelberg-Dočkal, Markus Krajewski, Frederike Lausch (Eds.)

Mimetische Praktiken in der neueren Architektur
Prozesse und Formen der Ähnlichkeitserzeugung

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."

Elisabeth Tietmeyer (Ed.)

Glances into Fugitive Lives

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.

Elisabeth Tietmeyer (Ed.)

Einsichten in flüchtige Leben

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.

Juliane Betz

Le Chant du cygne
Die Gazette des Beaux-Arts und die französische Reproduktionsgraphik in der zweiten Hälfte des 19. Jahrhunderts

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.

Christina Haak, Miguel Helfrich (Eds.)

Casting. A way to embrace the digital age in analogue fashion?
A symposium on the Gipsformerei of the Staatlichen Museen zu Berlin

The Gipsformerei, the oldest establishment of the Staatlichen Museen zu Berlin still active today, will be celebrating its 200th 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.
View this volume as interaktive version direktly in the browser.

Andreas Bienert, Anko Börner, Eva Emenlauer-Blömers, James Hemsley (Eds.)

Konferenzband EVA Berlin 2016. Elektronische Medien & Kunst, Kultur und Historie
23. Berliner Veranstaltung der internationalen EVA-Serie Electronic Media and Visual Arts

EVA Berlin, Vol. 23

  

Pieter Martens (Ed.)

Virtual Palaces, Part I
Digitizing and Modelling Palaces

PALATIUM e-Publications, Vol. 2

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.

Stephan Hoppe, Stefan Breitling (Eds.)

Virtual Palaces, Part II
Lost Palaces and their Afterlife. Virtual Reconstruction between Science and Media

PALATIUM e-Publications, Vol. 3

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.