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The Berlin Kunstkammer as such never existed. In the course of its long history, the electoral and then royal institution underwent continuous change. In dealing with the collection, the protagonists constantly reinvented the Brandenburg-Prussian Kunstkammer. This book takes an innovative approach to the multiple meanings of the history of the collection by examining the biographies of its objects. Like prisms, these holdings refract the history of the Kunstkammer from its beginnings around 1600 to the present day, showing the kaleidoscopic meanings attributed to artefacts and natural objects. The texts, written by authors from a variety of disciplines, trace the early history of Berlin’s modern museum landscape and the differing paths that brought objects into the collections. The contributions present the results of a joint research project by the Humboldt-Universität zu Berlin, the Museum für Naturkunde Berlin, and the Staatliche Museen zu Berlin.

Andrea Mantegna's paintings are distinguished by the intricate interplay of various elements, particularly the dynamic relationship between organic and inorganic carriers of significance. Of notable significance are the mineral-like textures and objects, serving as transitional mediums that blur the distinction between animate and inanimate entities, between stillness and vitality. This study delves into these compelling aspects of material representation and aesthetics, focusing on the potential reception and exchange processes within the intellectual milieu of Quattrocento natural philosophy.

The Berlin Kunstkammer as such never existed. In the course of its long history, the electoral and then royal institution underwent continuous change. In dealing with the collection, the protagonists constantly reinvented the Brandenburg-Prussian Kunstkammer. This book takes an innovative approach to the multiple meanings of the history of the collection by examining the biographies of its objects. Like prisms, these holdings refract the history of the Kunstkammer from its beginnings around 1600 to the present day, showing the kaleidoscopic meanings attributed to artefacts and natural objects. The texts, written by authors from a variety of disciplines, trace the early history of Berlin’s modern museum landscape and the differing paths that brought objects into the collections. The contributions present the results of a joint research project by the Humboldt-Universität zu Berlin, the Museum für Naturkunde Berlin, and the Staatliche Museen zu Berlin.

Architecture and art from around 1900 have dominated the perception of Vienna for the past five decades. The modernist experiment is still clearly inscribed in the cityscape today, in contrast to the migration and mobility of the architects, which often remain obscured. Wiener Moderne International sheds light on the complex exchange of knowledge and actors who shaped Viennese turn-of-the-century architecture and exported it throughout the Austro-Hungarian Empire and beyond.

Volume 3 of the LIDO Handbook focuses on architecture and other immovable works. In order to aggregate data from different subject-specific information systems on cross-institutional platforms such as the German Digital Library, it is necessary to apply common standards for data content and data structure. This manual is an application profile of the LIDO metadata standard, containing all the data fields relevant for the description of immovable works, e.g. architecture. It explains each data field and provides advice on recording, examples of content and instructions for exporting data in the LIDO XML format. All recommendations are aimed at preparing data from different sources in order to achieve the most comprehensive and accurate search results and to open up paths for further information cross-linking.

This study presents various unpublished letters whose senders or recipients were the cardinal and archbishop of Milan Federico Borromeo, his nephew Count Giovanni Borromeo, the painter Jan Brueghel (Velvet Brueghel) and his son Jan Brueghel the Younger. Some of these missives allow us, also through a comparison with other documents already known, to almost hear the voice of the cardinal himself talking to his favourite Flemish painter, whom he admired so much. Furthermore, published here for the first time are various payments in favour of Jan Brueghel ordered by Cardinal Borromeo and recorded in the account ledgers of the archiepiscopal Curia of Milan. This work discloses also other letters and several unpublished archive papers which allow us to have more precise information not only on some paintings located in the Pinacoteca Ambrosiana, but also on some institutions linked to the Biblioteca Ambrosiana, such as the Accademia del Disegno and the Collegio dei Dottori. A chapter of this study is also dedicated to the problematic relationship between Cardinal Borromeo and Caravaggio with the analysis of some significant, little-known testimonies relating to the Lombard painter.

The present encyclopaedia of French landscape painting is the result of decades of research, gathering, and documenting, to which the archaeologist, art collector, and gallerist Hans-Peter Bühler has dedicated himself. It registers more than three thousand entries on artists of landscape, marine, and architectural painting who were born between 1800 and 1870. Defining key works and providing biographical and bibliographical information, the two-volume work enables numerous cross-references among schools and currents of nineteenth-century French landscape painting – an area of artistic production whose striking diversity runs contrary to our frequent notion of art history as reducible to a select few names.

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Under the artistic concept “Through Different Lenses”, Sabina R. and Kenneth C. Korfmann-Bodenmann address contemporary and culturally relevant topics in discrete photo projects. The process includes trips of discovery and shared experiences. They then select the most compelling photographs in a dialogue.
There first project focused on Swiss defense structures from the Second World War. This was followed by forays across Switzerland as well as detours to Rome, Paris, Moscow and Dubai.
This publication presents and analyzes the first sixteen portfolios on a scientific level and understands the 384 photographs as thought pieces.

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As a forum of international exchange, the photographic journal Camera, founded in Lucerne in 1922, played a central role in shaping the afterlife of Pictorialism. Through numerous image and text analyses and an in-depth examination of the magazine as a medium, this study demonstrates how the journal Camera itself, through media-specific means, actively participated in the negotiations on what good artistic photography was. The book sheds light on the dynamic developments of the hitherto little-researched late history of pictorialist photography in the 1920s and 1930s and ultimately challenges the notion of Pictorialism as a rigid antithesis of the ‘modernism’.