Essays in new art history from france

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The principal claim is that it was the nineteenth century artists, architects and designers in the Kunststadt Munich, who, helped by the critics, arrived at very specific valorisations of their designs, which could then be applied in an essentialist way to all artefacts of the region, old or new. The article divides the Munich design activities into two phases. In the second phase, during the s and s, interest turned more directly to the domestic environment of Alpine houses, valorising a plain wooden character.

But neither should one classify it all as modern kitsch. The latter attitude must be the reason why the subject has hardly been touched on in the copious art histories of Munich so far. Abstract: Throughout his career, the German-born art historian Nikolaus Pevsner attempted to elevate the history of art and the history of architecture to the status of academic disciplines in Britain, the country to which he had emigrated in His theoretical approach, centred around the study of the links between artistic forms, national characters and the concept of Zeitgeist, informed the historical language that he gradually caused to spread in the United Kingdom.

However, his seemingly unsuccessful attempt to establish himself as a Kunsthistoriker in Britain, indicates the existence of a strong consensus around the idea that national characteristics govern the discipline of art history as much as they govern the art studied. Together these lectures allowed Clark to critique the extant universalizing humanist frame for cultural history and its allied concepts of beauty and value, stylistic change, the autonomy of art, creativity.

Abstract: Giovanni Morelli — , the nineteenth—century connoisseur, is famous as the inventor of scientific connoisseurship. This seems a strangely unscientific thing to do. This paper will ask the question: why? Perhaps Morelli was being sincere, or perhaps he was being ironic. From a close reading of the text, this paper discusses Morelli as an ironist. Abstract: To transcend the divisions in art historical research between high art and decorative art, this study proposes an ecological approach.

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Drawing on research in the social sciences and humanities, and using the early modern domestic interior as a case study, the essay develops the concepts of environment, ecology, meshwork, assemblage, distributive agency, vital materiality, and matter as social performance, which appear in the work of political scientist Jane Bennett, feminist philosopher Karen Barad, sociologist Bruno Latour, anthropologist Tim Ingold, and others.

As the study argues, such concepts provide a phenomenological, integrative, and non-hierarchical framework for the study of the decorative arts within the institutions and practices of art history, allowing art historians to analyse the processes through which the human and the material are intertwined. Keywords: decorative arts, cultural aesthetics, Early Modern, ecological approach, meshwork, assemblages, distributive agency.

This essay discusses the term and its relationship to disciplinary shifts that affected art history, design history in the UK, and material culture in the US. Furthermore, it offers a case study for current scholarship, teaching, and exhibition practice. This essay focuses on the exhibition, Les Primitifs Flamands, which took place in Bruges in One of the earliest temporary loan exhibitions to have had international impact, it stimulated the first wave of scholarly interest in northern painting.

Indeed, though early Netherlandish painters, such as Jan van Eyck and Roger van der Weyden, had been lauded during their own lifetimes, a classical and Italian Renaissance ideal came to dominate the artistic canon of the academy as well as the historical narrative proposed with the emergence of the public museum. The many reviews of this exhibition allow us to track changing attitudes toward style and authorship while the taste for northern art in the broad sense was coming to the fore. James Weale. During the intellectual isolation of Switzerland during the Nazi period and WWII, Swiss art historians turned to local topics for their research.

His pupils primarily chose medieval topics for their dissertations and future research, while some branched out into modern art. While thoroughly grounded in a formalist tradition, they now incorporated a contextual and interdisciplinary approach. In , a strong counterforce to older traditional studies occurred at Basel with the appointment of Georg Schmidt as director of the Kunstmuseum and Kupferstichkabinett. He changed the direction of the museum towards modern and contemporary art and helped establish the present character of Basel as a contemporary art city rather than the traditional city and university it had been known for.

Keywords: Basel University and Kunstmuseum, J.

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Burckhardt, H. Gantner, G. Schmidt, K. Schefold, H. Reinhardt, P. Ganz, H. Schmid, H. Loeb, E. Boecklin, W. Among American women who made great efforts to record medieval monuments were Vida Hunt Francis, who worked in France c. Her co-photographer Edith H. Lowber has until now been overlooked. The last book they planned together was edited and published posthumously and most of the illustrations they prepared for it remained unpublished. King also had a great interest in modern art, through her friendship with Gertrude Stein. Abstract: This text outlines the aim of this collection of essays dedicated to the topic of inventories and catalogues — essential building blocks in art historical scholarship.

It situates this body of work in relation to the secondary literature and establishes new directions for art historical analysis concerning inventories and catalogues as advocated by the authors assembled here. Close comparison reveals significant ideological differences between the values implicit in the earliest Chinese inventories of two-dimensional inscriptions on metal and stone, and those underlying catalogues of three-dimensional antiquities like bronzes. Key words: Song dynasty, antiquarianism, archaeology, bronzes, epigraphy, inventory, ritual, antiquity.

Abstract: Medieval church treasury inventories document an astonishing abundance of sumptuous treasury objects that no longer exist. These inventories, however, tend to withhold data of traditional interest to art history with their terse, formulaic, and minimal descriptions. Thus they have been somewhat marginalized. This essay recommends future approaches to these texts. By excavating generic conventions to detect underlying value systems, these inventories become quite voluble regarding medieval attitudes towards precious metalwork, vestments, and other liturgical objects.

The approaches discussed here include issues of vocabulary, authorship, and formal convention; the mise-en-page and mise-en-livre of these texts; and their relationship with book inventories. This essay considers recorded weights of plate in inventories from German speaking-lands, in particular secularization lists that documented church treasures about to be liquidated. To better contextualize and interpret them, this essay establishes the metrological framework that underpinned the weighing of gold and silver, as well as the methodological challenges involved in recovering historical measurements.

It also explores some applications for weighing and the analysis of recorded weights in art historical methodology, ultimately arguing for a more consistent use of weight by scholars and curators in the study of metalwork. By identifying patterns of significance within the Old Bailey corpora of theft trials, this article will extend traditional humanities practices of close reading by adding a form of distant reading facilitated by computational analysis. By investigating a variety of inventories of the Medici family, from to , this essay sheds light on such differences and explores the material existence and textual strategies of court inventories, addressing issues of function and authorship, as well as relationships between text, objects and people.

Informationally rich, the Natural History presents the flora and fauna of Brazil through elaborate botanical, cultural and linguistic accounts and profuse illustrations; the Collection, however, strips away extraneous details and reduces plants and animals to lists of standardized ingredients. These differences raise important methodological considerations for using inventories and catalogues as sources for colonial scholarship, and sheds light on the colonial networks operating in Brazil.

Abstract: This essay is based upon a survey of reproductions in auction catalogues — from their first appearance in the early eighteenth century until their more consistent use in the second decade of the twentieth century. Examining the role of these illustrations sheds light on how auctions functioned; it was not just the works of art that were traded, but knowledge about those works of art became currency to be exchanged.

In contrast to the high end engravings and photographs of luxury illustrated art books, reproductions in auction catalogues — publications produced as ephemeral marketing tools — were of noticeably lower quality. This study of the status of reproductions, therefore, investigates the evolving understanding of art knowledge, both aesthetic and economic, and the interdependence of the market and connoisseurship.

It argues that Semper succeeded in making the tension between historiography and design productive for both fields. The linking methodological context is hermeneutics as developed around and its adaptation in archaeology and the natural sciences. During his formation Semper was introduced into a scientific practice that was based on a combination of empirical research and poetic imagination. Semper integrated this approach into his archaeological and historiographical work, which formed the basis of his design theory.

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His design theory in turn combined rational and scientific with creative aspects. However, examination of thematically related lectures and writings by other protagonists of the Department of Science and Art exposes a number of concepts, references and rhetorical elements that Semper had in common with his colleagues. Keywords: Gottfried Semper, Design Reform, art and industry, design history, Schools of Design, decorative art, nineteenth century, London.

When Semper attended the Great Exhibition, he realized the enormous impact that capitalist industries and interests have had on the arts. As a theorist trying to principles of by which art is driven, he analyzes industries and their mass produced objects and tries to come to terms with this. At the same time, he tries to integrate capitalism into his historical and scientific models. Keywords: Gottfried Semper, capitalism, production, Great Exhibition, commodity, commodification, art, architecture, fetishism, ideal collection, history, evolution, London, Design Reform.

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Abstract: In the spring of , when the Saxon revolt was defeated, the architect Gottfried Semper escaped from Dresden forfeiting his safe employment at the academy of arts. After a vain attempt to establish himself in France or another European country, he decided to emigrate to North America. Due to a strange accident, he changed his mind and went to London, the most vibrant town of Europe, in the autumn of He spent five exciting years there.

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  • From the first day, he tried to use his connections with more or less important persons for the purpose of professional success. Some of them inspired or enabled him to write and publish sharp-witted and clear-sighted texts. The present article deals with these relations. While the relevant books by Franz Wickhoff and Alois Riegl are quoted more than they are actually read, the work of Guido Kaschnitz is even less well known in spite of the fact that he has placed these fundamental questions on a more solid footing.

    The present text from a lecture held late in his life and published posthumously can hopefully correct misconceptions of his approach to artistic principles.

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    Key words: originality in art, allegory, structural analysis, Greek influence in Roman art, existential effects in sculpture and architecture. It touches on many of his favorite subjects in what is probably a more palatable presentation than his voluminous publications with more complex analysis. Key words: art and science, the human figure and the illusion of motion, subjectivity in art, naturalism and impressionism.

    His essay called for new, fundamental research: an unbiased investigation of all art found in the historical territory of the country, so that subsequently Hungarian art could be identified within this greater whole. This is the first English translation of a seminal text that has exerted a major influence on Hungarian art history writing.

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