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Reciprocal Design in Italian Renaissance Wood Intarsia: Patterns, Parasites, and Human/More-than-Human Making 意大利文艺复兴时期木刻中的互惠设计：图案、寄生虫和人/非人类制作
Zeitschrift für Kunstgeschichte Pub Date : 2024-03-01 DOI: 10.1515/zkg-2024-1004
Marta Ajmar
{"title":"Reciprocal Design in Italian Renaissance Wood Intarsia: Patterns, Parasites, and Human/More-than-Human Making","authors":"Marta Ajmar","doi":"10.1515/zkg-2024-1004","DOIUrl":"https://doi.org/10.1515/zkg-2024-1004","url":null,"abstract":"\u0000 This article explores how Italian Renaissance intarsia emerged from making practices sensitive to wood as animate material, and from a design correspondence with its environment. It argues that intarsia reconciled different modes: design-drawing, design in wood, and design with wood. These interconnected practices allow us to reconfigure intarsia as a technology created holistically from the correspondence of different human and more-than-human forces, including parasites – such as woodworm and fungi – and elemental factors – such as heat, water and air – all mobilised in active processes of pattern-making. It shows how this “Wood Age” craft is also an ecologically-rooted response to growing concerns about timber availability and forest sustainability. Finally, it proposes for intarsia the concept of reciprocal design, where patterns emerge from continuous correspondence and co-making between human and more-than-human agents.","PeriodicalId":108246,"journal":{"name":"Zeitschrift für Kunstgeschichte","volume":"118 49","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140090566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Arachne: Weaving and the Origin of Technè in the Renaissance 阿拉克涅文艺复兴时期的纺织与技术起源
Zeitschrift für Kunstgeschichte Pub Date : 2024-03-01 DOI: 10.1515/zkg-2024-1003
Jérémie Koering
{"title":"Arachne: Weaving and the Origin of Technè in the Renaissance","authors":"Jérémie Koering","doi":"10.1515/zkg-2024-1003","DOIUrl":"https://doi.org/10.1515/zkg-2024-1003","url":null,"abstract":"\u0000 During the Renaissance, the spider, as well as its mythological double Arachne, came to represent a form of technical exemplarity doubled by a form of practical intelligence. Some artists, such as Joris Hoefnagel and Tintoretto, made the spider a figure of artistic subtlety, allowing them to situate art in an intertwining of making and thinking. But how could the activity of an insect become an artistic paradigm? What imaginaries could have favored this assumption? Under what conditions could a figure as vile and disturbing as the spider or as negative as its mythological double Arachne be set up as examples to follow? This essay attempts to answer these questions by bringing together mythological representation, emblematic thought, and natural philosophy.","PeriodicalId":108246,"journal":{"name":"Zeitschrift für Kunstgeschichte","volume":"362 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140274301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Heinrich Wölfflin’s Classic Patterns of the Renaissance 海因里希-沃尔夫林的文艺复兴经典图案
Zeitschrift für Kunstgeschichte Pub Date : 2024-03-01 DOI: 10.1515/zkg-2024-1008
Christine Tauber
{"title":"Heinrich Wölfflin’s Classic Patterns of the Renaissance","authors":"Christine Tauber","doi":"10.1515/zkg-2024-1008","DOIUrl":"https://doi.org/10.1515/zkg-2024-1008","url":null,"abstract":"\u0000 This essay examines Heinrich Wölfflin’s patterns of judgement in his pioneering art-historical study Classic Art, first published in 1899. By using the anti-historicist concept of the “classic”, he systematically withdraws the art of the High Renaissance from historical change in order to erect it as a protective shield against the transience of unclassic modernism and contemporary life. This proto-structuralist act of creating order by means of pattern comparisons in the timeless realm of beauty conceives the art historian as both an intellectual aristocrat with artistic ambitions and a conservator of the eternities of classic art.","PeriodicalId":108246,"journal":{"name":"Zeitschrift für Kunstgeschichte","volume":"105 39","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140088843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Glaubwürdigkeit und Geltung 可信度和有效性
Zeitschrift für Kunstgeschichte Pub Date : 2024-03-01 DOI: 10.1515/zkg-2024-1011
G. Imdahl
{"title":"Glaubwürdigkeit und Geltung","authors":"G. Imdahl","doi":"10.1515/zkg-2024-1011","DOIUrl":"https://doi.org/10.1515/zkg-2024-1011","url":null,"abstract":"","PeriodicalId":108246,"journal":{"name":"Zeitschrift für Kunstgeschichte","volume":"103 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140278818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“noch vil höher, und subtiler Künsten… an tag zu bringen”: Renaissance Pattern Books and Ornament Prints as Catalysts of the Design Process "没有比这更高和更微妙的 Künsten... an tag zu bringen"：作为设计过程催化剂的文艺复兴时期图案书和装饰版画
Zeitschrift für Kunstgeschichte Pub Date : 2024-03-01 DOI: 10.1515/zkg-2024-1005
Femke Speelberg
{"title":"“noch vil höher, und subtiler Künsten… an tag zu bringen”: Renaissance Pattern Books and Ornament Prints as Catalysts of the Design Process","authors":"Femke Speelberg","doi":"10.1515/zkg-2024-1005","DOIUrl":"https://doi.org/10.1515/zkg-2024-1005","url":null,"abstract":"\u0000 In traditional art history, early modern pattern books and the closely related genre of the ornament print are rarely associated with the kind of autonomous invention encapsulated in the concept of disegno. However, by looking through the lens of several fifteenth and sixteenth century printed design resources, including Giovanni Antonio Tagliente’s Esempio di raccammi (1527) and the Kunstbüchlin (1538) of Heinrich Vogtherr the Elder and his son, this essay aims to demonstrate that there is strong foundational overlap between these two divergent products of the Renaissance. Rather than instilling among artists a culture of slavish copying, the production and increased access to (printed) variant designs facilitated the generation of ideas that were suggested by, but lay well beyond the scope of the printed page.","PeriodicalId":108246,"journal":{"name":"Zeitschrift für Kunstgeschichte","volume":"199 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140270897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Objektkultur und Körperbewusstsein um 1900 1900 年前后的物品文化和身体意识
Zeitschrift für Kunstgeschichte Pub Date : 2024-03-01 DOI: 10.1515/zkg-2024-1010
Marta Smolińska
{"title":"Objektkultur und Körperbewusstsein um 1900","authors":"Marta Smolińska","doi":"10.1515/zkg-2024-1010","DOIUrl":"https://doi.org/10.1515/zkg-2024-1010","url":null,"abstract":"","PeriodicalId":108246,"journal":{"name":"Zeitschrift für Kunstgeschichte","volume":"51 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140274597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Pluralität der Zeiten: Über Erinnerung, Zeit und Geschichte im Werk von Charles Simonds 时代的多元性论查尔斯-西蒙兹作品中的记忆、时间与历史
Zeitschrift für Kunstgeschichte Pub Date : 2023-11-22 DOI: 10.1515/zkg-2023-4004
Herbert Molderings
{"title":"Pluralität der Zeiten: Über Erinnerung, Zeit und Geschichte im Werk von Charles Simonds","authors":"Herbert Molderings","doi":"10.1515/zkg-2023-4004","DOIUrl":"https://doi.org/10.1515/zkg-2023-4004","url":null,"abstract":"Abstract In the 1970s, American sculptor Charles Simonds created more than a hundred miniature settlements (Dwellings), reminiscent of the architectures of the ancient Puebloans of the American Southwest, in the dilapidated streets of SoHo and Manhattan’s Lower East Side. These Dwellings until now have been discussed exclusively in the context of Land Art and Process Art. This essay offers an alternative perspective by focusing on their character as ephemeral “sites of memory” and on the new concepts of time and history which lie at their roots. Based on the principle of pluri-temporality in history, they share remarkable similarities with concepts of time in critical anthropology and philosophy, namely Johannes Fabian’s critique of “the denial of coevalness” to ethnographic Others and the concept of “folded time” as put forth by Michel Serres.","PeriodicalId":108246,"journal":{"name":"Zeitschrift für Kunstgeschichte","volume":"26 1","pages":"505 - 532"},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139250120","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Aimé Mpane’s Nude: A Body that Questions 艾梅-姆潘的裸体：有疑问的身体
Zeitschrift für Kunstgeschichte Pub Date : 2023-11-22 DOI: 10.1515/zkg-2023-4005
Steven J. Cody
{"title":"Aimé Mpane’s Nude: A Body that Questions","authors":"Steven J. Cody","doi":"10.1515/zkg-2023-4005","DOIUrl":"https://doi.org/10.1515/zkg-2023-4005","url":null,"abstract":"Abstract Aimé Mpane is an especially versatile Congolese artist based in Brussels and Kinshasa. This paper examines his Nude (2006–2008), a life-sized sculpture of the idealized male form. Thinking carefully about Mpane’s treatment of the body, his selection of material, and his manipulation of the sculpture’s surface, I argue that Nude operates on an ethical level. The work engages with social conceptions of Black bodies, the history of nudity in western art, and—most interestingly—Frantz Fanon’s theory of embodiment, as presented in Black Skin, White Masks (1952). Nude thus allows us to explore the relationship between a leading artist of the African diaspora and one of the most important critics of the colonial condition. The work also contributes to our increasingly nuanced understanding of art’s place within the wider spheres of post-colonial discourse.","PeriodicalId":108246,"journal":{"name":"Zeitschrift für Kunstgeschichte","volume":"81 1","pages":"533 - 548"},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139248385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Materiality is the Message 重要性就是信息
Zeitschrift für Kunstgeschichte Pub Date : 2023-11-22 DOI: 10.1515/zkg-2023-4007
Bram de Klerck
{"title":"Materiality is the Message","authors":"Bram de Klerck","doi":"10.1515/zkg-2023-4007","DOIUrl":"https://doi.org/10.1515/zkg-2023-4007","url":null,"abstract":"","PeriodicalId":108246,"journal":{"name":"Zeitschrift für Kunstgeschichte","volume":"164 ","pages":"565 - 570"},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139249701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Funerary Monument of Bona Sforza in the Basilica of San Nicola in Bari: History and Background of a Royal Mausoleum of Polish Patronage 巴里圣尼古拉大教堂中的博纳-斯福尔扎墓碑：波兰赞助的皇家陵墓的历史与背景
Zeitschrift für Kunstgeschichte Pub Date : 2023-11-22 DOI: 10.1515/zkg-2023-4003
Alessandro Grandolfo
{"title":"The Funerary Monument of Bona Sforza in the Basilica of San Nicola in Bari: History and Background of a Royal Mausoleum of Polish Patronage","authors":"Alessandro Grandolfo","doi":"10.1515/zkg-2023-4003","DOIUrl":"https://doi.org/10.1515/zkg-2023-4003","url":null,"abstract":"Abstract The funerary monument of Bona Sforza, Duchess of Bari and Queen of Poland, in the Basilica of San Nicola in Bari has been a subject of discussion since the uncovering, in 1918, of documents which assign the marble authorship to a team of minor sculptors working in Naples around 1589–1593. Whilst research has focused on the history of this sepulchre, the name of the architect whom the queen’s daughter and heir, Anna Jagiellon, commissioned to design the tomb has remained unknown. Zygmunt Waźbiński, in 1979, proposed to attribute the project to Tomasz Treter, a canon from the Basilica of Santa Maria in Trastevere in Rome; this attribution, however, can no longer be upheld. This essay reviews the history of Bona’s monument and reassesses the question of its authorship. New evidence sheds light on the tomb’s models and reconnects its design to late-sixteenth-century tomb sculpture in Naples.","PeriodicalId":108246,"journal":{"name":"Zeitschrift für Kunstgeschichte","volume":"17 10","pages":"477 - 504"},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139247885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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