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A parte ficta totum fictum: Fanciful Illustrations of Sea Animals in the Liber de natura rerum and Other Medieval Encyclopedias* 一部虚构的作品:《自然百科全书》和其他中世纪百科全书中海洋动物的奇异插图*
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2022-03-01 DOI: 10.1515/ZKG-2022-1003
Hana Šedinová
{"title":"A parte ficta totum fictum: Fanciful Illustrations of Sea Animals in the Liber de natura rerum and Other Medieval Encyclopedias*","authors":"Hana Šedinová","doi":"10.1515/ZKG-2022-1003","DOIUrl":"https://doi.org/10.1515/ZKG-2022-1003","url":null,"abstract":"Abstract Six of the twenty books of Thomas of Cantimpré’s thirteenth-century Liber de natura rerum are devoted to zoology, and two of them contain descriptions of strange sea animals whose names are often hard to make sense of, both etymologically and semantically. Illuminators had to work with textual descriptions lacking essential information, and in many cases the encyplopedist himself made matters worse by focussing on the most bizarre and peculiar traits of animals encountered in his antique and medieval sources. Consequently, some of the illuminators produced images fanciful enough to make it look like they got carried away by their own imagination. However, a detailed comparison between text and image reveals that artists did their best to follow textual descriptions – it is the literal interpretation of their sources that often strikes us as unexpected and perplexing.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"85 1","pages":"13 - 39"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46190556","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Unterwegs in verkoppelten Räumen 在互联房间的路上
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2022-03-01 DOI: 10.1515/ZKG-2022-1009
Irina Saladin
{"title":"Unterwegs in verkoppelten Räumen","authors":"Irina Saladin","doi":"10.1515/ZKG-2022-1009","DOIUrl":"https://doi.org/10.1515/ZKG-2022-1009","url":null,"abstract":"","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"85 1","pages":"139 - 144"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49302826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Blut quillt, Köpfe rollen 血液膨胀，人头翻滚
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2022-03-01 DOI: 10.1515/ZKG-2022-1008
Gia Toussaint
{"title":"Blut quillt, Köpfe rollen","authors":"Gia Toussaint","doi":"10.1515/ZKG-2022-1008","DOIUrl":"https://doi.org/10.1515/ZKG-2022-1008","url":null,"abstract":"","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"85 1","pages":"133 - 138"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49624209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Der Oberweseler Goldaltar: Forschungsstand und neue Überlegungen 上韦德勒。Goldaltar:观点的反映
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2022-03-01 DOI: 10.1515/ZKG-2022-1004
Eduard Sebald
{"title":"Der Oberweseler Goldaltar: Forschungsstand und neue Überlegungen","authors":"Eduard Sebald","doi":"10.1515/ZKG-2022-1004","DOIUrl":"https://doi.org/10.1515/ZKG-2022-1004","url":null,"abstract":"","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"85 1","pages":"40 - 56"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43509785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Der Judaskuss der Malerei: Caravaggios Dubliner Gefangennahme Christi in neuer Deutung 绘画的犹大之吻：卡拉瓦乔在都柏林对基督的新诠释
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2022-03-01 DOI: 10.1515/ZKG-2022-1005
J. Müller
{"title":"Der Judaskuss der Malerei: Caravaggios Dubliner Gefangennahme Christi in neuer Deutung","authors":"J. Müller","doi":"10.1515/ZKG-2022-1005","DOIUrl":"https://doi.org/10.1515/ZKG-2022-1005","url":null,"abstract":"Abstract How do you conceal politically critical thinking in papal Rome around 1600? Caravaggio’s Taking of Christ isn’t quite what it seems once its subversive meaning is deciphered. The painter places himself among the traitors by holding the lantern, or rather the brush. This self-portrait, I will argue, shows his critical position toward the potential of painting itself. My essay thus proposes a new reading: In the light of a new pictorial source as well as new textual material, Caravaggio appears as an artist highly sceptical of the Catholic cult of images, indeed as a painter who delivers something of a self-referential accusation of painting.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"85 1","pages":"57 - 81"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44389764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
London and Budapest: A Tale of Two Parliaments 《伦敦与布达佩斯:两个议会的故事
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2022-03-01 DOI: 10.1515/ZKG-2022-1007
József Sisa
{"title":"London and Budapest: A Tale of Two Parliaments","authors":"József Sisa","doi":"10.1515/ZKG-2022-1007","DOIUrl":"https://doi.org/10.1515/ZKG-2022-1007","url":null,"abstract":"Abstract The Houses of Parliament in London (1835–1860) and the Parliament in Budapest (1885– 1902) are related in many ways. It was due to former Prime Minister Gyula Andrássy’s personal commitment that a riverside site and the Neo-Gothic style were selected for the Hungarian edifice. While the New Palace of Westminster represents the late-medieval English variant of the Gothic style, its Hungarian counterpart is an amalgamation of various Gothic features marshalled into a heterogeneous synthesis. Inevitably the issue of a national style emerged, as well as the representation of royalty on the exterior and in the interior of the building. The Parliament in Budapest was meant tobe a national monument and project the (illusive) image of a Hungary on equal footing with the world’s major countries.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"85 1","pages":"97 - 132"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45146121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“The condition most habitual with him, work”: David’s Portrait of Napoleon in His Cabinet at the Tuileries “他最习惯的状态是工作”：大卫的《杜乐丽宫内阁中的拿破仑肖像》
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-11-29 DOI: 10.1515/ZKG-2021-4003
T. Lawrence Larkin
{"title":"“The condition most habitual with him, work”: David’s Portrait of Napoleon in His Cabinet at the Tuileries","authors":"T. Lawrence Larkin","doi":"10.1515/ZKG-2021-4003","DOIUrl":"https://doi.org/10.1515/ZKG-2021-4003","url":null,"abstract":"Abstract In Napoleon in His Cabinet at the Tuileries (1811–1812), Jacques-Louis David designed a new portrait type wherein the emperor appears to have been up all night working for the welfare of his subjects, furthering the legend of an indefatigable administrator. This essay explores the relationship between Scottish patron and French artist in the fulfilment of a commission, the process of working through post-revolutionary consular and imperial modes of portraiture, the references to civil and military affairs meant to affirm public reports about the emperor’s administrative accomplishments, and the conversation about the relative value of status and money as compensation appropriate for the achievement of a new portrait identity. Despite the brilliant subtlety of David's conceit, Napoleon was content to continue to subsidize the overblown imperialist rhetoric of François Gérard and others.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"519 - 552"},"PeriodicalIF":0.2,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42765960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Der Louvre von London 伦敦卢浮宫
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-11-29 DOI: 10.1515/ZKG-2021-4005
Jörg Zutter
{"title":"Der Louvre von London","authors":"Jörg Zutter","doi":"10.1515/ZKG-2021-4005","DOIUrl":"https://doi.org/10.1515/ZKG-2021-4005","url":null,"abstract":"","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"560 - 566"},"PeriodicalIF":0.2,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48123959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
On The Origin of the Milky Way by Peter Paul Rubens: Astronomy, Astrology and Mythology in Early Modern Europe* 论彼得·保罗·鲁本斯的《银河系的起源》：近代欧洲早期的天文学、天文学和神话学*
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-11-29 DOI: 10.1515/ZKG-2021-4001
M. Pointon
{"title":"On The Origin of the Milky Way by Peter Paul Rubens: Astronomy, Astrology and Mythology in Early Modern Europe*","authors":"M. Pointon","doi":"10.1515/ZKG-2021-4001","DOIUrl":"https://doi.org/10.1515/ZKG-2021-4001","url":null,"abstract":"Abstract Painted in the final decade of his life, Rubens’s autograph work The Origin of the Milky Way defies interpretation. The artist was a contemporary of Galileo though attempts to evidence a meeting have so far failed. He had already painted a series of night skies and had many recent books on astronomy/astrology, as well as ancient texts, in his library. This is a painting full of plausible stellar bodies none of which quite fits into a recognised constellation. Nor does the image accurately accord with any mythological narrative. So, is the Milky Way here simply a pretext to depict Juno as Queen of the heavens? I propose that Rubens was a learned eclectic for whom Aristotelian views of the cosmos could meld both with contemporary earth-centred arguments about a providential universe and with new Copernican theories. Uniting his interest in pictorial space with newfound possibilities for understanding the cosmos, Rubens draws on the ancient Roman concept of sparsio, or abundance, with which he would have been familiar through his friendship with Hugo Grotius. Executed a few years after the fifty-three-year-old artist had married his fecund second wife, then aged sixteen, The Origin of the Milky Way constitutes a witty and profound meditation on female generosity within a framework of universal laws.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"451 - 482"},"PeriodicalIF":0.2,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49336900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Connoisseurship and the Investigation of Materiality: Four “Rembrandt” Drawings in Weimar* 鉴赏与物质性考察——魏玛的四幅“伦勃朗”画*
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-11-29 DOI: 10.1515/ZKG-2021-4002
Thomas Ketelsen, Carsten Wintermann, Chris Melzer, G. Dietz, Uwe Golle, O. Hahn
{"title":"Connoisseurship and the Investigation of Materiality: Four “Rembrandt” Drawings in Weimar*","authors":"Thomas Ketelsen, Carsten Wintermann, Chris Melzer, G. Dietz, Uwe Golle, O. Hahn","doi":"10.1515/ZKG-2021-4002","DOIUrl":"https://doi.org/10.1515/ZKG-2021-4002","url":null,"abstract":"Abstract The aim of this paper is to present the productive interplay of connoisseurship and material analysis when dealing with drawings by Rembrandt – or previously attributed to him – in the collection of the Klassik Stiftung Weimar. This concerns the more precise determination of the drawing materials used and the reconstruction of the genesis of the drawings discussed. The material analysis allows us to decide whether and how Rembrandt’s inks can be used to determine authorship at all. The “material turn” in drawing studies thus intervenes in the discussion about authorship and opens up a broader production aesthetic perspective. No longer the “style” but rather the handeling becomes the decisive criterion for answering the question “Rembrandt, or not?”","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"483 - 518"},"PeriodicalIF":0.2,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47953939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","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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