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Une figure sculptée de saint Aré conservée au Bayerisches Nationalmuseum de Munich : Michel Colombe et la sculpture tourangelle hors les murs ?* 慕尼黑巴伐利亚国家博物馆的圣阿雷雕塑：米开朗基罗·哥伦布和墙外的图兰格尔雕塑*
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-09-01 DOI: 10.1515/ZKG-2021-3003
Jean-Marie Guillouët
{"title":"Une figure sculptée de saint Aré conservée au Bayerisches Nationalmuseum de Munich : Michel Colombe et la sculpture tourangelle hors les murs ?*","authors":"Jean-Marie Guillouët","doi":"10.1515/ZKG-2021-3003","DOIUrl":"https://doi.org/10.1515/ZKG-2021-3003","url":null,"abstract":"Abstract In the rooms of the Bayerisches Nationalmuseum in Munich, the astonishing sculpture of Saint Are stands out. The sixth-century bishop of Nevers is depicted lying dead on the bottom of the small boat that miraculously sailed up the Loire as far as the village of Decize. It is for the church of this locality that this sculpture was made, probably after depredations committed to the treasure of the sanctuary in 1484. A stylistic analysis reveals the close links of this work with contemporary sculpture in Touraine, particularly with the anonymous figure of a bishop now kept in Saint-Saturnin at Limeray (Indre-et- Loire). The same hand of an artist who seems to have worked in the entourage of Michel Colombe must be recognized in both works. The documented presence of the great sculptor in Moulins in 1484 further supports this presumption.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"365 - 378"},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49619917","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
Aggiornamenti su Bartolomeo Varnucci Bartolomeo Varnucci的更新
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-09-01 DOI: 10.1515/ZKG-2021-3002
D. Guernelli
{"title":"Aggiornamenti su Bartolomeo Varnucci","authors":"D. Guernelli","doi":"10.1515/ZKG-2021-3002","DOIUrl":"https://doi.org/10.1515/ZKG-2021-3002","url":null,"abstract":"Abstract This article outlines the figure of the Florentine Bartolomeo Varnucci, an illuminator who for decades had his workshop in the Badia Fiorentina, where he was assisted by his brothers Giovanni and Chimenti. They where all cartolai, craftsmen able to take care of the production of manuscripts as a whole, from the preparation of the parchment to the binding. Active from the third to the eighth decade of the fifteenth century, Bartolomeo was able to interpret the rise of humanistic book production, with its typical decoration of white vine stems, but also to move through the vast requests of the devotional world, more inclined to conservative artistic solutions. This contribution gives a complete survey of the artist’s milieu and work, adding several new works to his catalogue.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"325 - 364"},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42208974","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
Wandalgarius’ Letters of the Law: Figural Initials and Book Culture in the Late Eighth Century 旺达尔加里乌斯的《律书》:8世纪晚期的数字首字母与书籍文化
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-09-01 DOI: 10.1515/ZKG-2021-3001
Beatrice E. Kitzinger
{"title":"Wandalgarius’ Letters of the Law: Figural Initials and Book Culture in the Late Eighth Century","authors":"Beatrice E. Kitzinger","doi":"10.1515/ZKG-2021-3001","DOIUrl":"https://doi.org/10.1515/ZKG-2021-3001","url":null,"abstract":"Abstract Long sidelined by art historians, the Wandalgarius Codex is a compendium of legal texts dated to 793 that represents an early venture in a trend associated with the 790s: populating initial letters with lively figures. This article centers the Wandalgarius Codex in discussion of experimental book illumination in the late eighth century. The decade saw re-definition of the visual organization of books, the uses illumination could serve, and the ways manuscripts in many genres reflected and shaped projects of education and reform. The essay sets Wandalgarius’ approach to initials in conversation with the well-known Gellone Sacramentary, and investigates the scribe-draftsman’s characterization of his own work as an ambitious contemporary book-maker.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"291 - 324"},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44538245","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
Caspar David Friedrichs besonderer Naturzugriff 你知道卡斯帕·大卫每个人都喜欢
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-09-01 DOI: 10.1515/ZKG-2021-3006
W. Busch
{"title":"Caspar David Friedrichs besonderer Naturzugriff","authors":"W. Busch","doi":"10.1515/ZKG-2021-3006","DOIUrl":"https://doi.org/10.1515/ZKG-2021-3006","url":null,"abstract":"","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"26 6","pages":"441 - 447"},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41250295","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
“Malerische Dichtungen”: Two Landscape Paintings of 1916 by Ernst Ludwig Kirchner “Malerische Dichtungen”：恩斯特·路德维希·基什内尔1916年的两幅风景画
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-09-01 DOI: 10.1515/ZKG-2021-3004
Sherwin Simmons
{"title":"“Malerische Dichtungen”: Two Landscape Paintings of 1916 by Ernst Ludwig Kirchner","authors":"Sherwin Simmons","doi":"10.1515/ZKG-2021-3004","DOIUrl":"https://doi.org/10.1515/ZKG-2021-3004","url":null,"abstract":"Abstract During 1916 Ernst Ludwig Kirchner created a group of landscape paintings, based on his experiences at the Kohnstamm Sanatorium in Königstein, which were more symbolic in character than his previous landscapes. This essay shows that contact with Carl and Thea Sternheim, who encouraged a reengagement with Vincent van Gogh’s paintings and letters, played a role in this change. Kirchner’s recognition of how Van Gogh could express an affect through his painting was reinforced by Dr. Kohnstamm’s writings about empathy’s role in artistic expression. Artistic practice and aesthetic theory were joined in representations of Jena done during Fall 1916 in which Kirchner transformed the landscape through formal means into symbols of his emotional relationship to that space.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"379 - 407"},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46257768","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 Anachronic Madonna Lactans: Impersonations of the Nursing Virgin by Cindy Sherman, Catherine Opie, and Vanessa Beecroft 无意识的圣母乳腺炎：辛迪·谢尔曼、凯瑟琳·奥皮和凡妮莎·比克罗夫特的《哺乳圣母的模拟》
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-09-01 DOI: 10.1515/ZKG-2021-3005
J. Sperling
{"title":"The Anachronic Madonna Lactans: Impersonations of the Nursing Virgin by Cindy Sherman, Catherine Opie, and Vanessa Beecroft","authors":"J. Sperling","doi":"10.1515/ZKG-2021-3005","DOIUrl":"https://doi.org/10.1515/ZKG-2021-3005","url":null,"abstract":"Abstract This article examines Cindy Sherman’s Untitled #216 (1989), Catherine Opie’s Self-Portrait/ Nursing (2004), and Vanessa Beecroft’s White Madonna or VBSS.002 (2006) in relation to the medieval and Renaissance artworks these photos quote and re-instantiate: Jean Fouquet’s Virgin of Melun (1452–1455); Ambrogio Lorenzetti’s Madonna del Latte (1325–1335) and Leonardo da Vinci’s Litta Madonna (1490s); and Tino di Camaino’s Charity (1321) and Jan van Eyck’s Lucca Madonna (1436), respectively. This juxtaposition — framed by reference to Alexander Nagel’s and Christopher Wood’s concept of “anachronism” and to Aby Warburg’s notion of the Pathosformel — helps us ask new questions and gain new insights about the “old masters” under discussion.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"408 - 440"},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47384237","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
Francesco Salviati’s Lamentation for Venice and the Origins of the Disegno/Colorito Debate 弗朗西斯科·萨尔维亚蒂的《威尼斯哀歌》和迪塞尼奥/科罗拉多之争的起源
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-06-01 DOI: 10.1515/ZKG-2021-2003
Mattia Biffis
{"title":"Francesco Salviati’s Lamentation for Venice and the Origins of the Disegno/Colorito Debate","authors":"Mattia Biffis","doi":"10.1515/ZKG-2021-2003","DOIUrl":"https://doi.org/10.1515/ZKG-2021-2003","url":null,"abstract":"Abstract The Lamentation over the Dead Christ is unquestionably one of the most important works that Francesco Salviati produced during the roughly 18 months that he spent in Venice between 1539 and 1540. Yet, despite its importance, scholars have seldom discussed in any detail the work and its significance to Salviati’s famous sojourn in northern Italy. Recognizing Francesco’s physical presence in the work, this essay reconsiders this painting as an emphatic statement on the local school of painting. This provocative visual statement is related to the artist’s experience in the city, serving as a gauge of his negative attitude to the local environment, which is confirmed by his own remark that living in Venice “was not for men of drawing.” The Lamentation appears therefore as an early critical contribution in the form of an altarpiece to the long-standing debate over disegno and colorito.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"201 - 219"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45943075","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
“C’est un bourgeois, mais non un bourgeois ordinaire”: The Contested Afterlife of Ingres’s Portrait of Louis-François Bertin “C 'est un bourgeois, mais non non - bourgeois ordinaire”:安格尔《路易-弗朗索瓦·贝尔坦肖像》的争议性后世
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-06-01 DOI: 10.1515/ZKG-2021-2004
R. Wrigley
{"title":"“C’est un bourgeois, mais non un bourgeois ordinaire”: The Contested Afterlife of Ingres’s Portrait of Louis-François Bertin","authors":"R. Wrigley","doi":"10.1515/ZKG-2021-2004","DOIUrl":"https://doi.org/10.1515/ZKG-2021-2004","url":null,"abstract":"Abstract Ingres’s portrait of Louis-François Bertin (1832) has been universally accepted as a visual “apotheosis” of the newly powerful early 19th-century bourgeoisie in France. Here, we study the inconsistencies and contestation which contributed to this identification. Beginning with the moment of its first public exhibition in the 1833 Paris Salon, this article traces Bertin’s evolving reputation as an image of its epoch, focusing on its reappearance in public first at the Bazar Bonne-Nouvelle in 1846, and then in the display of Ingres’s works at the Exposition Universelle of 1855. This leads to a critical assessment of how the picture’s role as a political emblem has been related to later assertions that it also exemplified the artist’s incipient modernism. The exhibition of works by Ingres at the Paris Salon d’Automne in 1905 allows us to take stock of claims made about the picture’s status in the early 20th century. However, in contrast to the habitual desire to modernise Ingres (and thereby to detach him from a lingering taint of academicism), this article argues that a key element in the reception of Ingres’s portrait in the second half of the 19th century is a recognition of its rootedness in values emanating from the Revolution of 1789, embodied both in the person of LouisFrançois Bertin and Ingres’s representation of him.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"220 - 247"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45002592","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
Am Fluchtpunkt der Fotografie
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-06-01 DOI: 10.1515/ZKG-2021-2008
Dominique Laleg
{"title":"Am Fluchtpunkt der Fotografie","authors":"Dominique Laleg","doi":"10.1515/ZKG-2021-2008","DOIUrl":"https://doi.org/10.1515/ZKG-2021-2008","url":null,"abstract":"","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"281 - 286"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41643296","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
Frontmatter Frontmatter
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-06-01 DOI: 10.1515/zkg-2021-frontmatter2
{"title":"Frontmatter","authors":"","doi":"10.1515/zkg-2021-frontmatter2","DOIUrl":"https://doi.org/10.1515/zkg-2021-frontmatter2","url":null,"abstract":"","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/zkg-2021-frontmatter2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43509532","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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