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Images et société à Reichenau, vers l’an mil : les peintures d’Oberzell et les manuscrits apparentés 莱辛瑙的形象与社会，大约公元1000年:奥伯泽尔的绘画和相关手稿
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-06-01 DOI: 10.1515/ZKG-2021-2001
B. Franzé
{"title":"Images et société à Reichenau, vers l’an mil : les peintures d’Oberzell et les manuscrits apparentés","authors":"B. Franzé","doi":"10.1515/ZKG-2021-2001","DOIUrl":"https://doi.org/10.1515/ZKG-2021-2001","url":null,"abstract":"Abstract The iconography of the wall paintings of the church of Saint George at Oberzell on Reichenau Island, specimens of Pre-Romanesque frescoes variously dated between the end of the ninth century and around the year 1000, and its underlying program remain contested, if not elusive. An exegetical reading of the eight scenes chosen to decorate the walls of the church, however, gives a unitary, programmatic meaning to the décor: an image of the Ecclesia, of the society of the faithful, the decoration enhances the priesthood and recalls its necessary intermediation in the access to salvation. These are the same intentions which shape the illuminated manuscripts of the Liuthar group, especially the Bamberg Collection (Msc. Bibl. 22). As conceived by the Benedictine monks of Reichenau, the project of an ecclesiastical society as propagated in the murals is similar to that promoted shortly before the year 1000 by Cluny and Fleury.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"147 - 180"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2021-2001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47089605","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: 1
Rethinking the Arts during the French Revolution 反思法国大革命时期的艺术
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-06-01 DOI: 10.1515/ZKG-2021-2006
P. Bordes
{"title":"Rethinking the Arts during the French Revolution","authors":"P. Bordes","doi":"10.1515/ZKG-2021-2006","DOIUrl":"https://doi.org/10.1515/ZKG-2021-2006","url":null,"abstract":"","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"269 - 273"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47293578","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
Untranslatable: Gottfried Kinkel, Kulturgeschichte, and British Art Historiography 无法翻译的：金克尔、库尔图格施切特和英国艺术史学
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-06-01 DOI: 10.1515/ZKG-2021-2005
H. C. Hönes
{"title":"Untranslatable: Gottfried Kinkel, Kulturgeschichte, and British Art Historiography","authors":"H. C. Hönes","doi":"10.1515/ZKG-2021-2005","DOIUrl":"https://doi.org/10.1515/ZKG-2021-2005","url":null,"abstract":"Abstract In 1934, Edgar Wind claimed there was no English equivalent for the word “kulturwissenschaftlich” and the method it denoted: it was untranslatable. Although German art history had been widely read in England since Victorian times, certain methods, as well as the discipline itself, were only hesitantly received. This article focuses on a decisive moment in this entangled history—an attempt to establish in Britain both art history as an academic discipline and a cultural-historical approach to the subject. The key figure is the dashing art historian Gottfried Kinkel, a close friend of Jacob Burckhardt (and archenemy of Karl Marx), who fled Germany after the 1848 revolution. In 1853, he gave the firstever university lecture in art history in England, the manuscripts of which were recently discovered. Kinkel’s case is a prime example of both a socio-historical approach to art history in Victorian times and an exile’s only partially successful attempt to transmit his methodology to a new audience.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"248 - 268"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45047147","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
Liturgischer Alltag auf einer Großbaustelle des 13. Jahrhunderts: Zur Funktion einiger Konsolen in den Seitenschiffen des Bamberger Domes 一个大型建筑工地上的光外科日常生活13。班贝格大教堂侧廊中一些控制台的功能
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-06-01 DOI: 10.1515/ZKG-2021-2002
G. Weilandt, Stefan Breitling, Anna Nöbauer
{"title":"Liturgischer Alltag auf einer Großbaustelle des 13. Jahrhunderts: Zur Funktion einiger Konsolen in den Seitenschiffen des Bamberger Domes","authors":"G. Weilandt, Stefan Breitling, Anna Nöbauer","doi":"10.1515/ZKG-2021-2002","DOIUrl":"https://doi.org/10.1515/ZKG-2021-2002","url":null,"abstract":"Abstract This article, which is the result of a cooperation between building archaeologists and a historian of art and liturgy, sheds light on the original function of the stone consoles in the eastern aisles of Bamberg Cathedral, on which the most famous medieval sculptures now stand, including the Bamberg Rider. They date from the time of the building phase shortly after 1201–1202, when the western part of the Ottonian predecessor building was still in use, while in the east the new choir was under construction. A wall separated the two parts, in which openings were inserted. The consoles did not originally serve as sculpture bases, but as supports for weather protection for processions, as a partition wall in front of the fragile choir screen reliefs, and as a platform for ongoing work in the zones above. Only later were the consoles adopted for sculptures and provided with decorative painting, remnants of which are still preserved today.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"181 - 200"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44584897","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
De la France des Expositions Universelles au Cambodge d’aujourd’hui : Une nouvelle perspective sur Angkor Vat 从法国到今天的柬埔寨世界博览会:吴哥窟的新视角
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-06-01 DOI: 10.1515/ZKG-2021-2007
Édith Parlier-Renault
{"title":"De la France des Expositions Universelles au Cambodge d’aujourd’hui : Une nouvelle perspective sur Angkor Vat","authors":"Édith Parlier-Renault","doi":"10.1515/ZKG-2021-2007","DOIUrl":"https://doi.org/10.1515/ZKG-2021-2007","url":null,"abstract":"","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"274 - 280"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42700869","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
Karikatur als Kriegsdienst: Aby Warburgs »neuer Stil zwischen Wort und Bild«, 1914–1918 作为兵役的漫画：阿比·沃堡的“介于文字和图像之间的新风格”，1914–1918
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-03-01 DOI: 10.1515/ZKG-2021-1004
Dorothea McEwan
{"title":"Karikatur als Kriegsdienst: Aby Warburgs »neuer Stil zwischen Wort und Bild«, 1914–1918","authors":"Dorothea McEwan","doi":"10.1515/ZKG-2021-1004","DOIUrl":"https://doi.org/10.1515/ZKG-2021-1004","url":null,"abstract":"Abstract This article attempts to throw a light on Warburg’s little-known engagement in political caricature during World War I. Though deemed unfit for military service, Warburg was eager to contribute to the German war effort. Perceiving Allied war propaganda as anti-German lies, he recorded what he considered its half-truths and falsehoods in his Kriegskartothek, or war archive. But Warburg, as indicated by his involvement with the short-lived La Guerra del 1914: Rivista illustrata in the early stages of the war, kept looking for a more active role in influencing public opinion: From privately commenting on the output of the Allied press, he went on to offering his own ideas for political caricatures to leading artists like Olaf Gulbransson and Max Slevogt, and to well-established satirical journals such as Simplicissimus and Kladderadatsch.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"78 - 95"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2021-1004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42611061","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
Matisse in Vence: Die Kapelle als Atelier 马蒂斯在旺斯:Die Kapelle作为工作室
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-03-01 DOI: 10.1515/ZKG-2021-1005
Sebastian Zeidler
{"title":"Matisse in Vence: Die Kapelle als Atelier","authors":"Sebastian Zeidler","doi":"10.1515/ZKG-2021-1005","DOIUrl":"https://doi.org/10.1515/ZKG-2021-1005","url":null,"abstract":"Abstract This essay aims at a re-evaluation of Henri Matisse’s Chapel at Vence. It accounts for all major elements of the chapel’s decoration, including the celebrated windows and tile drawings, but also probes a little-known liturgical object: the ciborium, the container of the hosts, which Matisse designed as a goldfish bowl. Whenever the ciborium is placed on the altar during Mass, it transforms the chapel space into a three-dimensional version of Matisse’s paintings of artist’s studios. The result is a space that transcends the familiar divide between secularism and reenchantment. By placing his own surrogate at the chapel’s center as the beholder of its decoration, Matisse gave form to a modern subject position for which boundless self-empowerment is indistinguishable from solipsism.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"96 - 137"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2021-1005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41375495","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
Eloquent Artifice and Natural Simplicity: Moral Aesthetics of Painting and Eating in Chardin’s Late Food Still Lifes 难以捉摸的人工制品与自然的简单——夏丁晚期《静物》中绘画与饮食的道德美学
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-03-01 DOI: 10.1515/ZKG-2021-1002
Hyejin Lee
{"title":"Eloquent Artifice and Natural Simplicity: Moral Aesthetics of Painting and Eating in Chardin’s Late Food Still Lifes","authors":"Hyejin Lee","doi":"10.1515/ZKG-2021-1002","DOIUrl":"https://doi.org/10.1515/ZKG-2021-1002","url":null,"abstract":"Abstract Jean-Siméon Chardin’s food still lifes from the 1750s and 1760s diverge from his earlier kitchen displays by exhibiting mainly ready-to-eat fruit, baked goods, and beverages, without any suggestion of additional cooking. The emergence of this subgenre in the artist’s oeuvre corresponded to the rise of a new ethos of eating in mid-1700s France, which championed simply prepared food as the alimentary corrective to the corrupting influence of over-refined modern cookery. This moral discourse on Chardin’s subject matter ran parallel to the critical acclaim for the distinct visuality of his art as an antidote to the excess of rococo style. In light of the mid-century discourse on art and food, Chardin’s late still lifes embodied the reformist aesthetic advocated by the French intellectual elite.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"34 - 57"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2021-1002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43540650","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
La «Nemesi» düreriana:Un manifesto della Translatio artium verso il Nord Dürerian“复仇女神”：北方翻译艺术的宣言
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-03-01 DOI: 10.1515/ZKG-2021-1001
E. Filippi
{"title":"La «Nemesi» düreriana:Un manifesto della Translatio artium verso il Nord","authors":"E. Filippi","doi":"10.1515/ZKG-2021-1001","DOIUrl":"https://doi.org/10.1515/ZKG-2021-1001","url":null,"abstract":"Abstract In ca. 1502, Dürer created an engraving known to history with the title The Great Fortune, which is considered one of his first artistic peaks given its technical mastery and compositional power. The piece bears witness to an important chapter of the artist’s relationship with Antiquity and with the graphic proposals of his contemporary Italian colleagues. Owing to the research that arose from the important 2012 exhibition Der frühe Dürer, this study intends to shed light on the reasons for which this artwork should be re-evaluated as an expression of the ‘new awareness’ of Nuremberg’s cultural environment of the time, so much so that it expresses this specific environment’s eager desire for self-affirmation. Dürer’s engraving became a manifesto of the translatio artis et sapientiae in the North. The various elements that constitute the original compositional idea must therefore be considered within the specific context that promoted its creation. To this end, it is also necessary to reflect upon the actual title, the name by which the artist himself referred to his work: Nemesis.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"5 - 33"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2021-1001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49562329","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
Allegory and Analogy in Menzel’s The Iron Rolling Mill 门采尔《轧铁机》中的寓言与类比
IF 0.2 2区 艺术学
ZEITSCHRIFT FUR KUNSTGESCHICHTE Pub Date : 2021-03-01 DOI: 10.1515/ZKG-2021-1003
Malika Maskarinec
{"title":"Allegory and Analogy in Menzel’s The Iron Rolling Mill","authors":"Malika Maskarinec","doi":"10.1515/ZKG-2021-1003","DOIUrl":"https://doi.org/10.1515/ZKG-2021-1003","url":null,"abstract":"Abstract Adolph Menzel’s Das Eisenwalzwerk, or Moderne Cyklopen (The Iron Rolling Mill, or Modern Cyclopes) from 1875 depicts an analogy central to nineteenth- century thought, namely, that between the human motor and the combustion engine. The painting visualizes the differing rhythms of these two “machines” and the entropy produced as a result of that difference. The painting’s reflection on labor also elaborates an allegory of the activity of painting. Such an allegorical reading, motivated by particular attention to the objects placed in the painting’s foreground, entails a reevaluation of Menzel’s self-understanding and of the changing nature of allegory in nineteenth- century painting. In this instance, allegory operates not through identification but by means of analogy.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"84 1","pages":"58 - 77"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2021-1003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44098453","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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