ZEITSCHRIFT FUR KUNSTGESCHICHTE最新文献

{"title":"Stained Glass and the Discovery of the Baroque in the Late Nineteenth Century","authors":"W. Bałus","doi":"10.1515/ZKG-2020-4005","DOIUrl":"https://doi.org/10.1515/ZKG-2020-4005","url":null,"abstract":"Art historiography has long dealt with the problem of the late nineteenthand early twentiethcentury notion of the Baroque in art history. Numerous studies have been devoted to transformations in the understanding and assessment of the term ‘Baroque.’ 1 Scholars have analysed the works of the first art historians to engage the term – Heinrich Wölfflin, August Schmarsow and Alois Riegl – and have paid attention to the distinct categories such as the ‘painterly style’ that have been used to capture the essence of the Baroque. Others have emphasised the political connotations of the style in German language art history, from Jacob Burckhardt to Hans Sedlmayr. More recently, Ute Engel has presented the study of the Baroque in German art historiography in her impressive, comprehensive treatment of the subject. For the most part, these works have dealt with architecture and, to a lesser extent, sculpture and painting. None has paid attention to the problem of the relationship between those earlier studies of the Baroque and stained glass. This is in part due to the fact that neither contemporary theoretical treatments of the history of style nor art history text books have addressed seventeenthcentury stained glass. Even now, stained glass has been discussed almost exclusively in publications and presentations dealing with medieval or contemporary art, either understood as a distinctively Gothic phenomenon or considered in the context of the nineteenth-century revival of interest in medieval art. Far less frequently has any mention been made of the often outstanding stained-glass artists of the Renaissance, and the monumental seventeenth-century glazing schemes decorating the churches of Brussels, Antwerp, Paris and Cambridge are virtually absent from comprehensive art-historical treatments, remaining the subjects of rare specialist studies. Slightly more attention has been devoted only to the so-called Schweizerscheiben and the Netherlandish roundels, which are considered early-modern phenomena. Even in comprehensive studies dealing exclusively with the history of stained glass, very little space is devoted to the seventeenth century, which still tends to be included within the scope of Renaissance topics. At the end of the nineteenth and the beginning of the twentieth century, seventeenth-century figurative stained glass, intended mainly for churches, as well as the glaziers active in the following century, appear only in specialist literature. This scholarship has included studies of the history of this art, theoretical treatises on the subject, and handbooks or workshop practices (often supplemented with short historical outlines). All these publications approached the seventeenth century in the same way: as a period of decline (with an occasional bright spot in the Netherlands), with the ‘demise’ of stained-glass making taking place in the following century. Interestingly, and in contrast with architecture and painting, the stained-glass works that","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"83 1","pages":"554 - 571"},"PeriodicalIF":0.2,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2020-4005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44719415","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}

{"title":"Kräfte und Formen. Eine Untersuchung zur Rolle des Körpers in der deutschsprachigen Moderne","authors":"Dominik Brabant","doi":"10.1515/ZKG-2020-4006","DOIUrl":"https://doi.org/10.1515/ZKG-2020-4006","url":null,"abstract":"Mit ihrer ebenso anregenden wie anspruchsvollen Studie The Forces of Form in German Modernism geht Malika Maskarinec zwei eng miteinander verschränkten Themenkomplexen nach, die in den vergangenen Jahren von Seiten der Kunstgeschichte und Bildwissenschaften verstärkte Aufmerksamkeit erfahren haben – eben den titelgebenden Konzepten von Kraft und Form und ihrer Bedeutung für die deutschsprachige Kultur der Zeit etwa von 1870 bis 1930. Nachdem in den 1990er Jahren einschlägige Publikationen der Geschichtswissenschaften wie etwa Anson Rabinbachs The Human Motor. Energy, Fatigue and the Origins of Modernity oder ein Sammelband von Philipp Sarasin und Jakob Tanner mit dem Titel Physiologie und industrielle Gesellschaft. Studien zur Verwissenschaftlichung des Körpers im 19. Jahrhundert das Interesse auf den Zusammenhang von Körperbildern, Modernitätsdiskursen und Problematisierungsweisen von Kraft – beispielsweise im Sinne von Arbeitskraft im Horizont der Industrialisierung – gerichtet haben, ist das Thema mittlerweile auch im Zentrum der kunsthistorischen Forschung angelangt. Exemplarisch zeichnet sich dies in einem von Frank Fehrenbach, Karin Leonhard und Robert Felfe herausgegebenen Band mit dem Titel Kraft, Intensität, Energie. Zur Dynamik der Kunst ab, in dem die Perspektive nun auch in chronologischer Hinsicht entschieden ausgeweitet wurde, nämlich auf die Zeitspanne von der Antike bis zur Moderne. Nicht weniger signifikant ist die seit einigen Jahren ansteigende Zahl von Veröffentlichungen, die sich den unterschiedlichen Facetten des Formbegriffs sowie einer Aufarbeitung des längere Zeit von der Forschung verschmähten Formalismus widmen. Hier liegt der Akzent meist auf der Moderne sowie in konzeptueller Hinsicht auf dem Verhältnis von Kunst und Kunstwissenschaft, etwa in einem von Regine Prange und Hans Aurenhammer edierten Sammelband zum Problem der Form, aber auch in einem jüngst von Ralph Ubl, Rahel Villinger, Markus Klammer und Maskarinec publizierten Sammelband über Formbildung und Formbegriff in der Moderne. Der rote Faden von Maskarinec’ Untersuchung, die aus einer an der University of Chicago im Jahr 2012 abgeschlossenen Promotionsschrift hervorgegangen ist, wird gleich im Einleitungskapitel ausgelegt, in dem die Autorin zwei Szenen aus Robert Musils Der Mann ohne Eigenschaften in Kontrast zueinander setzt. Ulrich, der Protagonist von Musils monumentalem Roman, meint in einer Szene im ersten Kapitel den »heroic labor of uprightness« (3) des modernen Großstadtbewohners darin zu erkennen, dass es diesem überhaupt gelingt, in einer von","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"83 1","pages":"572 - 579"},"PeriodicalIF":0.2,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2020-4006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45466064","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}

{"title":"Frontmatter","authors":"","doi":"10.1515/zkg-2020-frontmatter4","DOIUrl":"https://doi.org/10.1515/zkg-2020-frontmatter4","url":null,"abstract":"","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/zkg-2020-frontmatter4","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45614787","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}

{"title":"Realismus als Katalysator. Der Genter Altar – vom Bildsystem zum Gattungssystem","authors":"W. Kemp","doi":"10.1515/ZKG-2020-4002","DOIUrl":"https://doi.org/10.1515/ZKG-2020-4002","url":null,"abstract":"Abstract The Ghent Alterpiece organizes twelve panels in horizontal registers in its closed, and 14 in its open state. This interpretation takes up three topics: the ordering of the individual panels in their horizontal and vertical display, the formal treatment of the two principal orders of Christian art – thematic (e.g., the Deesis) and narrative (e.g., the Annunciation) –, and the rise of new genres such as portrait, landscape, still life, and interior within the structure of the multipanel altarpiece. What can be identified as the driving force is the realistic mode. In a unique way it unites the whole – namely through acknowledging one single exterior source of light for every item – yet divides it at the same time by honoring the intrinsic qualities of particular objects and situations. This is the beginning of what Yirmiyahu Yovel has called “the adventure of immanence.”","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"83 1","pages":"471 - 491"},"PeriodicalIF":0.2,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2020-4002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47624908","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}

{"title":"Gothic Architecture on the Western Fringe of the Empire. The Church of Our Lady in Tongeren (Belgium)","authors":"Vincent Debonne","doi":"10.1515/ZKG-2020-4001","DOIUrl":"https://doi.org/10.1515/ZKG-2020-4001","url":null,"abstract":"Abstract By combining carbon-14 dating of mortar, rereading known written sources and both archaeological and formal analysis, the construction history of the Gothic church of Our Lady in Tongeren can be thoroughly revised. Numerous similarities with religious architecture in Lorraine, the Rhineland, and the Meuse valley reveal the architectural historical significance of Our Lady’s church on the western fringe of the Holy Roman Empire. Inside the church, differences in design are related to the separate spaces used by canons, parishioners, brotherhoods, and the urban commune of Tongeren. The elaborate Rayonnant Gothic architecture of the eastern part of the church bears witness to the prestige associated with the church’s chapter, which claimed an episcopal past.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"83 1","pages":"443 - 470"},"PeriodicalIF":0.2,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2020-4001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42564506","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}

{"title":"Le Nôtre et les architectes. À propos de la répartition des rôles sur les chantiers du jardinier","authors":"Étienne Faisant","doi":"10.1515/ZKG-2020-4003","DOIUrl":"https://doi.org/10.1515/ZKG-2020-4003","url":null,"abstract":"Abstract A great deal more than just a gardener, André Le Nôtre (1613–1700) undeniably had a background in architecture. It has nevertheless been noted that he regularly cooperated with architects whose role in the design of his gardens has led to different interpretations. Based upon hitherto unpublished documents, this article examines the respective roles of André Le Nôtre and Daniel Gittard in the creation of the gardens of Chantilly as well as the ones of the gardener and Louis Le Vau in the construction of the Grande Terrasse at Saint-Germain-en-Laye, and reevaluates of the nature of their cooperation at Vaux-le-Vicomte.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"83 1","pages":"492 - 505"},"PeriodicalIF":0.2,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2020-4003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47546012","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}

{"title":"Malerei als Augentrug. Alexander Roslins Selbstporträt mit Marie-Suzanne Giroust-Roslin an der Staffelei","authors":"Marianne Koos","doi":"10.1515/ZKG-2020-4004","DOIUrl":"https://doi.org/10.1515/ZKG-2020-4004","url":null,"abstract":"Abstract This article examines the unique self-portrait of Alexander Roslin and his artist wife, Marie- Suzanne Giroust-Roslin (1767, Stockholm, Nationalmuseum), in which a male painter for once leaves the place at the easel to a painting woman. This complex multi-figure painting not only commemorates the couple’s friendship with the sitter, Henrik Villhelm Peill. Rather, it is conceived as a double image of love and advertisement – especially for her art. Further, with this painting Roslin takes a programmatic stand for his own concept of painting as much as for that of his wife: Criticized by Denis Diderot in 1765 for not painting but – like women at the toilet table – literally applying makeup, in this selfportrait with his painting wife Roslin undertakes a conspicuous narrowing of these (so different) activities. Roslin takes up the reproach of beautiful appearance and deception in order to let this criticism collapse in a second moment in the artistic concept of the artful deception of the eye – in a deceptively real painting, which – unlike women’s makeup – negates all difference between being and appearance. An in-depth analysis of the extraordinarily refined self-portrait of Madame Roslin with the laughing self-portrait of Maurice-Quentin de La Tour supports this interpretation. In a broader perspective this study is understood as a contribution to the investigation into the metaphorization of painting layers, picture surfaces, and forms of color application in pre-modern art and art criticism.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"83 1","pages":"506 - 553"},"PeriodicalIF":0.2,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2020-4004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47284629","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}

{"title":"Material Activity in Art and Design Practices","authors":"Karmen Franinović, R. Kirschner","doi":"10.1515/ZKG-2020-3002","DOIUrl":"https://doi.org/10.1515/ZKG-2020-3002","url":null,"abstract":"Abstract The theoretical movement of New Materialisms claims that society has to think differently about the way it treats our common material environment. The conception of matter as something active and transforming is at the core of these proposed changes. But in order to have an impact, conceptual frameworks must be accompanied by materially engaged practices. Recently, art and design projects have started bringing attention to active aspects of materials and environments. Our own research – in projects such as Enactive Environments and Liquid Things – concerns itself with chemical and biological processes, temporal aspects, and the openness of materials to environmental unpredictabilities.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"83 1","pages":"310 - 319"},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/ZKG-2020-3002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43175117","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}

{"title":"Substanzaktivität. Farbe als prima materia im Andachtsbild der Frühen Neuzeit","authors":"M. Rath","doi":"10.1515/zkg-2020-3004","DOIUrl":"https://doi.org/10.1515/zkg-2020-3004","url":null,"abstract":"Abstract In devotional pictures of the Quattrocento by Giovanni di Francesco Toscani, Fra Angelico, Zanobi Strozzi, Benozzo Gozzoli, and Bartolomeo Caporali, floor and wall fields repeatedly appear as non-representational color grounds. They refer to a hitherto rather insufficiently analyzed multi-layered reflection of the design modes of the time. These surfaces only superficially resemble natural stone structures. Rather, they are coloristic protoforms of the pictorial figurations, which is why these color fields, apart from a theological sub-iconography, can also be understood as references to the substrate character of the color. By evoking spiral and snail shapes in addition to completely amorphous spots, they also seem to reflect the processes of rock formation as explored in Albertus Magnus’s De mineralibus. As a fluid matter that can develop spontaneously into any form in the sense of a painterly generatio spontanea, color finally approximates the Aristotelian concept of hylē. This contribution seeks to explore the exciting and dynamic relationship between matter and form in the quattrocentesque devotional picture. The color substance of the amorphous grounds is understood as an activated source material that is transformed into vivid forms by way of the respective artistic technē.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"83 1","pages":"334 - 359"},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/zkg-2020-3004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47660160","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}

{"title":"Chemochromatische Himmelsereignisse. Aurora Borealis und ihre künstl/eri/schen Schwestern","authors":"Inge Hinterwaldner","doi":"10.1515/zkg-2020-3005","DOIUrl":"https://doi.org/10.1515/zkg-2020-3005","url":null,"abstract":"Abstract With the current renewed space race to the moon, space art, which is understood here as a variation of the Art & Technology movement, is also increasingly garnering attention. In the 1960s and 1970s, the artists Newton Harrison, Joe Davis, and Paulo Bruscky each independently pursued the goal of artificially creating a widely visible aurora. With their idea of placing floating colored light into the sky, they ventured into areas for which science could not yet offer any ready-made technologies. It was not clear whether – or how – these light phenomena could be created. The artists’ aspirations provoked considerable political resistance as well. The scale of the projects immediately revealed an ecological relevance. It was not until years later that a theoretical, new materialist framework was established that increased understanding of what these works explored.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"83 1","pages":"360 - 371"},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/zkg-2020-3005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48519391","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}