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Wiener Jahrbuch für Kunstgeschichte

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ISBN: 9783205786740 Year: Pages: 271 Seiten DOI: 10.26530/oapen_574828 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 4282
Subject: Arts in general
Added to DOAB on : 2015-09-08 11:01:48
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Characteristic for all contributions to the Wiener Jahrbuch in 2010 is the presentation of latest research findings with the help of methodological refinements. Thus Assaf Pinkus suggests a new interdisciplinary approach for trecento painting, which brings the viewer's perceptions into an analysis of image creation. Milena Bartlová, on the other hand, addresses the little considered subject of the iconoclasm of Bohemian Hussites. An important finding is that Hussitism was unable to give up the image in its medieval function, since the printed book - which could have taken over the communicative qualities of the image - had not yet been invented. Giovan Battista Fidanza also deals with a little considered subject - namely Michelangelo as wood carver. He is able to demonstrate convincingly that Michelangelo applied prefabricated blocks of limewood in the assemblage of his wooden crucifixes.&#xD;The four subsequent articles are dedicated to Baroque art. Eckhart Leuschner defines the Baroque allegory as a constant and internationally standardised deployment of formal and semantic possibilities. At the centre of Kristoffer Neville's contribution is an early version of Fischer von Erlach's Entwurff einer historischen Architectur, with the help of which the creative process of Fischer's main architectural-theoretical work is reconstructed. In the complicated memoria programme of the state sarcophagus finished for Franz Stephan and Maria Theresia in 1754 in the crypt of the Vienna Capuchin Church, Werner Telesko identifies both Antique and Christian strands of tradition. Werner Hofmann, meanwhile, recognises the 1711 endowment decree for Lothar Franz von Schönborn as an inofficial foundation source for Schloss Pommersfelden and traces a 'hypertext' within the decree, which represents the key for the building's iconography.&#xD;The amateur drawings of the Habsburgs from the 19th century are comprehended by Kerstin Merkel as autonomous non-verbal sources and integrated with historical information. Iris Wien, by contrast, sets two self-portraits of Andy Wahrhol within his known oeuvre and convincingly suggests an interpretation as Medusa.&#xD;In the last four contributions to the volume, the Memorabilia, important contemporary historical documents for the history of the Vienna School are published and made accessible. Alexandra Caruso edits the memoirs of Erica Tietze Conrat. The letters of Wilde, presented by Károly Kókai, provide insights into events within the circles of Vienna art history at that time. Evonne Levy publishes for the first time a selection of letters written by Hans Sedlmayr to Meyer Schapiro in the period 1930-35. Charles Hope succeeds in portraying in convincing complexity the scholarly range of Sir Ernst Gombrich.

Giottus Pictor

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ISBN: 9783205773719 Year: Pages: 631 Seiten DOI: 10.26530/OAPEN_437157 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 3987
Subject: Social Sciences
Added to DOAB on : 2013-03-27 11:48:55
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This represents the second volume of a three-volume undertaking. Volume I (M.V. Schwarz und P. Theis, Giottos Leben (Giotto´s life), Vienna 2004) critically examined Giotto´s biography and the corpus of his documented works. Volume 2 presents these works in their respective contexts and attempts to gather information about dating and sequence.

Zeitgenössische Kunst aus Afrika

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ISBN: 9783205994022 Year: Pages: 408 Seiten DOI: 10.26530/oapen_574818 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 3254
Subject: Anthropology
Added to DOAB on : 2015-09-08 11:01:28
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Contemporary art of Africa reached a wider audience in the aftermath of the Magiciens de la Terre exhibition (Paris 1989). This study of fourteen artists from Ivory Coast and Benin is based on ethnographic fieldwork in both countries (1997), during which I worked with several artists. In order to consider the reception of contemporary art of Africa in the European/North American art world, researches in London, Paris, and New York followed (1997, 1998). &#xD;In Ivory Coast, I focused on a group of academically trained artists who belong to the Vohou Vohou movement which started in the early 1980s, and reached prominence in the 1990s. In Benin, I worked with artists who were not academically trained. One needs, however, to differentiate, as some had training as traditional artists, like the iron sculptures Calixte and Théodore Dakpogan, and adapted in the early 1990s their acquired skills to the creation of contemporary sculptures. Others, like Romuald Hazoumè and Georges Adéagbo, are self-trained. But they too interact with academically trained artists during residencies in various, West African or European countries.&#xD;In the major part of the volume, I am presenting the artists: which materials they are working with, what are their stylistic characteristics, which ideas and reflections are informing their work. In a following chapter, I try to trace the artists’ trajectories, the connections they are using in their work, be it to traditional stylistic canons, materials, techniques, and concepts, or to European modernism. In doing so, I adopt a situated perspective from these local art worlds (Abidjan and Cotonou/Porto Novo), in order to show the complexity of these creative artistic practices.&#xD;Other chapters of the volume deal with the notions of the art world (Becker’s sociological one and Danto’s cognitive). From an anthropological viewpoint I argue for a combination of both notions. Becker’s is important as to show the social, cultural, and economic aspects of the local art world. These aspects concern what is possible, or what is restricting the artistic endeavour. Danto’s concept needs an adaptation, in as far as it is not an embedding of the works of these artists within the grand narrative of Occidental art history. Rather, the notion is used in the plural, as the focus is on local, regional, and transcultural connections of artistic practices. I thereafter argue against a universalising, hegemonic narrative of the European/North American art world.&#xD;The other notion, which is discussed in the volume, is the one of ‘contemporary African art.’ Instead of analysing the notion from a theoretical perspective, I follow the artists, how they explain their art and its possible African character. This approach shows a wide continuum between a clear African dimension and one that considers contemporary art practices as encompassing without any regional specification.&#xD;The final chapter deals with reflections about a modern, contemporary anthropology of art. Such an anthropology does not restrict itself to the study of ethnic arts but considers all art as its subject. In particular, it has to deal with contemporary art in its present, multiple expressions on the basis of ethnographic fieldwork. It may participate in wider discussions about global art (although the notion is not dealt with in the volume), from locally situated gazes.&#xD;Context is a major topic in that respect. While former studies in the anthropology of art contextualised works of art by considering their functions and meanings, context is here as well considered as related to artistic practices, the connections to other skills, techniques, materials, styles, or ideas which are visualised in the work of art.&#xD;I would like to express my gratitude to the ‘Fonds zur Förderung der wissenschaftlichen Forschung’ (FWF) which enabled the fieldworks, archival researches, and the publication of the present volume.&#xD;

Die Rothschild'schen Gemäldesammlungen in Wien

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ISBN: 9783205773061 Year: Pages: 348 Seiten DOI: 10.26530/oapen_437214 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 3598
Subject: Arts in general
Added to DOAB on : 2013-03-27 11:49:48
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Emerging from the Jewish ghetto in Frankfurt, the Rothschilds took over in the world of banking in less than 50 years. In 1820, Salomon Rothschild came to Vienna to open a branch of the family banking house. His son Anselm was to make his name in the capital city of the Austrian monarchy not only as a financier but also as an art-collector: he laid the foundation for the significant art collections of the Viennese Rothschilds, which were extended and improved continuously, right through until 1938. &#xD;

Im Dienste des Ich

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ISBN: 9783205788966 Year: Pages: 218 DOI: 10.26530/oapen_453614 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 4346
Subject: Psychology --- History
Added to DOAB on : 2013-09-21 22:37:42
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This publication, which includes contributions from German, French and American academics, pays tribute to the multi faceted researcher Ernst Kris (1900 Vienna -1957 New York) from the perspective of different disciplines. In fact one needs three job descriptions to chart his output: art historian, psychoanalyst and communication scientist. &#xD;&#xD;At 22, Kris had concluded his art history studies at Vienna University with a doctoral thesis on the technique of casting from life in the late Renaissance, and had worked as a curator at the Kunsthistorisches Museum. By the middle of the 1920s he had already met Sigmund Freud and started an analysis – which made him slowly turn away from classical art history. In this period he developed his most interesting and fruitful texts, which founded his reputation as an art psychologist: his studies on the early classicist sculptor Franz Xaver Messerschmidt (1932/33), the text “On the psychology of caricature” (1934) and the small book he co-authored with Otto Kurz: “The Legend of the Artist” (1934). &#xD;&#xD;In 1938, immediately after the “Anschluss”, Kris followed Freud into exile in London, and in 1940 he moved with his family to New York. Here he initially devoted himself primarily to questions of communication science, setting up working groups to analyse the propaganda of the Axis alliance with astonishing speed. Later he taught at the New York Psychoanalytic Society and Institute, concentrating on child psychology. He set up research units at the Yale Child Study Center and from 1945 he edited the newly founded journal “The Psychoanalytic Study of the Child”. He died in New York, highly respected as an important advocate of Ego-Psychology. &#xD;&#xD;Thus Kris developed, partly through choice and partly by force of circumstance, a multi-disciplinary approach which is more in demand than ever today: due to the broadening of art history into a science of images, the questions that a psychologically aware communication science is confronted with today, and the recent understanding of psychoanalysis as a form of cultural investigation. &#xD;&#xD;Bearing this view of Kris in mind, the contributions to this publication review his writing in a newly critical way, place it in its historical context and highlight what it predicts. The publication opens up Kris’ work, which is still, unjustly, only known through some key terms in the disciplines he covers. &#xD;

Visuelle Medien im christlichen Kult

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ISBN: 3205993241 Year: Pages: 330 DOI: 10.26530/oapen_574817 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 3326
Subject: History of arts
Added to DOAB on : 2015-09-08 11:01:26
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The concepts of art history were developed in the nineteenth century. This can inhibit dialogue with neighbouring disciplines. The concept “medium”, which belongs to the late twentieth century, can provide assistance and connect the argument of art history to the contemporary state of consciousness at least in the cultural sciences dealing with communication. At the centre of the book lie questions of the use and effect of objects. Dealing with a series of high-ranking art works, an observational method is practised that is both historically founded and compatible with modern discourses. The six case studies address the Naumburg Stifterfiguren, Pietro Lorenzetti’s frescos in Assisi, the Parament of Narbonne, the tomb of Archbishop Chichele in Canterbury, Raphael’s Sistine Madonna in Dresden, and the self-portraits of Anton Pilgram in St Stephen’s Church in Vienna.

Die Baukunst des 13. Jahrhunderts in Österreich

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ISBN: 9783205788669 Year: Pages: 498 DOI: 10.26530/oapen_467999 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 4327
Subject: Architecture
Added to DOAB on : 2014-03-03 22:50:15
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This book is the first complete description of 13th century architecture in Austria. This period was significant for ist political and historical events and upheavels in the provinces of Austria, but at the same time for the transition from romanic to gothic style. The book is the result of the author's continuous studies in this field of architectural history for more than 35 years. Basing on his doctoral thesis of 1975 the author is outlining a completely new panorama of the development in 13th century architecture by using the results of recent investigations, reconstructions and newly interpreted historical sources. Some important results were achieved on behalf of FWF-projects under the author's direction (reconstruction of the Capella Speciosa at Klosterneuburg, research on the history of the Imperial Palace di Vienna). The results are corresponding in perfect way with the scientifical researches in neighbouring countries as Czech Republic, Hungary, Slovenia and Germany, in regard of the long range cultural communications during the Middle Ages, which in former theories were denied by presupposing a distinct stylistic retard in Austrian architecture. Highly important was the author's proof that in the 13th century in Austria existed a contemporaneity between advanced and retarded stylistic forms. The choice of the stylistic attitude mainly depended on the client. The introduction of the book gives a survey of the actual state of research, followed by three chapters, which explicate the conditions in the 12th century, differentiated geographically (alpine regions, Danube valley) and concerning the clientage (dukes, archbishops and bishops of Salzburg and Passau) as well. By this way the general tendencies and motives (Cistercian architecture of Heiligenkreuz and Zwettl; Patavian architecture at Göttweig, Kremsmünster, Vienna, St.Pölten, Tulln; architecture at Salzburg - cathedral of archbisphop Konrad III - Gurk, Seckau, Hartberg) are outlined, which dominated the further development. In the following first main part, which is describing the first half of 13th century, the important role of the Austrian sovereigns (duke Leopold VI and duke Friedrich II) as founders and benefactors of eminent church architecture is emphasized. With these works of art most actual influences of french gothic architecture came to Austria (Capella Speciosa at Klosterneuburg, cloisters at Lilienfeld and Heiligenkreuz). The quarrel in ecclesiastical policy between the Babenberg dukes of Austria and the bishops of Passau, concerning the plan to establich a further diocesy in Austria, caused a competition in the field of architecture between the two powers. Thus the bishops of Passau reconstructed their patronage churches (St.Pölten, Kremsmünster, Ardagger) in Austria in a sumptuous way. Besides this stylistically advanced architecture there existed also a building acitivity not to be neglected, which was supported by the lower aristocracy and the duke's officials, who also founded some monasteries and churches. These buildings were constructed by local workmen, who were following the traditional patterns of late romanic style (Baumgartenberg, Wilhering, Bad Deutsch Altenburg, Petronell). At the dawn of the Babenberg dynasty an important political intervention of emperor Friedrich II. von Hohenstaufen took place. Recent researches indicate that the reconstruction of St.Stephen's church in Vienna with the famous "Riesentor" with sculptural decorations in Norman Style was initiated by the emperor, even as the foundation of the castle at the place of the later Imperial Palace, which obviously followed the type of the emperor's fortresses in Sicily. In spite of the political agitations and upheavals in the middle of the century some remarkable works of architecture were created, as the castle of Starhemberg, the fortresses at the border to Hungary (Wienertor at Hainburg), St.Virgil's chapel at Vienna and the charnel house at Tulln), where different in

Die kaiserliche Gemäldegalerie und die Anfänge des öffentlichen Kunstmuseums, Band 2

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ISBN: 9783205795346 Year: Pages: 262 Seiten Language: English|German
Publisher: Böhlau Grant: Austrian Science Fund - PUB 122
Added to DOAB on : 2014-12-04 09:02:22
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The publication focuses on the – for Europe - radical and influential new installation of the Imperial Picture Gallery in Vienna at the turn of the 19th century, a seminal time of change both for art-history and European civilization. Function, internal structure and presentation of the Imperial Picture Gallery evolved in a way that was to prove exemplary: the princely gallery was transformed into a public art museum, with a new installation at Belvedere Palace that reflected art-historical principles.

Die kaiserliche Gemäldegalerie und die Anfänge des öffentlichen Kunstmuseums, Band 1

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ISBN: 9783205795346 Year: Pages: 310 DOI: 10.26530/oapen_465870 Language: English|German
Publisher: Böhlau Grant: Austrian Science Fund - PUB 121
Subject: History of arts
Added to DOAB on : 2017-04-16 00:07:55
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The publication focuses on the – for Europe - radical and influential new installation of the Imperial Picture Gallery in Vienna at the turn of the 19th century, a seminal time of change both for art-history and European civilization. Function, internal structure and presentation of the Imperial Picture Gallery evolved in a way that was to prove exemplary: the princely gallery was transformed into a public art museum, with a new installation at Belvedere Palace that reflected art-historical principles.

Der Natur und Kunst gewidmet

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ISBN: 3205992113 Year: Pages: 370 DOI: 10.26530/oapen_473030 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 3176
Subject: History
Added to DOAB on : 2014-04-18 20:59:43
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The book is based on the research project „The Esterházy Landscape Garden in Eisenstadt“ funded by the Jubilee Fonds of the Austrian National Bank (no.5164) and was published with the aid of a printing subsidy granted by FWF.&#xD;&#xD;For the first time one of the outstanding historical gardens of Austria is presented in a comprehensive monography. The contributions cover a wide range of topics from aspects of cultural heritage preservation and the history of the shaping of the garden as well as the topochronological analysis of maps and plans by means of historical cartography to an in-depth study of plant history focussing on one of the most famous greenhouse plant collections of the first decades of the 19th century as well as on the varieties of trees and shrubs of the landscape garden itself. According to the outstanding importance of the greenhouses and their plant collections a specific&#xD;focus is laid upon the exploration of the building history and the species-specific analysis of the collections. A detailed inventory of the historical composition of open ground species of trees and shrubs of the landscape garden provides insight into the stages of the shaping of the garden from a botanical view. This inventory is contrasted with the actual situation in regard to ecological, vegetation-scientific and floristic aspects. The second edition of the book is extended by a study of the&#xD;formerly landscaped area of the so-called Gloriette (Temple of Mary) which is located outside the garden but represents an integral part of the original concept of a designed landscape. The final chapter serves as a detailed guide to the connoisseur by describing an annotated walk through the garden enriched by a wealth of remarks of general historical, of literary and plant-historical as well as garden-historical background.&#xD;

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