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„Man schreit vor Angst und Entsetzen. Diese Bilder sind das Innerste, Erschütterndste, Grandioseste, Unfaßbarste, das seit Menschengedenken gemacht worden ist.“ Der Künstler Hugo Ball (1886–1927) zeigte sich 1913 nach seinem Besuch des Kunstsalons Emil Richter in Dresden wahrhaft überwältigt angesichts der dort ausgestellten Gemälde der Futuristen. Auch andernorts riefen die Künstler Umberto Boccioni, Carlo Carrà, Giacomo Balla, Luigi Russolo und Gino Severini teils heftige Reaktionen hervor. Gegründet wurde die italienische Avantgardebewegung 1909 mit der Veröffentlichung des Manifests Le Futurisme durch den Dichter Filippo Tommaso Marinetti. In der darin aufgestellten Behauptung „Schönheit gibt es nur noch im Kampf. Ein Werk ohne aggressiven Charakter kann kein Meisterwerk sein“ wird Gewalt als ideologische Basis der Bewegung bekundet. War die ganzheitliche Erneuerung der Kunst und Kultur Italiens das Ziel der Futuristen, so teilten sie die Überzeugung, dass diese nur auf der (ideellen) Zerstörung tradierter kultureller und gesellschaftlicher Werte gründen könne. Die vorliegende Untersuchung geht dem Ursprung des Themas der Gewalt in den futuristischen Manifesten aus der Geisteshaltung des späten 19. Jahrhunderts nach und analysiert die Art und Weise, wie die futuristischen Künstler das Thema der Gewalt auf ihre bildlichen Werke übertrugen. Reaktionen von Betrachtern wie Hugo Ball werden herangezogen, um zu untersuchen, inwiefern die Kunst im Futurismus als Kommunikationsmittel gesellschaftlicher Forderungen und ästhetischer Inhalte der futuristischen Ideologie eingesetzt wurde.

Italian Futurism --- aesthetics --- painting

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From as early as the 1600s, Dutch scholars and scholarship have displayed a keen interest in the studies of the Islamic world. Over the centuries, they have collected a wealth of source texts in various languages, Turkish texts being prominent among them. The present catalogue is the fourth and final volume in a series that covers the Turkish manuscripts preserved in public libraries and museums in the Netherlands. The volume gives a detailed description of Turkish manuscripts in minor Dutch collections, found in libraries and museums in Amsterdam, Groningen, The Hague, Leiden, Rotterdam and Utrecht, which hitherto have received little or no attention.

literature --- islam --- turkey --- history --- ottoman empire --- book painting

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De l’architecture aux arts décoratifs et de la peinture au théâtre, ce recueil de textes traite d’œuvres dialoguant avec le patrimoine égyptien dans toutes ses composantes. La notion « d’égyptianisme » se trouve ainsi examinée dans la plus large variété de ses acceptions artistiques, architecturales et critiques, dans le monde occidental comme en Égypte. Les textes révèlent un historicisme artistique de veine égyptienne qui ne se cantonnerait ni à la référence antique, ni au monde occidental : nombreux sont les peintres, les sculpteurs, les cinéastes, les architectes… d’Égypte à avoir intégré des représentations du passé national – pharaonique, copte, médiéval, ottoman, et désormais khédivial ou nassérien – dans leur pratique artistique. À l’encontre de l’image habituelle de l’Égyptomanie, c’est un panorama plus riche et plus diversifié qui prend corps ici à travers divers médias et contextes nationaux. Le présent recueil trouve sa source dans un colloque international organisé à la faveur de la venue à Paris de l’exposition « Le théorème de Néfertiti : itinéraire de l’œuvre d’art, la création des icônes » présentée à l’Institut du monde arabe en 2013. Ce colloque s’est tenu les 26 et 27 juin 2013 en partenariat avec Mathaf : Arab Museum of Modern Art (Doha) sous l’intitulé « L’Égypte en ses miroirs ; art, architecture et critique, à demeure et au-delà (XIXe-XXe siècles) ».

architecture --- decorative arts --- painting --- theater --- heritage --- historicism --- egyptomania

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The history is intended as the first comprehensive examination of the role of Austrian history in the visual arts of the Habsburg monarchy between 1804 and 1918. At its centre are the following three key questions: What status did the general preoccupation with history acquire? What where the favorite historical subjects for artistic representation? What significance did the Habsburgs´own history (almost endlessly "extendible" all the way back to its fictitious mythical beginnings) hold for the issues of the day? Works of art contribute to the creation of traditions in a double sense: a given work simultaneously contains and creates history. A work of art is also a medium for social identification, facilitating communication between the monarch and the people. Investigating the characteristics of the different "reflections on history" in the visual arts in Austria in the 19th century led to the practical necessity of significantly widening the known material basis. It became apparent that previous research was based on a relatively limited range of works (primarily "high art") and failed to relate these works to literary documents from the fiields of historiography or belles-lettres. I believe it is only by expanding the basis in terms of both word and picture documentation that a reliable overview of the different strategies pursued by Habsburg iconography can be gained. Not only did my chosen methodology seem expedient, and indeed almost indispensable for an examination of concrete historical cases, it also reveals that this interlocking approach (furthermore justified by the nature of the material) based on interrelating picture and text media contains the very key to a proper investigation of the historical art of the 19th century. In approaching the central questions, this study begins with an introduction that looks at concepts and methodology and charts the difficult formation of the "Austrian nation" from "Casa d´Austria" to the Habsburg "nation state". The second chapter examines the relevance of the Austrian 18th century in the consciousness of the following century based on the examples of rulers Maria Theresia and Joseph II. This is folloewd almost of necessity by a long section on the ruler iconography of the period Emperor Franz II (I) to Emperor Franz Joseph I. The visual strategies of the Habsburg rulers in the 19th century and the inseparable question of the legitimation of the Austrian Empire in the years after 1848 steer attention back to the quest for "origins" and to the Habsburg "insurance policy" of evoking the figure of founding father Rudolf I. This forms the main focus of the fourth chapter. In this context, the various appeals to the famous progenitor assume the character of an "underpinning" myth (Jan Assmann). The final chapter attempts to provide answers to questions relating to the "flowering" of Austrian historiography in the 19th century relative to historical interpretations in painting. The complex genesis of the celebration of glorious Austrian deeds ist examined on the basis of the concrete example of "military iconography" and the decoration of the "hall of fame" in the "Arsenal" in Vienna. 


Art History, History painting, Austrian History 19 Century, Emperor Franz Joseph I., Iconography, Emperor Franz II.

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Serbia’s national movement of the 1980s and 1990s, the author suggests, was not the product of an ancient, immutable, and aggressive Serbian national identity; nor was it an artificial creation of powerful political actors looking to capitalize on its mobilizing power. Miller argues that cultural processes are too often ignored in favor of political ones; that Serbian intellectuals did work within a historical context, but that they were not slaves to the past. His subjects are Dobrica Ćosić ...

Serbia, Yugoslavia, Slovenia, Serbian intellectual, politics, communism, capitalism, national movement, thinkers, artists, women’s history, painting, literature, poems, drama, catharsis