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Tomáš Murár

Academy of Sciences of the Czech Republic, Institute of Art History, Post-Doc

Charles University, Prague, Faculty of Arts, Department of Philosophy and Religious Studies, Post-Doc

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Tomáš Murár focuses on the history and theory of Central European art history, examines the influences, social circumstances and contemporary criticism of the so-called Vienna School of art history, and publishes on the historiography of Cental European art history in general. He also deals with art and its theory from the Renaissance to the present, with special attention to abstract painting and its philosophical implications. In the Department of Art Historiography and Theory of the Academy of Sciences of the Czech Republic, he co-founded a series of translations in aesthetics, philosophy and theory of art, published by Academia, and regularly organizes a series of international conferences with proceedings published in the British Journal of Art Historiography.

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Papers by Tomáš Murár

On the Philosophical Archaelogy of Art History, ARS 57, 2024, No. 2, pp. 103–111.

ARS, 2024

Given the different material on which art history as a scientific field has taken shape compared ... more Given the different material on which art history as a scientific field has taken shape compared with other historical and philosophical disciplines, this study offers a new historiographical approach to understanding its origin. This approach is explored not in relation to gathering information about the figures and institutions of art history but as an epistemological foundation for understanding the concept of seeing as a deliberate tool of art history. The study argues that the act of seeing, as the archè of art history, can be defined as the philosophical archaeology recently proposed by Giorgio Agamben.

"The work is only in a Moment": Max Dvořák and the meaning of the work of art. Acta Historiae Artium Academiae Scientiarum Hungaricae 64, 1, 2023, pp. 213–226

Acta Historiae Artium Academiae Scientiarum Hungaricae, 2023

This study examines Max Dvořák's previously unknown papers prepared for his one-semester lecture ... more This study examines Max Dvořák's previously unknown papers prepared for his one-semester lecture series at the university of Vienna in 1913. Dvořák titled these lectures "explanations of selected works of art" (Erklärung ausgewählter Kunstwerke) and in doing so developed a distinctive method within the art historical research of the so-called Vienna School of Art History. The paper interprets the lectures through a close reading of the method as a parallel to the change in the concept of the work of art as it occurred in the philosophy and practice of art at the beginning of the twentieth century, demonstrated in the study by examples from the thinking of the german philosopher Oskar Becker and a transformation of the meaning of painting by the French artist Marcel Duchamp. As the study shows, such analogies allow us to understand the meaning of the work of art in Max Dvořák's art history in a new way.

Review of Ian Verstegen’s Book "The New Vienna School of Art History", Edinburgh University Press 2023. Umění/Art 71, 2023, pp. 387–390.

Umění/Art, 2023

Review of Ian Verstegen’s book on the NEw Vienna School of Art History published in 2023.

Notes on Franz Wickhoff's School and Max Dvořák's Italian Renaissance studies based on new archival materials, Journal of Art Historiography 29, 2023.

Journal of Art Historiography, 2023

The article deals with Franz Wickhoff´s influence on Max Dvořák´s formulation of his late method ... more The article deals with Franz Wickhoff´s influence on Max Dvořák´s formulation of his late method of art history today widely known as ‘Kunstgeschichte als Geistesgeschichte’. The article proposes a thesis that already in Wickhoff´s thinking an inclination toward the ‘geistesgeschichtliche’ interpretation of art history can be evident, as shown on a comparison between his and Dvořák´s interest in the Italian Renaissance art. The other way of Wickhoff´s influence on Dvořák´s art history is shown as grounded in their deep personal relationship that is documented in their mutual correspondence from the early 20th century, recently rediscovered in the Archive of the Institute of Art History of the Vienna University.

Proceedings from the third international conference on the Vienna School of Art History

Journal of Art Historiography, 2023

Newly published conference proceedings from the third international conference on the Vienna Scho... more

Za obrazem: Teorie obrazu Romana Ingardena a význam abstraktního umění [Beyond the Image: Roman Ingarden’s Theory of the Image and the Meaning of Abstract Art], Filosofický časopis 71, 2023, pp. 215-228

Filosofický časopis, 2023

The study interprets the meaning of abstract art, taking into consideration the phenomenological ... more The study interprets the meaning of abstract art, taking into consideration the phenomenological investigations of the Polish philosopher Roman Ingarden. In 1958, Ingarden drew attention to a specific method of the constitution of a nonrepresentational, "abstract" image. In the framework of his theory, he focused on the necessity of the viewer turning away from the image while at the same time he defined the abstract image closely to that of decoration, which can be the cause of the image's demise in the sense of a newly forming reality. Considering the works of art created at the time when Ingarden wrote his study, his concept can be elaborated and the meaning of the abstract image can be presented as leading the viewer beyond the image. The goal of this approach is the constitution of a consciousness of the image in the sense of a new perception of the present reality.

Conference Program: Vienna School of Art History: Origins, Modifications, and Influences of Its Theoretical Concepts

Program, 2023

Program of the Conference in Prague, Czech Republic on 19th and 20th April 2023.

Die Tragik in der Kunst Michelangelos als Max Dvořáks Vermächtnis in der Kunstgeschichte Hans Sedlmayrs. Folia Historiae Artium 20, 2022, pp. 29-39.

Folia Historiae Artium, 2022

The study deals with Hans Sedlmayr’s book Über Michelangelo. Versuch über die Ursprünge seiner Ku... more The study deals with Hans Sedlmayr’s book Über Michelangelo. Versuch über die Ursprünge seiner Kunst [On Michelangelo. An Essay in the Origins of his Art] from 1940 and demonstrates that it had been influenced by Max Dvořák’s art-historical scholarship emerging around 1920.Sedlmayr’s book on Michelangelo has been so far neglected inthe research of his art-historical scholarship, exceptfor some general statements about the writing this book as means of his coming to terms with the death of his parents and his first wife . Owing to this omission, the way how the scholar dealt with the legacy of Max Dvořák’s late art historical thinking has been overlooked, even though the latter’s studies are the crucial reference for Sedlmayr’s understanding of Michelangelo’s art, which Sedlmayr interpreted in 1940 as tragic, closely to how Dvořák had understood
Michelangelo’s art as the source for the art of Mannerism.

Max Dvořák’s Michelangelo. Journal of Art Historiography 25, 2021.

Journal of Art Historiography, 2021

It has been shown that it was Max Dvořák who introduced into art-historical research the concept ... more It has been shown that it was Max Dvořák who introduced into art-historical research the concept of Mannerism as an independent style that dominated the second half of the 16th century. Dvořák described the art of Raphael’s pupils and of Florentine painters such as Rosso Fiorentino or Jacopo Pontormo not as a decline in artistic development, but as an expression of a change in the cultural mood that needed to be voiced in artistic form. However, the historiography of Dvořák’s conception of Mannerism has to date neglected to devote any attention to how Mannerism actually emerged: what in Dvořák’s conception of art generated the need to describe the art of the late 16th century as a separate artistic style distinct from the Renaissance? As the study shows, the answer to this question may be found in Max Dvořák’s interpretation of the late art of Michelangelo Buonarroti.

The Influence of the Vienna School of Art History II: The 100th Anniversary of Max Dvořák’s Death, Conference Proceedings. Journal of Art Historiography 25, 2021.

Journal of Art Historiography, 2021

Proceedings from the international conference "The Influence of the Vienna School of Art History ... more

Zrcadlení Cézannem: Poznámka k teorii obrazu u Maurice Merleau-Pontyho [Reflection through Cézanne: A Note on Maurice Merleau-Ponty’s Image Theory]. Filosofický časopis 69, 2021/3, pp. 561-577.

Filosofický časopis, 2021

The study addresses the interpretation of the French painter Paul Cézanne’s art in the thinking o... more The study addresses the interpretation of the French painter Paul Cézanne’s art in the thinking of Maurice Merleau-Ponty in 1945. The interpretation is mostly seen as a part of Merleau-Ponty’s argumentation of the phenomenology of perception, but the method itself that Merleau-Ponty used to formulate the meaning of Cézanne’s art is neglected. The study endeavors to connect this overlooked aspect of Merleau-Ponty’s
thinking with the art-historical interpretation of Cézanne’s work during the 1930s, combining Merleau-Ponty’s argument with the interpretation of Cézanne’s work articulated by the Viennese art historian Fritz Novotny.

Conference report on: The Influence of the Vienna School of Art History II: The 100th Anniversary of Max Dvořák's Death, Journal of Art Historiography 25, 2021

by Tomáš Murár and Tereza Hrdlička

Journal of Art Historiography, 2021

The report concludes the results of the international conference organized on 15-16 April 2021 by... more The report concludes the results of the international conference organized on 15-16 April 2021 by the Institute of Art History of the Czech Academy of Sciences to commemorate 100 years since the death of Czech born Viennese art historian Max Dvořák (1874–1921). It shows the wide range of professional work that Dvořák covered during his short life as well as wide range of possibilities of how his work influenced the art history elaborated after his death. The report also shows the plurality in which Dvořák’s art historical research is interpreted today.

Moderner Inhalt in manieristischer Form. Max Dvořák unter dem Einfluss Georg Simmels. RIHA Journal 2021.

RIHA Journal, 2021

The article deals with the influence of Berlin philosopher Georg Simmel on Viennese art historian... more The article deals with the influence of Berlin philosopher Georg Simmel on Viennese art historian Max Dvořák. Dvořák as a successor of Alois Riegl and Franz Wickhoff at the art history department of the University of Vienna is considered the promoter of the scholarly method of the so-called Vienna School of Art History.

Review of a book "The Global Reception of Heinrich Wölfflin’s Principles of Art History", ed. Evonne Levy and Tristan Weddigen, Yale University Press 2020. Umění/Art 67, 2020, pp. 319–322.

Umění/Art, 2020

A review of a book on Heinrich Wölfflin edited by Evonne Levy and Tristan Weddigen.

Sloh, architektura, život. K teorii dějin umění Oldřicha Stefana. [Style, Architecture, Life. On Oldřich Stefan’s Theory of Art History]. Opuscula Historiae Artium 69, 2020, pp. 74–89.

Opuscula Historiae Artium, 2020

The article offers an interpretation of Oldřich Stefan’s theory of art history formulated in the ... more The article offers an interpretation of Oldřich Stefan’s theory of art history formulated in the first half of the 1940s, with an insight into its manifestation in Stefan’s scholarly work after the WWII, thus during the Communist era in Czechoslovakia, in comparison with other students of the Prague university of the early 1920s.

"A work of art is an object that necessitates contemplation". Latency of visual studies within the Vienna School of Art History. Ikonotheka 30, 2020, pp. 9–29.

Ikonotheka, 2020

This article investigates a research method of the so-called Vienna School of Art History, mainly... more This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. This view on the Vienna School of Art History is researched in writings on Pieter Bruegel the Elder by Dvořák's students Hans Sedlmayr and Charles de Tolnay. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today's approaches to art (history), mainly with the so-called visual studies.

Conference Programme: The Influence of the Vienna School of Art History II: The 100th Anniversary of Max Dvořák’s Death

The programme of the upcoming conference commemorating the 100 years since the death of the Czech... more

The Influence of the Vienna School of Art History before and after 1918, Conference Proceedings - Part 3. Journal of Art Historiography 23, 2020.

by Tomáš Murár and Richard Woodfield

Journal of Art Historiography, 2020

The third part of the proceedings from the international conference on the Influence of the Vienn... more

The Influence of the Vienna School of Art History before and after 1918, Conference Proceedings - Part 2. Journal of Art Historiography 22, 2020.

by Tomáš Murár, Marta Filipová, and Richard Woodfield

Journal of Art Historiography 22, 2020

The second part of texts presented at the 2019 international conference on the Influence of the V... more

The Influence of the Vienna School of Art History before and after 1918, Conference Proceedings - Part 1. Journal of Art Historiography 21, 2019.

The first part of papers given at the international conference on the influence of the Vienna Sch... more

On the Philosophical Archaelogy of Art History, ARS 57, 2024, No. 2, pp. 103–111.

ARS, 2024

Given the different material on which art history as a scientific field has taken shape compared ... more Given the different material on which art history as a scientific field has taken shape compared with other historical and philosophical disciplines, this study offers a new historiographical approach to understanding its origin. This approach is explored not in relation to gathering information about the figures and institutions of art history but as an epistemological foundation for understanding the concept of seeing as a deliberate tool of art history. The study argues that the act of seeing, as the archè of art history, can be defined as the philosophical archaeology recently proposed by Giorgio Agamben.

"The work is only in a Moment": Max Dvořák and the meaning of the work of art. Acta Historiae Artium Academiae Scientiarum Hungaricae 64, 1, 2023, pp. 213–226

Acta Historiae Artium Academiae Scientiarum Hungaricae, 2023

This study examines Max Dvořák's previously unknown papers prepared for his one-semester lecture ... more This study examines Max Dvořák's previously unknown papers prepared for his one-semester lecture series at the university of Vienna in 1913. Dvořák titled these lectures "explanations of selected works of art" (Erklärung ausgewählter Kunstwerke) and in doing so developed a distinctive method within the art historical research of the so-called Vienna School of Art History. The paper interprets the lectures through a close reading of the method as a parallel to the change in the concept of the work of art as it occurred in the philosophy and practice of art at the beginning of the twentieth century, demonstrated in the study by examples from the thinking of the german philosopher Oskar Becker and a transformation of the meaning of painting by the French artist Marcel Duchamp. As the study shows, such analogies allow us to understand the meaning of the work of art in Max Dvořák's art history in a new way.

Review of Ian Verstegen’s Book "The New Vienna School of Art History", Edinburgh University Press 2023. Umění/Art 71, 2023, pp. 387–390.

Umění/Art, 2023

Review of Ian Verstegen’s book on the NEw Vienna School of Art History published in 2023.

Notes on Franz Wickhoff's School and Max Dvořák's Italian Renaissance studies based on new archival materials, Journal of Art Historiography 29, 2023.

Journal of Art Historiography, 2023

The article deals with Franz Wickhoff´s influence on Max Dvořák´s formulation of his late method ... more The article deals with Franz Wickhoff´s influence on Max Dvořák´s formulation of his late method of art history today widely known as ‘Kunstgeschichte als Geistesgeschichte’. The article proposes a thesis that already in Wickhoff´s thinking an inclination toward the ‘geistesgeschichtliche’ interpretation of art history can be evident, as shown on a comparison between his and Dvořák´s interest in the Italian Renaissance art. The other way of Wickhoff´s influence on Dvořák´s art history is shown as grounded in their deep personal relationship that is documented in their mutual correspondence from the early 20th century, recently rediscovered in the Archive of the Institute of Art History of the Vienna University.

Proceedings from the third international conference on the Vienna School of Art History

Journal of Art Historiography, 2023

Newly published conference proceedings from the third international conference on the Vienna Scho... more

Za obrazem: Teorie obrazu Romana Ingardena a význam abstraktního umění [Beyond the Image: Roman Ingarden’s Theory of the Image and the Meaning of Abstract Art], Filosofický časopis 71, 2023, pp. 215-228

Filosofický časopis, 2023

The study interprets the meaning of abstract art, taking into consideration the phenomenological ... more The study interprets the meaning of abstract art, taking into consideration the phenomenological investigations of the Polish philosopher Roman Ingarden. In 1958, Ingarden drew attention to a specific method of the constitution of a nonrepresentational, "abstract" image. In the framework of his theory, he focused on the necessity of the viewer turning away from the image while at the same time he defined the abstract image closely to that of decoration, which can be the cause of the image's demise in the sense of a newly forming reality. Considering the works of art created at the time when Ingarden wrote his study, his concept can be elaborated and the meaning of the abstract image can be presented as leading the viewer beyond the image. The goal of this approach is the constitution of a consciousness of the image in the sense of a new perception of the present reality.

Conference Program: Vienna School of Art History: Origins, Modifications, and Influences of Its Theoretical Concepts

Program, 2023

Program of the Conference in Prague, Czech Republic on 19th and 20th April 2023.

Die Tragik in der Kunst Michelangelos als Max Dvořáks Vermächtnis in der Kunstgeschichte Hans Sedlmayrs. Folia Historiae Artium 20, 2022, pp. 29-39.

Folia Historiae Artium, 2022

The study deals with Hans Sedlmayr’s book Über Michelangelo. Versuch über die Ursprünge seiner Ku... more The study deals with Hans Sedlmayr’s book Über Michelangelo. Versuch über die Ursprünge seiner Kunst [On Michelangelo. An Essay in the Origins of his Art] from 1940 and demonstrates that it had been influenced by Max Dvořák’s art-historical scholarship emerging around 1920.Sedlmayr’s book on Michelangelo has been so far neglected inthe research of his art-historical scholarship, exceptfor some general statements about the writing this book as means of his coming to terms with the death of his parents and his first wife . Owing to this omission, the way how the scholar dealt with the legacy of Max Dvořák’s late art historical thinking has been overlooked, even though the latter’s studies are the crucial reference for Sedlmayr’s understanding of Michelangelo’s art, which Sedlmayr interpreted in 1940 as tragic, closely to how Dvořák had understood
Michelangelo’s art as the source for the art of Mannerism.

Max Dvořák’s Michelangelo. Journal of Art Historiography 25, 2021.

Journal of Art Historiography, 2021

It has been shown that it was Max Dvořák who introduced into art-historical research the concept ... more It has been shown that it was Max Dvořák who introduced into art-historical research the concept of Mannerism as an independent style that dominated the second half of the 16th century. Dvořák described the art of Raphael’s pupils and of Florentine painters such as Rosso Fiorentino or Jacopo Pontormo not as a decline in artistic development, but as an expression of a change in the cultural mood that needed to be voiced in artistic form. However, the historiography of Dvořák’s conception of Mannerism has to date neglected to devote any attention to how Mannerism actually emerged: what in Dvořák’s conception of art generated the need to describe the art of the late 16th century as a separate artistic style distinct from the Renaissance? As the study shows, the answer to this question may be found in Max Dvořák’s interpretation of the late art of Michelangelo Buonarroti.

The Influence of the Vienna School of Art History II: The 100th Anniversary of Max Dvořák’s Death, Conference Proceedings. Journal of Art Historiography 25, 2021.

Journal of Art Historiography, 2021

Proceedings from the international conference "The Influence of the Vienna School of Art History ... more

Zrcadlení Cézannem: Poznámka k teorii obrazu u Maurice Merleau-Pontyho [Reflection through Cézanne: A Note on Maurice Merleau-Ponty’s Image Theory]. Filosofický časopis 69, 2021/3, pp. 561-577.

Filosofický časopis, 2021

The study addresses the interpretation of the French painter Paul Cézanne’s art in the thinking o... more The study addresses the interpretation of the French painter Paul Cézanne’s art in the thinking of Maurice Merleau-Ponty in 1945. The interpretation is mostly seen as a part of Merleau-Ponty’s argumentation of the phenomenology of perception, but the method itself that Merleau-Ponty used to formulate the meaning of Cézanne’s art is neglected. The study endeavors to connect this overlooked aspect of Merleau-Ponty’s
thinking with the art-historical interpretation of Cézanne’s work during the 1930s, combining Merleau-Ponty’s argument with the interpretation of Cézanne’s work articulated by the Viennese art historian Fritz Novotny.

Conference report on: The Influence of the Vienna School of Art History II: The 100th Anniversary of Max Dvořák's Death, Journal of Art Historiography 25, 2021

by Tomáš Murár and Tereza Hrdlička

Journal of Art Historiography, 2021

The report concludes the results of the international conference organized on 15-16 April 2021 by... more The report concludes the results of the international conference organized on 15-16 April 2021 by the Institute of Art History of the Czech Academy of Sciences to commemorate 100 years since the death of Czech born Viennese art historian Max Dvořák (1874–1921). It shows the wide range of professional work that Dvořák covered during his short life as well as wide range of possibilities of how his work influenced the art history elaborated after his death. The report also shows the plurality in which Dvořák’s art historical research is interpreted today.

Moderner Inhalt in manieristischer Form. Max Dvořák unter dem Einfluss Georg Simmels. RIHA Journal 2021.

RIHA Journal, 2021

The article deals with the influence of Berlin philosopher Georg Simmel on Viennese art historian... more The article deals with the influence of Berlin philosopher Georg Simmel on Viennese art historian Max Dvořák. Dvořák as a successor of Alois Riegl and Franz Wickhoff at the art history department of the University of Vienna is considered the promoter of the scholarly method of the so-called Vienna School of Art History.

Review of a book "The Global Reception of Heinrich Wölfflin’s Principles of Art History", ed. Evonne Levy and Tristan Weddigen, Yale University Press 2020. Umění/Art 67, 2020, pp. 319–322.

Umění/Art, 2020

A review of a book on Heinrich Wölfflin edited by Evonne Levy and Tristan Weddigen.

Sloh, architektura, život. K teorii dějin umění Oldřicha Stefana. [Style, Architecture, Life. On Oldřich Stefan’s Theory of Art History]. Opuscula Historiae Artium 69, 2020, pp. 74–89.

Opuscula Historiae Artium, 2020

The article offers an interpretation of Oldřich Stefan’s theory of art history formulated in the ... more The article offers an interpretation of Oldřich Stefan’s theory of art history formulated in the first half of the 1940s, with an insight into its manifestation in Stefan’s scholarly work after the WWII, thus during the Communist era in Czechoslovakia, in comparison with other students of the Prague university of the early 1920s.

"A work of art is an object that necessitates contemplation". Latency of visual studies within the Vienna School of Art History. Ikonotheka 30, 2020, pp. 9–29.

Ikonotheka, 2020

This article investigates a research method of the so-called Vienna School of Art History, mainly... more This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. This view on the Vienna School of Art History is researched in writings on Pieter Bruegel the Elder by Dvořák's students Hans Sedlmayr and Charles de Tolnay. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today's approaches to art (history), mainly with the so-called visual studies.

Conference Programme: The Influence of the Vienna School of Art History II: The 100th Anniversary of Max Dvořák’s Death

The programme of the upcoming conference commemorating the 100 years since the death of the Czech... more

The Influence of the Vienna School of Art History before and after 1918, Conference Proceedings - Part 3. Journal of Art Historiography 23, 2020.

by Tomáš Murár and Richard Woodfield

Journal of Art Historiography, 2020

The third part of the proceedings from the international conference on the Influence of the Vienn... more

The Influence of the Vienna School of Art History before and after 1918, Conference Proceedings - Part 2. Journal of Art Historiography 22, 2020.

by Tomáš Murár, Marta Filipová, and Richard Woodfield

Journal of Art Historiography 22, 2020

The second part of texts presented at the 2019 international conference on the Influence of the V... more

The Influence of the Vienna School of Art History before and after 1918, Conference Proceedings - Part 1. Journal of Art Historiography 21, 2019.

The first part of papers given at the international conference on the influence of the Vienna Sch... more

The Dark Side of the End of Art. In: Vojtěch Kolman, Tomáš Murár (eds.), Devouring One's Own Tail. Autopoiesis in Perspective (published by Karolinum/The University of Chicago Press 2022, available also as open access), pp. 135–151.

Devouring One's Own Tail. Autopoiesis in Perspective , 2022

American philosopher Arthur C. Danto in 1984 proclaimed that by exhibiting the Brillo Boxes by An... more American philosopher Arthur C. Danto in 1984 proclaimed that by exhibiting the Brillo Boxes by Andy Warhol in 1964 the art and its history as we know it ended. Danto was convinced that art’s premises in re-presenting the reality as being the “other” beside the life dissolved into the life itself and thus the life began to be the form of art, without the need to form itself as something “other”. Danto’s enthusiastic and more importantly retrospective acceptance of the end of art, however, cannot be taken as granted, as it is possible to see through thinking and work of Romanian philosopher and art historian Robert Klein. His approach toward art and its history was as well connected with life and with the notion of the end of art happening in the late 1960s. Nevertheless, the outcome of this process was for him quite opposite than it was for Danto – therefore, as the study suggest based on Niklas Luhmann’s system theory adapted to art history, through Klein’s work and life we can think about the dark side of the end of art.

"On the Way Toward a Separate Department. Czech University Art History in Prague, 1894-1918" and "In the Steps of The Vienna School. Czech University Art History in Prague, 1919-1939", in: A Century of the Institute for Art History in Prague, Prague 2020, pp. 72-99; 122-190 (table of contents).

Století Ústavu pro dějiny umění na Filozofické fakultě Univerzity Karlovy, 2020

Two chapters dealing with the history of the rise and codification of the Institute for Art Histo... more Two chapters dealing with the history of the rise and codification of the Institute for Art History at the Faculty of Arts at the Charles University in Prague, researched in the years 1894-1939 as a part of a collective monograph dealing with the history of the above mentioned art historical institute from 1850 until 2019, including medailons of all pedagogues until today. Editors of the book: Richard Biegel, Roman Prahl, Jakub Bachtík, authors of the following chapters: Tereza Johanidesová, Jiří Koukal.

Art as Principle and Pattern. Vojtěch Birnbaum’s Concept and Method of Art History / Umění jako princip a zákonitost. K dějinám a metodologii umění Vojtěcha Birnbauma. Archiv výtvarného umění, z.s., Kostelec nad Černými lesy, 2017, ISBN 978-80-905744-7-2 (Preview; Full Text Link in Description).

This bilingual book researches art theory and art- historical method of an important Czech art hi... more This bilingual book researches art theory and art- historical method of an important Czech art historian Vojtěch Birnbaum (1877–1934), disciple of Vienna School of Art History, particularly Franz Wickhoff and Alois Riegl.

Licensed under Creative Commons CC BY-NC-ND.

Full English Text Available at: Journal for Art Historiography 17, December 2017, Documents:

https://arthistoriography.files.wordpress.com/2017/11/murar.pdf

ToC Number 25 December 2021

by Richard Woodfield, Fiona K A Gatty, Amy C Smith, Tomáš Murár, Tereza Hrdlička, Csilla Markója, Martin Horáček, Milena Bartlová, Stefaniia Demchuk, Hannah De Moor, Susanna Avery-Quash, and Swati Chemburkar

Journal of Art Historiography, 2021

Update: ToC should include: Hans Christian Hönes (University of Aberdeen) ‘Painting Art History’... more Update: ToC should include:
Hans Christian Hönes (University of Aberdeen) ‘Painting Art History’. Review of: Léa Kuhn, Gemalte Kunstgeschichte. Bildgenealogien in der Malerei um 1800, Paderborn: Fink 2020, ISBN-13: 978-3-7705-6453-8, 333pp., EUR 69,00. 25/HCH2

Hans Christian Hönes (University of Aberdeen), ‘Out of the shadows? Discovering Mary Warburg’. Review of: Hedinger, Bärbel; Diers, Michael (Eds.): Mary Warburg. Porträt einer Künstlerin. Leben, Werk, München: Hirmer Verlag 2020, ISBN-13: 978-3-7774-3614-2, 535 S., EUR 68.00. 25/HCH1

Link correction for Eckart Marchand (Warburg Institute), 'Apostles of Good Taste? The use and perception of plaster casts in the Enlightenment' 25/EM1: https://arthistoriography.files.wordpress.com/2021/11/marchand.pdf