History of Art History

Kapitola o existenci a povaze "československého výtvarného umění" ukazuje etnický rozměr konceptu čechoslovakismu, který posílilo obvyklé evropské paradigma meziválečných dějin umění. Dominance českého umění se vymezovala proti německé výtvarné tradici, nikoli vůči Slovensku a tamní dějiny umění o československý rozměr nikdy neprojevily zájem.

Classical Archaeology as a subject of study was established at the University of Poznań with the creation of the University itself in 1919, but as a key date in its development should be seen 30th April, 1923, when Mieczysława Sabina Ruxer, PhD, teaching the subject, took care of the Classical Archaeology Seminar. She came to Poznań from Kraków and was appointed an assistant professor responsible for development of Classical Archaeology as an academic subject, both as research and teaching area. She also made and attempt to create an independent Department of Classical Archaeology.
Before World War II the Seminar functioned as a secondary course, and the Department of Classical Archaeology as an ancillary part of the Faculty of Humanities. Due to the nature of this secondary course there were no graduates in Classical Archaeology, as the seminar was chosen by students who studied other disciplines as their main. However, M. S. Ruxer taught numerous classes of extremely large range of problems, which were over the years of her work systematically improved. According to the archives in the 1930s, there were efforts made to prepare the curriculum for the study of Classical Archaeology as a main subject, to be completed with a degree. It had been provisionally accepted by the University, and after approval of M. S. Ruxer’s habilitation, which took place in 1937 at the Jagiellonian University, the change of the status of Classical Archaeology Seminar from auxiliary to  regular appeared - but unfortunately the plan was disturbed by war.
After World War II, from the very beginning when teaching at the University of Poznań was re-established the Classical Archaeology Seminar functioned led by M. S. Ruxer. Unfortunately, the Chair and the Department in the difficult post-war conditions had to be painstakingly re-organized as the entire pre-war furnishing and collections were destroyed or stolen. Moreover, in post-war years attempts were made to rebuild academic life in Poland in the new political and ideological situation, according to arbitrarily imposed rules, often subordinated to Soviet science. Reorganisation, unification and centralisation of scientific institutions took place – illustrated by, among others, forced integration of Prehistoric and Classical Archaeology (later Mediterranean) and Ethnography in the purpose of joint research on material culture. This was due to the introduction of materialist philosophy in the field of scientific research as the current dogma, particularly inconvenient on the ground of the humanities.
Such changes took place also in the Faculty of Humanities at the University of Poznań. Professor M. S. Ruxer was as head of the Chair and Department of Classical Archaeology till 1952, which she had been appointed to in 1949. Moreover, a new person appeared in the Department, a full-time assistant - Jerzy Kubczak. However, in 1952 the Department was renamed since then known as the Department of Mediterranean Archaeology and was incorporated into the Department of History of Art. M. S. Ruxer was deprived of her functions. Finally, in the academic year 1955/1956 the Department of Mediterranean Archaeology was suspended. Moreover, in 1957 the death snatched Professor Mieczysława Sabina Ruxer from the Faculty of Philosophy and History. Among the extensive scientific interests it is worth emphasising that the main area of her studies was ancient jewellery and she produced a monograph on the Greek necklaces.
After the so-called "Thaw" in Poland, at the end of 1957 a classical archaeologist Stefan Parnicki-Pudełko from Wroclaw, working in the Department of Ancient Archaeology at the Institute of History of Material Culture at the Academy of Sciences in Warsaw, was invited to Poznań. After the appointment to an assistant professor, S. Parnicki-Pudełko became a head of the reactivated Chair of Mediterranean Archaeology at the Faculty of Philosophy and History, with the effect from 1st October 1958. Also Jerzy Kubczak, who in the meantime worked in the National Museum in Poznań, returned to the Chair. The scientific contributions of the Chair, which should be considered a true continuation of Professor M. S. Ruxer’s idea, have related primarily to studies on the ancient architecture and pottery, as well as the culture of the ancient colonies on the northern shores of the Black Sea. In this organizational form the Chair of Mediterranean Archaeology had functioned at Adam Mickiewicz University for the next ten years - until 1969, when it was closed. After that, Professor S. Parnicki-Pudełko took the position of the head of the Department of Ancient History, and J. Kubczak PhD a job at the Institute of History of Art. Interestingly, only then Poznań research centre really got involved in excavations in the area of Mediterranean civilisation, as in 1970 an independent University Archaeological Expedition of Adam Mickiewicz University in Poznań began excavations in the Roman legion camp in Novae (in ancient Moesia Inferior), and has been operating by today.
When it comes to scientific achievements, it should be emphasized that Professor S. Parnicki-Pudełko was primarily an outstanding expert in ancient building and construction expertise, leaving as his legacy to next generations, among numerous other works, a monograph on Greek architecture. Professor J. Kubczak, on the other hand, focused his attention, like M. S. Ruxer, whose research he continued, on ancient jewellery, publishing a monographic study of Greek necklaces in the Hellenistic and Roman periods. A key topic of his study, however, were issues concerning Scythian culture, which was reflected in the monograph about the barrows of Scythian aristocracy.
In the meantime, interest of scholars from Poznań, both those associated with the University, and those from the outside of it, in archaeological research in the Mediterranean not only did not decrease, but increased immensely. In addition, after the historic turn in Poland of 1989 and regaining sovereignty it became possible to resurrect departments and disciplines taught in the past, and to significantly broaden the educational offer and the fields of scientific research. In such an atmosphere the efforts were made in the 1990s to establish (reactivate) Mediterranean (or Classical) Archaeology at Adam Mickiewicz University.
After long debates concerning the nature of the discipline to be reactivated in Poznań, mainly between the employees of the Institutes of History of Art and Prehistory at Adam Mickiewicz University, the Council of the Faculty of History decided with a resolution of 9th November 1998, to appoint a specialty of Mediterranean Archaeology at the Institute of Prehistory, starting from the academic year 1999/2000. It has been a part of Archaeology taught by the Institute of Prehistory at Adam Mickiewicz University, as a main discipline, developing slowly but successfully under the name of Oriental and Classical Archaeology, accepted in 2004.

Preface to a new edition of a long contribution by Enrico Castelnuovo, first published in 1973. The preface wishes to explain how and why Castelnuovo was interested in portraiture, what was the genesis of the contribution, what is its method, why it is still an important study on the theme and give some hints on the reception of this text.

Constatant l’abondance des études sur les phénomènes de destruction, cet essai commence par analyser la situation historiographique du début des années 1980. Au point de vue normatif de l’Histoire du vandalisme de Louis Réau dénonçant « les crimes de lèse-beauté » répondait l’Ulmer Verein für Kunstwissenschaft, qui mettait en cause l’autonomie de l’art et cherchait à comprendre pourquoi la réflexion critique se voyait taxer d’ « iconoclasme ». L’essai passe en revue les directions de recherche qui ont profité de cette ouverture et les publications résultantes, mettant en évidence leurs points communs (« agentivité » des objets) et leurs liens avec l’actualité (destruction des monuments de l’époque communiste, iconoclasme islamiste, « iconoclasme » dans l’art contemporain). Il montre enfin que la valeur de la destruction dans l’ « économie de l’attention » rend une volonté de « neutralité axiologique » illusoire et appelle à une conscience réflexive accrue de la part de l’histoire de l’art.

Art predominantly is being perceived by way of reproductions. This counts as well and in particular for art history. Only rarely however the science gives attention to them – and if, the reproductions are mostly depreciated when compared with the originals. The PhD looks into the subjects on three levels: It is the sketch of a history of art reproduction yet to be written; it investigates how the industrialisation of image production around 1800 contributed to the constitution of art history as an academic discipline; and finally it discusses with some examples that the little attention art history has given to its visual material is no unfortunate accident but fundamental for the discipline. // Kunst wird in erster Linie mittels ihrer Reproduktionen rezipiert – auch und gerade von der Kunstgeschichte. Dennoch würdigt die Wissenschaft sie nur selten einiger Aufmerksamkeit – und wenn doch, werden die Reproduktionen gegenüber den Originalen zumeist abgewertet. Die Dissertation setzt sich mit diesem eigentümlichen Verhältnis in dreifacher Hinsicht auseinander: Sie versteht sich als Skizze einer noch ungeschriebenen Geschichte der Kunstreproduktion, untersucht, wie die Industrialisierung der Bildproduktion um 1800 zur Konstitution der universitären Disziplin Kunstgeschichte beitrug und diskutiert schliesslich exemplarisch, dass die geringe Aufmerksamkeit der Kunstgeschichte für ihr Material kein unglücklicher Zufall, sondern grundlegend für die Disziplin ist.

This essay explores how connoisseurship and formalism from the late nineteenth until the middle of the twentieth centuries contributed to the study of drawing that characterised and shaped sketches as a particular subgenre. By focusing on reoccurring and recontextualised expressions, phrases, and notions used by Heinrich Wölfflin, Bernard Berenson, Max Friedländer, and Bernhard Degenhart, I will argue how drawings were either used to describe painting as a stepping stone for an epochal style or as a quasi-semiotic and graphological approach toward the genre that, in turn, favoured a specific aesthetic ascribed to the artist's assumed personality. Moreover, the two genres were tied to a set of vocabulary that highlighted both their individual function and aesthetic, yet unfolded a methodologically problematic narrative.

Nel 1627 il giovane pittore Giovanni Battista della Rovere (Torino, 1603c. - 1631c.) dipinge la grande tela del Trionfo della morte, detto anche “Specchio della vita umana”. In origine destinata alla chiesa torinese di San Francesco d’Assisi, appare quasi profetica, alla vigilia della grande peste manzoniana del Seicento. L’opera è ricca di simboli ed ammonimenti; al centro sta la ruota della vita con teschi di papi, imperatori, vescovi, sultani, re orientali, dogi, re e cardinali, e con scritte di severa riflessione sulla fragilità della vita umana. L’identica iconografia, affascinante e unica nel suo genere, è presente in Spagna, Francia, Germania e Polonia. Il capolavoro è ora parte delle collezioni permanenti del Museo Diocesano di Torino.

Sápmi, the Sámi area, is transnational; it transcends four nation states, Norway, Sweden, Finland, and Russia. Art and art history have been considered natural parts of a nation state’s inventory since the 19th century and have contributed to the production and maintenance of national identities and narratives. What is the role of the nation state in art history, and how has the national paradigm shaped the presentation of Sámi art, historically and today? Focusing on the discipline of art history in Norway, the volume exposes the prevailing representation of Sámi art, duodji, and dáidda as ethnographic material and relates it to the politics of nation building in the nineteenth and early twentieth century. The book examines the representation of Sámi art, artefacts, practices, materialities, actors, concepts, and themes in Norwegian Art History, to uncover some of the disciplinary mechanisms and dominant narratives. The central method is historiography in combination with fieldwork in archives and museums, aimed at doing art historiography in the expanded field – to move beyond the traditional textual focus and question naturalized institutional and disciplinary boundaries. This is one of very few historiographical studies on the art historical discipline in Norway, and the first comprehensive monograph on the representation of Sámi art. How to cite this book: Grini, M. 2021. Samisk kunst og norsk kunsthistorie: Delvise forbindelser. Stockholm: Stockholm University Press. DOI: https://doi.org/10.16993/bbm

w w w. g a n g e m i e d i t o re . i t Nessuna parte di questa pubblicazione può essere memorizzata, fotocopiata o comunque riprodotta senza le dovute autorizzazioni. Le nostre edizioni sono disponibili in Italia e all'estero anche in Prima parte La Conferenza di Roma del 1930, punto di incrocio tra prospettive disciplinari (M. Cardinali) Le voci della critica italiana e la diagnostica artistica negli anni Trenta (M. B. De Ruggieri) Appendice Paola Pogliani SGUARDI SULLE TECNICHE D'ESECUZIONE NELLA CULTURA ITALIANA DEGLI ANNI TRENTA 151 TAVOLE 175 Seconda parte

This essay addresses key issues relating to the classification, analysis, and (mis-)representation of the types of ancient and non-Western things. It explores how and why, and through what processes and with what implications, some ancient and non-Western things have been selected as “authentic art” objects and others relegated to “mere artifacts.” It examines the manner and locations in which such things are typically displayed or experienced, as well as the effects of physical and other frameworks on how we reconstruct—or, arguably, construct—the civilizations to which such things belong(ed). It also examines how we define, understand, and apply (and with what consequences) terms such as art and artifact; Western and non-Western; and thing, object, and work. Issues of space, time, and context, and the ways in which these intersect with matter, recur throughout. The essay concludes with an investigation of whether the locus of a thing’s (and specifically an artwork’s) authenticity and identity must reside in its matter or whether it might reside instead in the thing’s action and use in rather than against time—even to the point of being changed and, ultimately, used up. What if a thing’s identity depends not on removal from or denial of time but rather on the full acceptance of it and its consequences?

La collana Quaderni di Venezia Arti, ideata e diretta da Wladimiro Dorigo, ritorna in una nuova serie volta alla pubblicazione di monografie, studi e atti di convegni, che abbiano come tema l'indagine teorica, storica e critica delle arti, a partire dalle ricerche svolte nell'ambito del Dipartimento di Filosofia e Beni culturali dell'Università Ca' Foscari Venezia. La collana accoglie saggi e contributi scientifici di studiosi italiani e stranieri, con particolare attenzione all'esito delle indagini sviluppate nell'ambito dei dottorati e attraverso le tesi di laurea magistrali; inoltre, si propone come strumento per accentuare il confronto di idee sul piano metodologico e su quello delle prassi artistiche, come recupero della memoria artistica e come osservatorio delle tendenze culturali contemporanee.

Введение к книге: Аби Варбург. Великое переселение образов. Исследование по истории и психологии возрождения Античности. СПб.: Азбука-классика, 2008.

Introduction to: Aby Warburg. The Great Migration of Images: an Inquery into History and Psychology of the revival of Antiquity. St. petersburg: Azbuka-Klasika Oublishing House, 2008.

Sono stati in molti dall'inizio del mio dottorato fino ad oggi a concorrere alla riuscita di questa ricerca. Prima fra tutti Sheila Schwartz che ha rappresentato per me un costante e imprescindibile punto di riferimento; voglio ringraziarla per la disponibilità e la pazienza con le quali si è fatta carico di ogni mia richiesta. Sono altrettanto grato ai tutor della mia tesi, Claudia Cieri Via e Marco Ruffini, per il continuo confronto e per aver seguito il mio percorso ben oltre la conclusione del dottorato. Sono inoltre riconoscente per le loro osservazioni e per gli stimoli critici a

This article constitutes a new Foreword for James Elkins's Chinese Landscape Painting as Western Art History. Reflecting on this work a decade after it was first published, this Foreword seeks to position Elkins's text with respect to current debates about appropriation, decolonization, race, whiteness, privilege and a problematic, colonialist, EuroAmerican notion of 'the global'. Now the questions I asked ten years ago in response to Elkins's text are more pressing than ever: how can the history of the art of non-western cultures be figured in their own terms, and how might such a project operate without transposing the object of inquiry entirely into western epistemological frameworks and strategies of academic inquiry? This article seeks to consider how Elkins's text both de-and re-centres the discipline of art history so that the western tradition alone no longer dominates its master narrative and serves as sole source of its conceptual lexicon. Moreover, this article posits that from Elkins’s text we might contemplate a future in which the western tradition might become marginal within the discipline of art history, its established terms, discourses and practices incommensurate with newly centred analogues drawn from non-western cultures.

En el presente trabajo propongo analizar un aspecto fundamental de la restauración y conservación del patrimonio monumental novohispano: el tratamiento de las superficies arquitectónicas, que siguen siendo violadas como práctica cotidiana en las restauraciones.  Los aplanados de mortero de cal, los enlucidos finos y las capas de pintura son eliminados de los elementos arquitectónicos pétreos con demasiada frecuencia, con el pretexto de descubrir la piedra. Curiosamente, muchos monumentos son agredidos por los mismos profesionales de la conservación que tienen como misión la protección de la integridad física de los inmuebles. Justifican sus intervenciones con la teoría estética moderna y los gustos populares actuales, de tendencia marcadamente petrófila.

Se aportarán datos precisos, obtenidos en el campo y en fuentes documentales, con el propósito de contribuir a una comprensión más profunda de este tema. En primer lugar, se presentará una reseña general sobre el manejo de las superficies arquitectónicas en Europa, porque allí se encuentran los antecedentes más importantes de la práctica constructiva y decorativa en la Nueva España. Un análisis de las superficies de los edificios mesoamericanos prehispánicos, si bien sería pertinente, rebasaría el alcance de este trabajo. Basta decir aquí que la norma en la mayor parte de los estilos precortesianos era recubrir los elementos pétreos con cal y pintura, como se puede observar a través del análisis cuidadoso de los monumentos y en los reportes arqueológicos. Tanto en el Viejo Mundo como en el Nuevo, el lenguaje del color formaba parte de la concepción original de la mayor parte de los monumentos. Se apuntarán algunas consideraciones acerca del origen y la evolución del criterio petrófilo en Europa y América. También se citarán las normas emanadas del gremio de los restauradores que tengan que ver con el tratamiento de los revestimientos. Se analizará la polémica en torno a la restauración de la pintura mural exterior del templo queretano de Santa Rosa de Viterbo, como ejemplo de las posibilidades y los peligros de esta clase de intervenciones.

Art in Poland from the 10th to the 12th century -pre-Romanesque, Romanesque, Ottonian or early-Piast?
Summary
In 1980, in Volume 16 of "Folia Historiae Artium", there appeared an article of Lech Kalinowski entitled Pre-Romanesque and Romanesque art in Poland and the Carolinian and Ottonian heritage. The main thesis of that article was the statement that the early artistic creativity in Poland cannot be divided only into the pro-Romanesque and the Romanesque ones, but one must also perceive the two trends forming them: the Carolinian-and-Ottonian trend and the parallel pre-Romanesque trend with the first Romanesque art. This dualism induced the author to introduce the term "early Piast art" which illustrates in the best way the complexity ofart in Poland until the period ofthe regional division, i.e. until 1138. The premises on which Kalinowski constructed histhesiswereoftwokinds. First,hereferredtothestudies ofthehistorians ofartonthestyleofearlymedieval art which they were conducting still before the II World War and then in the I960-ies and 1970-ies in Europe and in the U.S.A. Second, basing on this wide background, the author referred to the known artistic heritage from the Polish areas analizing their form and style.
On the verge ofthe third millennium, we have to ask the question whether the thesis ofKalinowski is still actual today.
The studies of art historians, both in reference to the style as well as to the particular monuments of the early Piast epoch permit to state that the views of Kalinowski still remain an actual sign-post indicating the direction offurther investigations. Today, the significantly extended monumental material shows a high degree of formal and stilistic diversity distinctly testifying that the art from the end ofthe 10th century to the 12th century inPolandwas nothomogeneous.Itspicturewasformed bydifferenttrends oftheearly medievalcreativity,and different artistic circles and different formal traditions exerted their influences on it. Therefore, the terms pre-Rornanesque and Romanesque are not adequate to the real character and style of the art.
The postulate to widen the interdisciplinary studies on the early Piast architecture requires to take this complexity into consideration. In this context, the cooperation between the art historians, archaeologists and historians must start with mutually accepted criteria for the evaluation of style and with the adoption ofequal terminology in the description of the studied object.

Díaz-Andreu, Margarita 1995. Arte y arqueología: la larga historia de una separación. En VII Jornadas de Arte. Historiografía del Arte español en los siglos XIX y XX.  Madrid, Alpuerto: 151-160.
La consideración de Johannes Joachim Winckelmann (1717-1768) como el padre de los estudios de arte clásico y de los de arqueología es muy significativa del origen de ambas disciplinas. En España gran cantidad de intelectuales del siglo XIX se dedicaron tanto a la historia del arte como a la arqueología, pero a lo largo de esta centuria las dos disciplinas experimentan un proceso de separación que podemos personalizar en las figuras de Basilio Sebastián Castellanos de Losada, Francisco María Tubino y George Bonsor. La creación de la Escuela Superior de Diplomática y el desarrollo de la prehistoria son hitos importantes en este proceso. El cisma entre los estudios artísticos y arqueológicos llega en los años veinte del siglo XX

Nell’ottobre del 2013, a Parigi, in occasione della grande esposizione antiquaria di “Paris Tableau”, la Galleria Canesso ha esposto  un magnifico dipinto piemontese: il perduto autoritratto di Giovanni Antonio Molineri da Savigliano, finora conosciuto solo tramite l’incisione di Giovenale Boetto (1604-1678), che lo riproduceva in controparte.  Il saggio  è  dedicato al dipinto.

A presente tese de Doutoramento aborda o fenómeno de implementação da figura do Arquitecto e suas repercussões na prática arquitectónica em Portugal no período cronológico 1521-1557. Trata, pois, do momento de viragem das concepções artísticas tardo-góticas para as renascentistas, em que o tratado latino De Architectura de Vitrúvio (séc. I a. C.), em reavaliação pelo movimento cultural nascido na Itália do Quattrocento designado por Vitruvianismo, afectou a confecção dos conceitos modernos de Arquitectura e de Arquitecto.

How many criteria? Confrontations with Leo Steinberg

Leo Steinberg cultivated a special attention to even the slightest visual and semantic peculiarities of the works of art he analyzed, as well as to the specificity of their historical and cultural conditions. Yet, he was likewise perceptively aware of the naïveté of the claim according to which the modern scholars should give up their own point of view, no less historically and culturally located.
Hence the tension running throughout many of Steinberg’s works, and the perceived need to keep together two potentially divergent requests that risk to become irreconcilable beyond a certain threshold. On the one hand, the legitimacy of seeing and judging artworks iuxta propria principia, on the other hand, the right and even the duty to see them with one’s own eyes and not with the eyes of someone else.
But, then, how can we make sure of the categorical relevance of the objects of our concern and the adequacy of our point of view, if, as Steinberg writes, “all given criteria of judgment are seasonal, […] other criteria are perpetually brought into play by new forms and fresh thought”? Is it possible to tackle such a dilemma – actually a crucial issue for any historical approach to art – without giving up at least some of Steinberg’s claims? I think it’s impossible.

The Hungarian art historian and theorist Lajos Fülep wrote his programmatic essay The Task of Hungarian Art History as his inaugural lecture given at the Hungarian Academy of Sciences in 1950. Starting from the provocative claim that the history of Hungarian art has not yet been written, the author distinguished ʽart in Hungary’ from ʽHungarian art.’ He argued that not all art created or found in Hungary could be designated as Hungarian art or included in its history, rejecting interwar art historians’ attempts to ʽappropriate’ art created by itinerant artists or other ethnic groups inhabiting the country. His essay called for new, fundamental research: an unbiased investigation of all art found in the historical territory of the country, so that subsequently Hungarian art could be identified within this greater whole. While rejecting appropriation, Fülep did not define Hungarian art by the ethnic origin of the makers; instead, he challenged art historians to prove the existence of clearly recognisable local traditions.
This is the first English translation of a seminal text that has exerted a major influence on Hungarian art history writing. It is complemented by explanatory notes providing guidance for the non-Hungarian reader and is preceded by a short introduction which contains a biography of Fülep and a brief overview of his opinions on the question of national art.

Cette étude vise à l’examen de l’édition artistique en France pendant la Seconde Guerre Mondiale à travers l’exemple de la Maison d’Editions Verve. Spécifiquement, l’article présente les conditions sous lesquelles un nombre considérable d’enluminures médiévales françaises ont été reproduites dans les pages de la revue Verve entre les années 1939 et 1944, afin de questionner le rôle qu’a joué l’art médiéval pendant l’occupation en termes idéologiques, symboliques et formalistes. A la suite de deux expositions de la Bibliothèque Nationale, Les plus beaux manuscrits français du VIIIe au XVIe siècle de 1937 et Arts de l’Iran de 1938, la maison Verve en collaboration avec l’Imprimerie Draeger Frères ont achevé de mener à bien la reproduction fidele, pour la première fois dans l’histoire de l’édition en France, des chefs-d’œuvre des manuscrits médiévaux préparant le terrain pour la publication d’une série de luxueux livres d’artistes modernes illustrés par les plus célèbres artistes du vingtième siècle.