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The Museums of Contemporary Art
Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this new book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musée des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new unive...
Investigations in Medieval Stained Glass
Mindful of already existing publications, the editors determined to foreground scholarly expertise and approaches to stained glass, as well as up-to-date bibliographies.
100 Years On: Revisiting the First Russian Art Exhibition of 1922
The First Russian Art Exhibition (Erste Russische Kunstausstellung), which opened at the Galerie van Diemen in Berlin on October 15, 1922, and later travelled to Amsterdam, introduced a broad Western audience to the most recent artistic developments in Russia. The extensive show – more than a thousand works, including paintings, graphic works, sculptures, stage designs, architectural models, and works of porcelain – was remarkably inclusive in its scope, which ranged from traditional figurative painting to the latest constructions of the Russian avant-garde. Coming on the heels of the Treaty of Rapallo, the exhibition was a first cultural step towards bilateral relations between two youn...
Andy Warhol
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Collecting and Historical Consciousness in Early Nineteenth-Century Germany
This provocative book challenges long-held assumptions about the nature of historical consciousness in Germany. Susan A. Crane argues that the ever-more-elaborate preservation of the historical may actually reduce the likelihood that history can be experienced with the freshness and individuality characteristic of the early collectors and preservationists. Her book is both a study of the emergence in late eighteenth- and early nineteenth-century Germany of a distinctively modern conception of historical consciousness, and a meditation on what was lost as historical thought became institutionalized and professionalized. Public forms of remembering the past which are familiar today, such as hi...
Down from Olympus
Since the publication of Eliza May Butler's Tyranny of Greece over Germany in 1935, the obsession of the German educated elite with the ancient Greeks has become an accepted, if severely underanalyzed, cliché. In Down from Olympus, Suzanne Marchand attempts to come to grips with German Graecophilia, not as a private passion but as an institutionally generated and preserved cultural trope. The book argues that nineteenth-century philhellenes inherited both an elitist, normative aesthetics and an ascetic, scholarly ethos from their Romantic predecessors; German "neohumanists" promised to reconcile these intellectual commitments, and by so doing, to revitalize education and the arts. Focusing ...
Alois Riegl in Vienna 1875–1905
In Alois Riegl in Vienna 1875-1905, Diana Cordileone applies standard methods of cultural and intellectual history for close readings of Riegl’s published texts, several of which are still unavailable in English. Using archival and other primary sources this study also illuminates the institutional conflicts and imperatives that shaped Riegl’s oeuvre. The result is a multi-layered philosophical, cultural and institutional history of this art historian’s work of the fin-de-siècle that demonstrates his close relationship to several of the significant actors in Vienna at the end of the nineteenth century.
Provincial Modernity
Explains why an awareness of Earth's temporal rhythms is critical to planetary survival and offers suggestions for how to create a more time-literate society.
German Romanticism and Its Institutions
Using an illuminating method that challenges the popular notion of Romanticism as aesthetic escapism, Theodore Ziolkowski explores five institutions--mining, law, madhouses, universities, and museums--that provide the socio-historical context for German Romantic culture. He shows how German writers and thinkers helped to shape these five institutions, all of which assumed their modern form during the Romantic period, and how these social structures in turn contributed to major literary works through image, plot, character, and theme. "Ziolkowski cannot fail to impress the reader with a breadth of erudition that reveals fascinating intersections in the life and works of an artist.... He conve...
