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Perspektiven einer kritischen Kunstwissenschaft / Perspectives in Critical Art History
Der Band ist Jutta Held (1933–2007) und Norbert Schneider (1945–2019), der Gründerin und dem langjährigen Herausgeber von »Kunst und Politik«, gewidmet. Beide gehörten zur Generation der kritischen Kunsthistorikerinnen und Kunsthistoriker, die sich seit den 1970er Jahren für eine neue Kunstgeschichte einsetzten, die die gesellschaftlichen Aspekte der Kunst ins Zentrum rückte. Der Band versammelt Beiträge von Freund:innen, Kolleg:innen und Schüler:innen, die – inspiriert von Jutta Held und Norbert Schneider, von ihren Schriften und dem Andenken an die beiden – nach den Perspektiven einer kritischen Kunstwissenschaft fragen. This volume is dedicated to Jutta Held (1933–2007) and Norbert Schneider (1945–2019), the founders and long-time publishers of the journal "Kunst und Politik". Since the 1970s, both were part of a movement of critical art historians, that advocated for a new art history, that integrated the social aspects of art. This volume includes contributions of both friends and students, who – inspired by Jutta Held and Norbert Schneider – explore perspectives of critical art studies based on their writings and remembrance.
Exile and Patronage
Exile and Patronage is an innovative new study which explores the migration of refugees from National Socialism from the perspective of patronage. The thirteen essays are divided into three parts: art and music, the churches and political refugees. Individual case studies look at the relationships which came to life around George Bell, Bishop of Chichester, the Berger family, Michael Croft, Heinz Kappes, Gerhard Leibholz, Robert Bruce Lockhart, Rowmund Pisudski, Jack Pritchard, Hans Ansgar Reinhold and Luigi Sturzo. The book also examines the iconography of patronage and studies particular works which received support in exile such as Wagner's Buhnenweihfestspiel.
The Artist as Reader
Based on the history of knowledge, the contributions to this volume elucidate various aspects of how, in the early modern period, artists’ education, knowledge, reading and libraries were related to the ways in which they presented themselves
Heidegger and the Work of Art History
Heidegger and the Work of Art History explores the impact and future possibilities of Heidegger?s philosophy for art history and visual culture in the twenty-first century. Scholars from the fields of art history, visual and material studies, design, philosophy, aesthetics and new media pursue diverse lines of thinking that have departed from Heidegger?s work in order to foster compelling new accounts of works of art and their historicity. This collected book of essays also shows how studies in the history and theory of the visual enrich our understanding of Heidegger?s philosophy. In addition to examining the philosopher's lively collaborations with art historians, and how his longstanding ...
The Geometry of Creation
The flowering of Gothic architecture depended to a striking extent on the use of drawing as a tool of design. By drawing precise "blueprints" with simple tools such as the compass and straightedge, Gothic draftsmen were able to develop a linearized architecture of unprecedented complexity and sophistication. Examination of their surviving drawings can provide valuable and remarkably intimate information about the Gothic design process. Gothic drawings include compass pricks, uninked construction lines, and other telltale traces of the draftsman's geometrically based working method. The proportions of the drawings, moreover, are those actually intended by the designer, uncompromised by errors...
Push Me, Pull You
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometimes conflicted with the Church s prescribed devotional models, and in some cases it complemented them. Artists and patrons responded to the desire for both spontaneous and sanctioned interactions by creating original ways to amplify devotional experie...
Art Historiography and Iconologies Between West and East
This volume explores a basic question in the historiography of art: the extent to which iconology was a homogenous research method in its own immutable right. By contributing to the rejection of the universalizing narrative, these case studies argue that there were many strands of iconology. Methods that differed from the ‘canonised’ approach of Panofsky were proposed by Godefridus Johannes Hoogewerff and Hans Sedlmayr. Researchers affiliated with the Warburg Institute in London also chose to distance themselves from Panofsky’s work. Poland, in turn, was the breeding ground for yet another distinct variety of iconology. In Communist Czechoslovakia there were attempts to develop a ‘Ma...
Identity and Image
This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of t...
Arts in Exile in Britain 1933-1945
This volume focuses on the contribution of refugees from Nazism to the Arts in Britain. The essays examine the much neglected theme of art in internment and address the spheres of photography, political satire, sculpture, architecture, artists’ organisations, institutional models, dealership and conservation. These are considered under the broad headings ‘Art as Politics’, ‘Between the Public and the Domestic’ and ‘Creating Frameworks’. Such categories assist in posing questions regarding the politics of identity and gender, as well as providing an opportunity to explore the complex issues of cultural formation. The volume will be of interest to scholars and students of twentieth-century art history, museum and conservation studies, politics and cultural studies, in addition to those involved in German Studies and in German and Austrian Exile Studies.
Caught By Politics
This book explores German and European exile visual artists, designers and film practitioners in the United States such as Max Beckmann, George Grosz, Hans Richter, Peter Lorre, and Edgar Ulmer and examines how American artists including Walter Quirt, Jackson Pollock, and Robert Motherwell responded to the Europeanization of American culture.
