Studies in Art & Materiality
Editor-in-Chief:
Ann-Sophie Lehmann
Ann-Sophie Lehmann
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Brill’s
Studies in Art & Materiality is a peer-reviewed book series dedicated to innovative scholarship about the relation between art, materials, and making.
Artists possess knowledge about materials, their affordances and interactions, and skillfully transform materials into art objects. The resulting specific materiality of a work of art is not only an index of its making, but is also fundamentally connected to meaning, aesthetic perception, mimetic potential, economic value, cultural and social impact, as well as its endurance and preservation. Understanding these connections enhances the field of art history and opens new avenues of investigation, ranging from the focused situated study of individual materials and art objects to comparative inquiries that cross traditional boundaries between genre, time, and space. The development of salient theoretical and methodological frameworks to study the materiality of art connects art history and its sub-disciplines (technical art history, museum studies) to anthropology, history of science, archaeology, material culture studies, as well as the cognitive sciences.
The series accommodates scholarly monographs, collections of essays, conference proceedings, and reference works that engage with the rich meanings of art works’ materiality.
The series is not restricted to a particular chronological period or geographical region, thereby allowing for a broad range of topics. In addition, the series has an interdisciplinary component, while keeping a distinct profile. As such, the series promises rich, innovative content for a wide academic readership.
Artists possess knowledge about materials, their affordances and interactions, and skillfully transform materials into art objects. The resulting specific materiality of a work of art is not only an index of its making, but is also fundamentally connected to meaning, aesthetic perception, mimetic potential, economic value, cultural and social impact, as well as its endurance and preservation. Understanding these connections enhances the field of art history and opens new avenues of investigation, ranging from the focused situated study of individual materials and art objects to comparative inquiries that cross traditional boundaries between genre, time, and space. The development of salient theoretical and methodological frameworks to study the materiality of art connects art history and its sub-disciplines (technical art history, museum studies) to anthropology, history of science, archaeology, material culture studies, as well as the cognitive sciences.
The series accommodates scholarly monographs, collections of essays, conference proceedings, and reference works that engage with the rich meanings of art works’ materiality.
The series is not restricted to a particular chronological period or geographical region, thereby allowing for a broad range of topics. In addition, the series has an interdisciplinary component, while keeping a distinct profile. As such, the series promises rich, innovative content for a wide academic readership.
Material Approaches to Digital Codicology
Volume 10
978-90-04-73781-5
Studies of Mimesis and Materials in Nature, Art, and Science
Volume 7
978-90-04-51541-3
The Agency of Chance Collaborations
Volume 6
978-90-04-52096-7
The Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso
Volume 3
978-90-04-43993-1
Inquiries on the Intersection of Curatorial and Conservation Cultures
Volume 1
978-90-04-39685-2
Editorial Board
Ann-Sophie Lehmann, University of Groningen, Editor-in-Chief
Christian Berger, Universität Siegen
Marjolijn Bol, Utrecht University
Beate Fricke, Universität Bern
Wolf-Dietrich Löhr, Freie Universität Berlin and Kunsthistorisches Institut in Florenz
Jeffrey Moser, Brown University, Rhode Island
Sugata Ray, University of California, Berkeley
Advisory Board
Sven Dupré, Utrecht University and University of Amsterdam
Christine Göttler, Universität Bern
Tim Ingold, University of Aberdeen
Robert van Langh, Rijksmuseum/Netherlands Institute for Conservation, Art, and Science, Amsterdam
Monika Wagner, Universität Hamburg
Ann-Sophie Lehmann, University of Groningen, Editor-in-Chief
Christian Berger, Universität Siegen
Marjolijn Bol, Utrecht University
Beate Fricke, Universität Bern
Wolf-Dietrich Löhr, Freie Universität Berlin and Kunsthistorisches Institut in Florenz
Jeffrey Moser, Brown University, Rhode Island
Sugata Ray, University of California, Berkeley
Advisory Board
Sven Dupré, Utrecht University and University of Amsterdam
Christine Göttler, Universität Bern
Tim Ingold, University of Aberdeen
Robert van Langh, Rijksmuseum/Netherlands Institute for Conservation, Art, and Science, Amsterdam
Monika Wagner, Universität Hamburg