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Artikel der Kunst

Alltagsobjekt und Wortspiel in den Pariser Bildkünsten des 19. Jahrhunderts

Tobias Vogt

Marcel Duchamps Ready-mades sowie Pablo Picassos Collagen stehen paradigmatisch für den Bruch der Avantgarde mit der traditionellen Kunst. Inwiefern dies eine Konstruktion der Kunstgeschichtsschreibung ist, bringt die Untersuchung von Tobias Vogt zur Sprache wie zur Anschauung.

Das Buch behandelt das Verhältnis von künstlerischer Produktion zu handwerklichen und industriellen Herstellungsverfahren im französischen 19. Jahrhundert. Im Zentrum stehen dabei Industrieprodukte als plastisches Material, gemalte Zeitungslettern und die Arbeitsteilung vor allem in druckgrafischen Prozessen. Fallbeispiele zeigen, dass bereits die Salon-Kunst, die Pressegrafik, ein Gemälde von Claude Monet sowie das Bild-Text-Spiel des Rebus den vermeintlichen Innovationen des 20. Jahrhunderts – Collage und Ready-made – den Weg ebneten.
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Edited by Daniëlle Slootjes and Mariette Verhoeven

In twelve contributions, Byzantium in Dialogue with the Mediterranean. History and Heritage shows that throughout the centuries of its existence, Byzantium continuously communicated with other cultures and societies on the European continent, as well as North Africa and in the East. In this volume, ‘History’ represents not only the chronological, geographical and narrative background of the historical reality of Byzantium, but it also stands for an all-inclusive scholarly approach to the Byzantine world that transcends the boundaries of traditionally separate disciplines such as history, art history or archaeology. The second notion, ‘Heritage’, refers to both material remains and immaterial traditions, and traces that have survived or have been appropriated.
Contributors are Hans Bloemsma, Elena Boeck, Averil Cameron, Elsa Cardoso, Cristian Caselli, Evangelos Chrysos, Konstantinos Chryssogelos, Penelope Mougoyianni, Daphne Penna, Marko Petrak, Matthew Savage, Daniëlle Slootjes, Karen Stock, Alex Rodriguez Suarez and Mariëtte Verhoeven.
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Illuminating Sanctity

The Body, Soul and Glorification of Saint Amand

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Maria R. Grasso

Maria R. Grasso’s monograph on the twelfth-century illustrated vita of Saint Amand, Valenciennes, Bibliothèque municipale MS 500, presents new information regarding its contents. The author’s discovery and analysis of a second almost complete set of preliminary drawings beneath another set of the same drawings demonstrates that important alterations were made prior to the execution of the cycle. Grasso’s discussion includes the probable reason for the change: the isolation of the terminating folio depicting the soul of Amand. This important devotional image is the focus of detailed analysis since the soul of Amand rests in the lap of a male figure she convincingly identifies as Christ, an extremely unusual placement for the soul of a saint, demonstrating the creativity of the artists.
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Applied Arts in British Exile from 1933

Changing Visual and Material Culture

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Edited by Marian Malet, Rachel Dickson, Sarah MacDougall and Anna Nyborg

Yearbook Volume 19 continues an investigation which began with Arts in Exile in Britain 1933-45 (Volume 6, 2004). Twelve chapters, ten in English and two in German, address and analyse the significant contribution of émigrés across the applied arts, embracing mainstream practices such as photography, architecture, advertising, graphics, printing, textiles and illustration, alongside less well known fields of animation, typography and puppetry. New research adds to narratives surrounding familiar émigré names such as Oskar Kokoschka and Wolf Suschitzky, while revealing previously hidden contributions from lesser known practitioners. Overall, the volume provides a valuable addition to the understanding of the applied arts in Britain from the 1930s onwards, particularly highlighting difficulties faced by refugees attempting to continue fractured careers in a new homeland.

Contributors are: Rachel Dickson, Burcu Dogramaci, Deirdre Fernand, Fran Lloyd, David Low, John March, Sarah MacDougall, Anna Nyburg, Pauline Paucker, Ines Schlenker, Wilfried Weinke, and Julia Winckler.
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Andrea Pearson

In Gardens of Love and the Limits of Morality in Early Netherlandish Art, Andrea Pearson charts the moralization of human bodies in late medieval and early modern visual culture, through paintings by Jan van Eyck and Hieronymus Bosch, devotional prints and illustrated books, and the celebrated enclosed gardens of Mechelen among other works. Drawing on new archival evidence and innovative visual analysis to reframe familiar religious discourses, she demonstrates that depicted topographies advanced and sometimes resisted bodily critiques expressed in scripture, conduct literature, and even legislation. Governing many of these redemptive greenscapes were the figures of Christ and the Virgin Mary, archetypes of purity whose spiritual authority was impossible to ignore, yet whose mysteries posed innumerable moral challenges. The study reveals that bodily status was the fundamental problem of human salvation, in which artists, patrons, and viewers alike had an interpretive stake.
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Edited by Pamela M. Jones, Barbara Wisch and Simon Ditchfield

This volume, edited by Pamela M. Jones, Barbara Wisch, and Simon Ditchfield, focuses on Rome from 1492-1692, an era of striking renewal: demographic, architectural, intellectual, and artistic. Rome’s most distinctive aspects--including its twin governments (civic and papal), unique role as the seat of global Catholicism, disproportionately male population, and status as artistic capital of Europe--are examined from numerous perspectives. This book of 30 chapters, intended for scholars and students across the academy, fills a noteworthy gap in the literature. It is the only multidisciplinary study of 16th- and 17th-century Rome that synthesizes and critiques past and recent scholarship while offering innovative analyses of a wide range of topics and identifying new avenues for research.

Contributors are: Renata Ago, Elisa Andretta, Katherine Aron-Beller, Lisa Beaven, Eleonora Canepari, Christopher Carlsmith, Patrizia Cavazzini, Elizabeth S. Cohen, Thomas V. Cohen, Jeffrey Collins, Simon Ditchfield, Anna Esposito, Federica Favino, Daniele V. Filippi, Irene Fosi, Kenneth Gouwens, Giuseppe Antonio Guazzelli, John M. Hunt, Pamela M. Jones, Carla Keyvanian, Margaret A. Kuntz, Stephanie C. Leone, Evelyn Lincoln, Jessica Maier, Laurie Nussdorfer, Toby Osborne, Miles Pattenden, Denis Ribouillault, Katherine W. Rinne, Minou Schraven, John Beldon Scott, Barbara Wisch, Arnold A. Witte.
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The Shroud at Court

History, Usages, Places and Images of a Dynastic Relic

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Edited by Paolo Cozzo, Andrea Merlotti and Andrea Nicolotti

The Shroud at the Court analyses, through various essays characterized by a multidisciplinary and diachronic perspective, the strict ties created between the Shroud and the Savoy court from the fifteenth to twentieth centuries. Presented as proof of the divine legitimacy of Savoy lineage, the Shroud (of which the Savoy dynasty came into possession in 1453, keeping it first in Chambéry and then from 1578 in Turin) was central to their propagandistic strategies. The court – its spaces, protagonists, and rituals – became the natural setting for a relationship reinforced over time through customs, ceremonies, and images intended to celebrate the excellence of the Savoy, both within their own state and in Europe’s “society of princes”.
Contributors are Paola Caretta, Paolo Cornaglia, Paolo Cozzo, Davide De Franco, Bernard Dompnier, Laura Gaffuri, Pierangelo Gentile, Luisella Giachino, Andrea Merlotti, Frédéric Meyer, Andrea Nicolotti, Almudena Pérez de Tudela, Laurent Ripart, Alessandro Serra and Franca Varallo.
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Edited by Laura Whatley

A Companion to Seals in the Middle Ages is a cross-disciplinary collection of fourteen essays on medieval sigillography. It is organized thematically, and it emphasizes important, often cutting-edge, methodologies for the study of medieval seals and sealing cultures.
As the chronological, temporal and geographic scope of the essays in the volume suggests, the study of the medieval seal—its manufacture, materiality, usage, iconography, inscription, and preservation—is a rich endeavour that demands collaboration across disciplines as well as between scholars working on material from different regions and periods. It is hoped that this collection will make the study of medieval seals more accessible and will stimulate students and scholars to employ and further develop these material and methodological approaches to seals.
Contributors are Adrian Ailes, Elka Cwiertnia, Paul Dryburgh, Emir O. Filipovi, Oliver Harris, Philippa Hoskin, Ashley Jones, Andreas Lehnertz, John McEwan, Elizabeth A. New, Jonathan Shea, Caroline Simonet, Angelina A. Volkoff, and Marek L. Wójcik.
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Edited by Konrad Eisenbichler

After the State and the Church, the most well organized membership system of medieval and early modern Europe was the confraternity. In cities, towns, and villages it would have been difficult for someone not to be a member of a confraternity, the recipient of its charity, or aware of its presence in the community. In A Companion to Medieval and Early Modern Confraternities, Konrad Eisenbichler brings together an international group of scholars to examine confraternities from various perspectives: their origins and development, their devotional practices, their charitable activities, and their contributions to literature, music, and art. The result is a picture of confraternities as important venues for the acquisition of spiritual riches, material wealth, and social capital. Contributors include: Alyssa Abraham, Davide Adamoli, Christopher F. Black, Dominika Burdzy , David D’Andrea, Konrad Eisenbichler, Anna Esposito, Federica Francesconi, Marina Gazzini, Jonathan Glixon, Colm Lennon, William R. Levin, Murdo J. MacLeod, Nerida Newbigin, Dylan Reid, Gervase Rosser, Nicholas Terpstra, Paul Trio, Anne-Laure Van Bruaene, Beata Wojciechowska, and Danilo Zardin.
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Aztec Religion and Art of Writing

Investigating Embodied Meaning, Indigenous Semiotics, and the Nahua Sense of Reality

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Isabel Laack

In her groundbreaking investigation from the perspective of the aesthetics of religion, Isabel Laack explores the religion and art of writing of the pre-Hispanic Aztecs of Mexico. Inspired by postcolonial approaches, she reveals Eurocentric biases in academic representations of Aztec cosmovision, ontology, epistemology, ritual, aesthetics, and the writing system to provide a powerful interpretation of the Nahua sense of reality.

Laack transcends the concept of “sacred scripture” traditionally employed in religions studies in order to reconstruct the Indigenous semiotic theory and to reveal how Aztec pictography can express complex aspects of embodied meaning. Her study offers an innovative approach to nonphonographic semiotic systems, as created in many world cultures, and expands our understanding of human recorded visual communication.

This book will be essential reading for scholars and readers interested in the history of religions, Mesoamerican studies, and the ancient civilizations of the Americas.

'This excellent book, written with intellectual courage and critical self-awareness, is a brilliant, multilayered thought experiment into the images and stories that made up the Nahua sense of reality as woven into their sensational ritual performances and colorful symbolic writing system.'
Davíd Carrasco, Harvard University