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The Influence of the Vienna School of Art History II: The 100th Anniversary of Max Dvořák’s Death: Conference Report
Get PDFThe report concludes the results of the international conference organized on 15-16 April 2021 by the Institute of Art History of the Czech Academy of Sciences to commemorate 100 years since the death of Czech born Viennese art historian Max Dvořák’ (1874–1921). It shows the wide range of professional work that Dvořák covered during his short life as well as wide range of possibilities of how his work influenced the art history elaborated after his death. The report also shows the plurality in which Dvořák’s art historical research is interpreted today
Wilhelm Vöge’s sonnet “On the platform of Strasbourg Cathedral” and his monograph on Niclas Hagnower
Get PDFWilhelm Vöge (1868–1952) was a pioneer of German art history whose scientific work connects profound historical research with a language of description very close to poetry, meant to concentrate his scientific findings in order to get into contact with the creative side of the artistic self. Therefore, it is interesting that a yet unknown sonnet exists about the Cathedral of Strasbourg and some famous artists of the Upper Rhine, among them Grünewald, the master of the Isenheim altar and the Stuppacher Madonna, written by Vöge himself at the back of his personal copy of his Nicolas-Hagnower-monograph (1929/30) that extrapolates Vöges scientific findings poetically
Panofsky’s Antinomies
Get PDFThis article reconstructs the Neo-Kantian framework of Erwin Panofsky’s theoretical essays of the 1910s and 1920s, demonstrating that the schematic subject/object relation developed in these publications is also implicitly at work in Panofsky’s Perspective as Symbolic Form as well as early iconographic studies such as Hercules am Scheidewege. The article then draws on György Lukács and Gillian Rose to argue that there is a circularity in Panofsky’s method whereby the empirically given assumes the role of a ‘quasitranscendental’ a priori object, and furthermore that Ernst Cassirer’s philosophy of culture (with which Panofsky was in close dialog) shares this circularity. The aim of this article is not primarily to expose inconsistencies in Panofsky’s method, but rather to suggest that the impasses that art history encountered in its attempts to formalize itself as a discipline may serve as the point of departure for a future materialist art history
Studying gestures in art
Get PDFIn 1887, when art history was concerned with aethetics and the study of individual artist, Lange, like Warburg after him, encouraged the discussion of broader issues of representation, positioning his study of the representation of a human gesture at the intersection of psychology and art history. Lange inspired J.J. Tikkanen and others to conduct more thorough histories of individual gestures, while the enquiry in the formation and tradition of human expressive gestures in art was continued by Warburg, Saxl and Gombrich. My introduction traces these developments from the viewpoint of a more recent, Baxandallian, approach that defines gesture as entirely conventional
The History of a Motif, tr. Karl Johns
Get PDFOriginally published as ‘Et Motivs Historie’, Nordisk Tidskrift for vetenskap, konst och industri, Letterstedtska foereningen, 1888, pp. 475-494. Reprinted: Udvalgte skrifter af Julius Lange, udgivne af Georg Brandes og P. Købke, Andet bind, København: Det nordiske forlag, 1901, pp. 69-88
Michelangelo and marble (Copenhagen Gads, 1876), tr. Karl Johns
Get PDFOriginally published as ‘Michelangelo og marmoret (1876),’ Axel Sophus Guldberg ed., Fra Videnskabens Verden Almenfattelige Smaaskrifter af danske og norske Videnskabsmænd, 3rd ser., Copenhagen: Gad, 1876, Julius Lange, Billedkunst skildringer och studier fra hjemmet og udlandet, København: P. G. Philipsens forlag, 1884, pp. 68-128. Reprinted: Udvalgte skrifter af Julius Lange, udgivne af Georg Brandes og P. Købke, Tredje bind, København: Det nordiske forlag, 1903, pp. 42-77. And in German translation as ‘Michelangelo und der Marmor,’ Julius Lange’s ausgewählte Schriften (1875-1885), herausgegeben von Georg Brandes und Peter Købke, unter Mitwirkung von Alfred Wien übersetzt von Ida Anders, Strasbourg: Heitz, Erster Band, 1911, pp. 45-78
Tracing the public of the first Parisian library for art and archaeology: on the readership at Doucet’s library (1910-1914)
Get PDFIn 1909, the grand couturier Jacques Doucet opened a library dedicated to art history and archaeology. Soon this library, although the result of a private initiative, gained a reputation for scholarly depth and utility, reflected in its reader’s register. The nearly 1,500 individual registration cards that survive from its early years provide documentation of the public that patronized the first art history library in France. Geolocation of the individual readers provides information on their socio-cultural backgrounds, while network analysis reveals personal and institutional relationships between the library and other institutions such as museums, libraries and universities. A more precise focus on selected readers helps to establish a prosopography that establishes their proximity or heterogeneity. This paper aims to demonstrate the unique role of this institution in the scientific and institutional landscape, both national and international, at a time when art history was emerging as a scientific field
‘Painting Art History’. Review of: Léa Kuhn, Gemalte Kunstgeschichte. Bildgenealogien in der Malerei um 1800, Paderborn: Fink 2020, ISBN-13: 978-3-7705-6453-8, 333pp., EUR 69,00.
Get PDFIn her new book “Gemalte Kunstgeschichte” [Painted Art History] Léa Kuhn argues that the late 18th-century saw not only the rise of modern art historiography as a scholarly discipline, but that artists increasingly painted pictures that reflected on their own historicity. Kuhn develops her argument through close-readings of three self-portraits by Johann Heinrich Wilhelm Tischbein, William Dunlap, Marie-Gabrielle Capet. This review discusses her approach and its the insights it offers for the study of art historiography
Securing technology-critical metals for Britain
Get PDFIn the next 5-10 years the UK is going to see dramatic changes to many of its large industrial sectors, such as automotive, aerospace, and energy generation, as we move from a fossil-fuel-driven society to an electrically driven one. Many of these industries will be dependent on technology-critical metals (TCMs), for example, cobalt and lithium for the batteries in electric vehicles and rare-earths used in the magnets for electric motors and wind turbines.
Many regions of the world, including the EU, have been developing strategies to access these technology-critical metals for their key industries, while the UK has lagged behind. The challenges already faced around access to key technology metals are potentially complicated for the UK by the nation’s exit from the EU, and the uncertainty that this has created with regard to trading relationships around the globe. It is in this challenging context that the UK must now fashion its own independent policy for access to technology critical metals
Max Dvořák in the 1960s: a re-construction of tradition
Get PDFThe impact of Max Dvořák is habitually considered to consist of reading his texts. I would like to argue that the key aspect is rather an interpretation and representation and that their mode depends on specific conditions of time and place. A recapitulation of renewed interest in Dvořák in Czech art historiography during the 1960s recognizes the strategies that were used to adapt his “idealistic” methodology for the use of the period Marxist-Leninist scholarship. It was only due to success of this re-interpretation campaign that Dvořák was able to fill the position of the “father of Czech art history”
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