Wiener Jahrbuch für Kunstgeschichte
Characteristic for all contributions to the Wiener Jahrbuch in 2010 is the presentation of latest research findings with the help of methodological refinements. Thus Assaf Pinkus suggests a new interdisciplinary approach for trecento painting, which brings the viewer's perceptions into an analysis o...
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| Materialtyp: | Online |
| Språk: | tyska |
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Böhlau
2021
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| Länkar: | 574828 |
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| _version_ | 1869517692162015232 |
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| author | Aurenhammer, Hans H. Schwarz, Michael Viktor |
| author_browse | Aurenhammer, Hans H. Schwarz, Michael Viktor |
| author_facet | Aurenhammer, Hans H. Schwarz, Michael Viktor |
| author_sort | Aurenhammer, Hans H. |
| collection | Directory of Open Access Books |
| description | Characteristic for all contributions to the Wiener Jahrbuch in 2010 is the presentation of latest research findings with the help of methodological refinements. Thus Assaf Pinkus suggests a new interdisciplinary approach for trecento painting, which brings the viewer's perceptions into an analysis of image creation. Milena Bartlová, on the other hand, addresses the little considered subject of the iconoclasm of Bohemian Hussites. An important finding is that Hussitism was unable to give up the image in its medieval function, since the printed book - which could have taken over the communicative qualities of the image - had not yet been invented. Giovan Battista Fidanza also deals with a little considered subject - namely Michelangelo as wood carver. He is able to demonstrate convincingly that Michelangelo applied prefabricated blocks of limewood in the assemblage of his wooden crucifixes.
The four subsequent articles are dedicated to Baroque art. Eckhart Leuschner defines the Baroque allegory as a constant and internationally standardised deployment of formal and semantic possibilities. At the centre of Kristoffer Neville's contribution is an early version of Fischer von Erlach's Entwurff einer historischen Architectur, with the help of which the creative process of Fischer's main architectural-theoretical work is reconstructed. In the complicated memoria programme of the state sarcophagus finished for Franz Stephan and Maria Theresia in 1754 in the crypt of the Vienna Capuchin Church, Werner Telesko identifies both Antique and Christian strands of tradition. Werner Hofmann, meanwhile, recognises the 1711 endowment decree for Lothar Franz von Schönborn as an inofficial foundation source for Schloss Pommersfelden and traces a 'hypertext' within the decree, which represents the key for the building's iconography.
The amateur drawings of the Habsburgs from the 19th century are comprehended by Kerstin Merkel as autonomous non-verbal sources and integrated with historical information. Iris Wien, by contrast, sets two self-portraits of Andy Wahrhol within his known oeuvre and convincingly suggests an interpretation as Medusa.
In the last four contributions to the volume, the Memorabilia, important contemporary historical documents for the history of the Vienna School are published and made accessible. Alexandra Caruso edits the memoirs of Erica Tietze Conrat. The letters of Wilde, presented by Károly Kókai, provide insights into events within the circles of Vienna art history at that time. Evonne Levy publishes for the first time a selection of letters written by Hans Sedlmayr to Meyer Schapiro in the period 1930-35. Charles Hope succeeds in portraying in convincing complexity the scholarly range of Sir Ernst Gombrich. |
| format | Online |
| id | doab-20.500.12854ir-32423 |
| institution | Directory of Open Access Books |
| language | ger |
| publishDate | 2021 |
| publishDateRange | 2021 |
| publishDateSort | 2021 |
| publisher | Böhlau |
| publisherStr | Böhlau |
| record_format | ojs |
| spelling | doab-20.500.12854ir-324232025-07-30T10:21:16Z Wiener Jahrbuch für Kunstgeschichte Aurenhammer, Hans H. Schwarz, Michael Viktor research baroque art methodology modern art medieval art historiography Wien thema EDItEUR::A The Arts thema EDItEUR::A The Arts Characteristic for all contributions to the Wiener Jahrbuch in 2010 is the presentation of latest research findings with the help of methodological refinements. Thus Assaf Pinkus suggests a new interdisciplinary approach for trecento painting, which brings the viewer's perceptions into an analysis of image creation. Milena Bartlová, on the other hand, addresses the little considered subject of the iconoclasm of Bohemian Hussites. An important finding is that Hussitism was unable to give up the image in its medieval function, since the printed book - which could have taken over the communicative qualities of the image - had not yet been invented. Giovan Battista Fidanza also deals with a little considered subject - namely Michelangelo as wood carver. He is able to demonstrate convincingly that Michelangelo applied prefabricated blocks of limewood in the assemblage of his wooden crucifixes. The four subsequent articles are dedicated to Baroque art. Eckhart Leuschner defines the Baroque allegory as a constant and internationally standardised deployment of formal and semantic possibilities. At the centre of Kristoffer Neville's contribution is an early version of Fischer von Erlach's Entwurff einer historischen Architectur, with the help of which the creative process of Fischer's main architectural-theoretical work is reconstructed. In the complicated memoria programme of the state sarcophagus finished for Franz Stephan and Maria Theresia in 1754 in the crypt of the Vienna Capuchin Church, Werner Telesko identifies both Antique and Christian strands of tradition. Werner Hofmann, meanwhile, recognises the 1711 endowment decree for Lothar Franz von Schönborn as an inofficial foundation source for Schloss Pommersfelden and traces a 'hypertext' within the decree, which represents the key for the building's iconography. The amateur drawings of the Habsburgs from the 19th century are comprehended by Kerstin Merkel as autonomous non-verbal sources and integrated with historical information. Iris Wien, by contrast, sets two self-portraits of Andy Wahrhol within his known oeuvre and convincingly suggests an interpretation as Medusa. In the last four contributions to the volume, the Memorabilia, important contemporary historical documents for the history of the Vienna School are published and made accessible. Alexandra Caruso edits the memoirs of Erica Tietze Conrat. The letters of Wilde, presented by Károly Kókai, provide insights into events within the circles of Vienna art history at that time. Evonne Levy publishes for the first time a selection of letters written by Hans Sedlmayr to Meyer Schapiro in the period 1930-35. Charles Hope succeeds in portraying in convincing complexity the scholarly range of Sir Ernst Gombrich. Kennzeichnend für alle Beiträge des Wiener Jahrbuches 2010 ist die Präsentation neuester Forschungserkenntnisse mit Hilfe methodischer Raffinessen. So schlägt Assaf Pinkus einen interdisziplinären Zugang für die Trecento-Malerei vor, der Wahrnehmungen des Betrachters in die Analyse der Bilderfindung einbezieht. Milena Bartlová hingegen wendet sich der wenig beachteten Thematik des Bildersturms böhmischer Hussiten zu. Wichtig ist ihre Erkenntnis, dass der Hussitismus das Bild in seiner mittelalterlichen Funktion nicht aufgeben konnte, weil der Buchdruck noch nicht erfunden war, der die kommunikativen Eigenschaften des Bildes hätte übernehmen können. Auch Giovan Battista Fidanza beschäftigt sich mit einem wenig beachteten Thema - nämlich Michelangelo als Holzbildhauer. Er kann überzeugend nachweisen, dass Michelangelo für seine Holzkruzifixe in Assemblagetechnik vorgefertigte Blöcke aus Lindenholz verwendete. Die vier folgenden Themen sind der barocken Kunst gewidmet. Die barocke Allegorie definiert Eckhard Leuschner als konstantes und international vereinheitlichtes Dispositiv formaler und semantischer Möglichkeiten. In Kristoffer Nevilles Aufsatz steht eine frühe Version Fischer von Erlachs Entwurff einer historischen Architectur im Mittelpunkt, mit Hilfe derer der Entstehungsprozess von Fischers architekturtheoretischem Hauptwerk rekonstruiert wird. In dem komplizierten Memoria-Programm des 1754 gefertigten Prunksarkophags für Franz Stephan und Maria Theresia in der Wiener Kapuzinergruft kann Werner Telesko die beiden Traditionsstränge Antike und Christentum auffinden. Indes erkennt Werner Hofmann das Dotationsdekret von 1711 für Lothar Franz von Schönborn als inoffizielle Gründungsurkunde des Schlosses Pommersfelden und spürt in dem Dekret einen "Hypertext" auf, der der Schlüssel für die Ikonographie des Gebäudes ist. Die Laienzeichnungen der Habsburger aus dem 19. Jahrhundert begreift Kerstin Merkel als eigenständige, nonverbale Quellen und vernetzt diese mit historischen Informationen. Iris Wien dagegen verortet zwei Selbstbildnisse Andy Wahrhols in seinem bisherigen Oeuvre und schlägt eine stichhaltige Interpretation als Medusa vor. In den vier letzten Beiträgen dieses Bandes, den Memorabilia, werden wichtige zeitgeschichtliche Dokumente für die Geschichte der Wiener Schule publiziert und lesbar gemacht. Alexandra Caruso gibt Erinnerungen Erica Tietze Conrats heraus. Die von Károly Kókai bearbeiteten Briefe Wildes ermöglichen Einblicke in die Ereignisse innerhalb der Kreise der damaligen Wiener Kunstgeschichte. Evonne Levy publiziert zum ersten Mal eine Auswahl an Briefen, die Hans Sedlmayr an Meyer Schapiro in der Zeit von 1930-1935 sendet. Charles Hope gelingt es, die wissenschaftliche Vielfältigkeit Sir Ernst Gombrichs in einer bestechenden Komplexität darzustellen. 2021-02-10T12:58:18Z 2015-12-31 23:55:55 2020-01-29 16:02:26 2020-04-01T14:29:19Z 2011 book 574828 OCN: 1030820010 http://library.oapen.org/handle/20.500.12657/33066 9783205786740 https://directory.doabooks.org/handle/20.500.12854/32423 ger open access image/jpeg image/jpeg image/jpeg image/jpeg image/jpeg image/jpeg image/jpeg image/jpeg https://library.oapen.org/bitstream/20.500.12657/33066/1/574828.pdf https://library.oapen.org/bitstream/20.500.12657/33066/1/574828.pdf https://library.oapen.org/bitstream/20.500.12657/33066/1/574828.pdf https://library.oapen.org/bitstream/20.500.12657/33066/1/574828.pdf https://library.oapen.org/bitstream/20.500.12657/33066/1/574828.pdf https://library.oapen.org/bitstream/20.500.12657/33066/1/574828.pdf https://library.oapen.org/bitstream/20.500.12657/33066/1/574828.pdf https://library.oapen.org/bitstream/20.500.12657/33066/1/574828.pdf Böhlau 10.26530/oapen_574828 10.26530/oapen_574828 Austrian Science Fund 26ae1657-c58f-4f1d-a392-585ee75c293e 9783205786740 Austrian Science Fund (FWF) Böhlau 271 D 4282 open access |
| spellingShingle | research baroque art methodology modern art medieval art historiography Wien thema EDItEUR::A The Arts thema EDItEUR::A The Arts Aurenhammer, Hans H. Schwarz, Michael Viktor Wiener Jahrbuch für Kunstgeschichte |
| title | Wiener Jahrbuch für Kunstgeschichte |
| title_full | Wiener Jahrbuch für Kunstgeschichte |
| title_fullStr | Wiener Jahrbuch für Kunstgeschichte |
| title_full_unstemmed | Wiener Jahrbuch für Kunstgeschichte |
| title_short | Wiener Jahrbuch für Kunstgeschichte |
| title_sort | wiener jahrbuch fur kunstgeschichte |
| topic | research baroque art methodology modern art medieval art historiography Wien thema EDItEUR::A The Arts thema EDItEUR::A The Arts |
| topic_facet | research baroque art methodology modern art medieval art historiography Wien thema EDItEUR::A The Arts thema EDItEUR::A The Arts |
| url | 574828 |
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