Josef Strzygowski
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Center for Open Access in Science Open Journal for Studies in History 2020 ● Volume 3 ● Number 1 https://doi.org/10.32591/coas.ojsh.0301 ISSN (Online) 2620-066X OPEN JOURNAL FOR STUDIES IN HISTORY (OJSH) ISSN (Online) 2620-066X www.centerprode.com/ojsh.html [email protected] Publisher: Center for Open Access in Science (COAS) Belgrade, SERBIA www.centerprode.com [email protected] Editorial Board: Spyridon Sfetas (PhD) Aristotle University of Thessaloniki, Faculty of Letters, GREECE Ilya Evgenyevich Andronov (PhD) Moscow State Lomonosov University, Faculty of History, RUSSIAN FEDERATION Mirela-Luminita Murgescu (PhD) University of Bucharest, Faculty of History, ROMANIA Kostadin Rabadjiev (PhD) Sofia University “St. Kliment Ohridski”, Faculty of History, BULGARIA Snezhana Dimitrova (PhD) South-West University “Neofit Rilski”, Department of History, Blagoevgrad, BULGARIA Nikola Zhezhov (PhD) Ss. Cyril and Methodius University of Skopje, Faculty of Philosophy, NORTH MACEDONIA Vojislav Sarakinski (PhD) Ss. Cyril and Methodius University of Skopje, Faculty of Philosophy, NORTH MACEDONIA Amalia Avramidou (PhD) Democritus University of Thrace, Faculty of Classics and Humanities Studies, Komotini, GREECE Eleftheria Zei (PhD) University of Crete, Department of History and Archeology, Rethymno, GREECE Boyan Youliev Dumanov (PhD) New Bulgarian University, School of Graduate Studies, Sofia, BULGARIA Boryana Nikolaeva Miteva (PhD) Sofia University “St. Kliment Ohridski”, Faculty of History, Sofia, BULGARIA Florian Bichir (PhD) University of Piteşti, Faculty of Theology, Literature, History and Arts, ROMANIA Executive Editor: Goran Pešić Center for Open Access in Science, Belgrade Open Journal for Studies in History, 2020, 3(1), 1-24. ISSN (Online) 2620-066X __________________________________________________________________ CONTENTS 1 The Impact of 1918 on Bulgaria George Ungureanu 11 Influences of the East on Early Christian Iconography Maria Chumak Open Journal for Studies in History, 2020, 3(1), 1-24. -
Das Archiv Des Instituts Für Kunstgeschichte Der Universität Wien
Das Archiv des Instituts für Kunstgeschichte der Universität Wien Friedrich Polleroß, Institut für Kunstgeschichte der Universität Wien Das älteste Kunsthistorische Institut Österreichs und der Anteil an politischer Einflussnahme immer größer. eines der bedeutendsten Europas verfügt über ein be- Die Diskriminierung und Verfolgung von jüdischen merkenswertes Archiv. Dieses „Archiv“ bzw. die „Nach- Studierenden und Wissenschaftler*innen manifestierte lass-Sammlung“ setzt sich aus drei Bestandsgruppen zu- sich in eigenen „Studienregelungen für Juden“ sowie einer sammen : „Liste der Bücher im Judenkasten“. Neben Hinweisen auf die Konfiskationen von Kunstwerken (Stift St. Florian, I. Akten des Institutsarchives Stift Melk) sowie den zunehmenden Kriegseinwirkungen gab es auch fachspezifische Schwerpunkte wie die Ein- Dieser Bestand beginnt 1882 und umfasst zunächst Korre- richtung einer „Ostabteilung“, die Konzeption einer „Zeit- spondenzen der Lehrkanzeln Moritz Thaussing und Franz schrift für die Kunstgeschichte Südosteuropas“ oder einer Wickhoff mit dem Dekan, dem Ministerium und der Nie- Schriftenreihe für den „Kriegseinsatz der Geisteswissen- derösterreichischen Statthalterei, wobei es vorwiegend um schaften“. Der „totale Kriegseinsatz“ begann mit Luft- Finanzangelegenheiten und Anschaffungen geht. Hervor- schutzdiensten der Studierenden sowie einer Verordnung gehoben sei eine Bitte um ein Gutachten von Wickhoff zum zu Sitzplätzen für Kriegsversehrte und endete 1944/45 mit Statutenentwurf des geplanten kunsthistorischen Seminars Kriegsbergungen -
Ikonotheka 30, 2020
IKONOTHEKA 30, 2020 Tomáš Murár insTiTuTe oF arT hisTory, czech academy oF sciences, czech republic orcid: 0000-0002-3418-1941 https://doi.org/10.31338/2657-6015ik.30.1 “A work of art is an object that necessitates contemplation”. Latency of visual studies within the Vienna School of Art History? Abstract This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. The article suggests the possible influence of Georg Simmel’s philosophy on Dvořák in this time, evident mainly in Dvořák’s interpretation of Pieter Bruegel the Elder’s art, written by Dvořák in 1920 and published posthumously in 1921. This another view on the Vienna School of Art History is then researched in writings on Pieter Bruegel the Elder by Dvořák’s students Hans Sedlmayr and Charles de Tolnay when Tolnay extended Dvořák’s thinking and Sedlmayr challenged its premises – both Tolnay and Sedlmayr thus in the same time interpreted Bruegel’s art differently, even though they were both Dvořák’s students. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today’s approaches to art (history), mainly with the so-called visual studies. Keywords: Max Dvořák, Vienna School of Art History, Georg Simmel, Visual Studies, Charles de Tolnay, Hans Sedlmayr. Introduction In Max Dvořák’s text on the art of Pieter Bruegel the Elder, written in 1920 and published posthumously in 1921,1 a reference to Georg Simmel’s interpretation of 1 M. -
Viennese Art, Ugliness, and the Vienna School of Art History: the Vicissitudes of Theory and Practice
Viennese art, ugliness, and the Vienna school of art history: the vicissitudes of theory and practice Kathryn Simpson Around 1900 in Vienna, the concept of ugliness developed a new significance in both art theory and practice. The theorists of the Vienna school of art history, including Franz Wickhoff, Alois Riegl, and later Otto Benesch and Max Dvoř{k, rejected the scholarly tradition of Germanic contemporaries like renowned art historian Heinrich Wölfflin, who championed classical art as the highest aesthetic good. By contrast the Vienna school art historians opposed absolute aesthetics and its insistence that a specifically classical beauty was the goal of all art.1 At the dawn of the twentieth century, Wickhoff and Riegl both presented radically new theories arguing for a revaluation of aesthetic values, a non-hierarchical relationship between so-called beauty and ugliness, and the importance of developing an art that was appropriate for the age. Ugliness was suddenly spotlighted in Viennese artistic practice as well. Gustav Klimt was the undisputed king of the Viennese art scene; he had inherited the throne from the revered history painter, designer, and decorator Hans Makart, whose sensual, decorative sensibility had defined late-nineteenth-century tastes in Vienna, giving rise to the term Makartstil, or ‘Makart style.’ After three years as the leader of the Vienna Secession movement, Klimt produced a series of works of art which enraged sectors of the intellectual establishment and the general public, who reacted in particular to the purported ugliness of Klimt’s latest visions. Yet shortly thereafter young Viennese artists eager to lead what they called the ‘new art’ movement began to develop deliberate strategies of ugliness to help create and buttress their own antagonistic artistic personae. -
Art History and the Founding of the Modern Turkish State
ART HISTORY AND THE FOUNDING OF THE MODERN TURKISH STATE Burcu Dogramaci Translated by Charlotte Schoell-Glass The Origins of Art History in Turkey “The true leader in life is knowledge”: with this sentence the founder of modern Turkey, Mustafa Kemal Atatürk, defined one of the principles of his reformist politics. The building of a landscape of universities was one of the political leadership’s main concerns after the proclamation of the Turkish Republic in 1923. Its aim was the modernization of a country that had been dominated for centuries in all areas of society, its culture and the sciences, by Islam. Religious schooling institutions (‘Darülfünun’) were secularized immediately, and institutes and universities after the Western European model were founded in quick succession. The establishment of art history as a discipline in Turkey was achieved in the 1940s. At that time, Turkish ministries tried to bring foreign scholars to the country to press ahead with the establishment of art history. The foundations for the development of the field had been laid early on by the Vienna art historian Josef Strzygowski (1862–1941). He had been in close contact with Istanbul already in the 1920s and 1930s.1 In search of their own Turkish identity outside of the Ottoman culture, republican schol- ars in Turkey were fascinated by Strzygowski’s ideas and ideologies. In his writings and lectures the art historian emphasized the importance of nation and ‘race’ for the production of culture. These arguments, founded on ethnicity, were in accordance with the Kemalists’ sense of nationhood and their concern with superseding Islamic cultural history.2 Strzygowski also emphasized the necessity of re-evaluating those cultures in Asia that 1 Strzygowski was invited in 1932 to speak at the First Turkish History Conference under Atatürk’s patronage. -
Max Dvorák Und Die Revision Der Mittelalter-Kunstgeschichte Im
Max Dvořák and the History of Medieval Art Hans H. Aurenhammer Figure 1 Max Dvořák (1874–1921) Max Dvořák (fig. 1) is known primarily for his book Kunstgeschichte als Geistesgeschichte as well as for his modernist interpretations of Tintoretto and El Greco which led to the rehabilitation of Mannerism. It may thus come as a surprise that, on the occasion of the hundredth anniversary of his birth, his former assistant Karl Maria Swoboda remarked that Dvořák actually devoted his lifework not to the art of the sixteenth century, but above all to the ‘universal-historical’ interpretation of the Middle Ages.1 This essay was read at the Viennese Art Historiography Colloquium at the University of Glasgow (2nd-3rd October 2009) which was organized by Richard Woodfield. It was translated by Judith Rosenthal, Frankfurt am Main. To maintain the character of a lecture the notes have been limited to the absolutely necessary citations. A different and more extensive version of the essay (with full citations in German) will be published in the acts of the symposium ‚Die Etablierung und Entwicklung des Faches Kunstgeschichte in Deutschland, Polen und Mitteleuropa’ which has been held at Cracow in 2007. 1 Karl Maria Swoboda, ‘Vortrag zum 30. Todestag von Max Dvorák. Gehalten an der Universität Wien’, Österreichische Zeitschrift für Kunst und Denkmalpflege XXVIII (1974), p. 76. Hans Aurenhammer Max Dvořák and the History of Medieval Art Dvořák’s published writings do not seem to substantiate this assertion in the least. Naturally, we know that two of Dvořák’s most extensive essays were concerned with the Middle Ages: The Enigma of the Art of the Van Eyck Brothers2 and Idealism and Naturalism in Gothic Sculpture and Painting.3 In the text on the Van Eycks, which was published in 1904, the young Dvořák undertook to test the evolutionist paradigm of the Viennese school of art history against a previously unparalleled historical rupture: the amazing naturalism practised by the early Netherlandish painters. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Monument Question in Late Habsburg Austria A Critical Introduction to Max Dvořák’s Denkmalpflege Jonathan Blower Doctor of Philosophy The University of Edinburgh 2012 Abstract The present thesis is a critical introduction to a body of writings on heritage conservation by the Czech-born art historian Max Dvořák (1874–1921). From 1905 onwards, Dvořák was both professor of art history at the University of Vienna and Conservator General at the state institution responsible for heritage conservation in Austria: the ‘Royal and Imperial Central Commission for the Research and Preservation of Artistic and Historical Monuments’ (est. 1850). His published and archival texts on the subject are presented here for the first time in English translation. In this sense, the thesis follows the model of existing scholarship on the visual arts in Vienna around 1900, namely the combined English translations and critical introductions to the writings of Camillo Sitte (Collins & Collins, 1986), Otto Wagner (Mallgrave, 1988) and Alois Riegl (Forster & Ghirardo, 1982). -
Byzantine Town Planning – Does It Exist? (With Plates 8–21)
57 H ANS B UC H WALD Byzantine Town Planning – Does it Exist? (with plates 8–21) For Eduard Sekler There are many equally valid, parallel approaches to the study of Byzantine cities. My approach is that of a practicing town planner and an architectural historian. Town planning today is concerned with physical properties of cities such as their topography, circulation patterns, pedestrian spaces, buildings, and urban accents; however, town planning is, and probably always was, equally concerned with urban functions, with the creation of new urban forms, with urban meanings, and with adjustments, in the course of time, to new requirements. As in all town planning, the results of the present investigation need to be complemented by those of other disciplines, for instance, (in this case) historians, economists, sociologists, and archaeologists. Hundreds of cities that existed in the Byzantine region are known by name, and at times by their ar- chaeological or contemporary remains. Generally, two distinct phases in the history of these Byzantine cities have been determined: the earlier period, which begins with the era of Constantine and, depending upon local circumstances, ends between the 5th and the 8th century, and the later period, which ends with the end of Byzantine occupation at each site. The possibility of continuity between the two phases remains an open, much discussed question, and some observations concerning one phase may also be relevant to the other. For summaries, for instance, D. CLAUDE, Die byzantinische Stadt im 6. Jahrhundert. Munich 969, –; A. H. M. JONES, The Greek City from Alexander to Justinian. Oxford 939, 85–94. -
Building Churches in Armenia: Art at the Borders of Empire and the Edge of the Canon
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Building Churches in Armenia: Art at the Borders of Empire and the Edge of the Canon Christina Maranci To cite this article: Christina Maranci (2006) Building Churches in Armenia: Art at the Borders of Empire and the Edge of the Canon, The Art Bulletin, 88:4, 656-675, DOI: 10.1080/00043079.2006.10786313 To link to this article: https://doi.org/10.1080/00043079.2006.10786313 Published online: 03 Apr 2014. Submit your article to this journal Article views: 74 Citing articles: 3 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Building Churches in Armenia: Art at the Borders of Empire and the Edge of the Canon Christina Maranci Between the index entries for “Arles” and “arms and armor” ence of multiple and distinct voices within a single voice or in most general studies of medieval art is a thin rectangle of language) and ambiguity became shrewd diplomatic devices. white space. For those seeking “Armenia,” this interval is as The Armenian structures thus can generate an alternative familiar as it is bleak, for the cultures of the Transcaucasus picture of the early medieval Christian East, one in which typically occupy a marginal position, if any, within the study military conflict activated, rather than dulled, the visual and of the Middle Ages. One might blame realities of geography verbal response. and language: a stony tableland wedged between Byzantium These churches present the additional benefit of furnish- and the Sasanian and Islamic Near East, home to a tongue ing architectural evidence from an era often considered vir- unintelligible to Greek or Latin ears, Armenia could be per- tually bereft of monuments. -
D—Architecture Et Peinture
d—Architecture et peinture THE HISTORIOGRAPHY OF ARMENIAN ARCHITECTURE: JOSEF STRZYGOWSKI, AUSTRIA, AND ARMENIA1 by CHRISTINA MARANCI University of Wisconsin Milwaukee U.S.A. In 1918, Josef Strzygowski wrote the foundational work on the history of Armenian architecture, Die Baukunst der Armenier und Europa. Draw- ing from the records of Armenian architect T‘oros T‘oramanyan, Strzy- gowski formulated a monumental comparative study in which he defined Armenia's position within the architectural developments of Byzantium, Iran, and Western Europe. As many scholars have noted, Strzygowski's thesis is problematic, mainly because of his inventive attitude towards chronology and his overtly racist interpretation of architecture2. What has received less attention, however, is the reason for Strzy- gowski's particular attraction to Armenia. Why should this prominent scholar, then Chair of the prestigious Kunsthistorisches Institut in 1 The present article is based on a chapter from my doctoral dissertation, Medieval Armenian Architecture in Historiography: Josef Strzygowski and his Legacy (MARANCI, 1998a), now published as Medieval Armenian Architecture: Constructions of Race and Nation (Leuven: Peeters, 2001). Many of the issues addressed here grew out of discus- sions with Professor Thomas DaCosta Kaufmann during a Mellon Dissertation Seminar at Princeton University in 1997. I thank Professor Kaufmann, my supervisor, Professor Slo- bodan Curcic, and Professors Nina Garsoïan, Peter Brown, John Pinto, James Russell, Suzanne Marchand, and Bert Vaux for their suggestions and comments. Much of the data analyzed herein was gathered during a research trip to the major archives of Vienna: the Hof-, Haus-, und Landesarchiv, the Universitätsarchiv, the Archiv der Republik, the Kriegsarchiv, the Archiv der Widerstand, as well as the Mekhi- tarist Monastery of Vienna. -
Introduction: the Vienna School Beyond Vienna. Art History in Central Europe
Introduction: The Vienna School beyond Vienna. Art history in Central Europe Matthew Rampley In his study Inventing Eastern Europe the historian Larry Wolff examines the way that the idea of ‘Eastern Europe’ was constructed in Enlightenment France as part of a process of cultural mapping in which the position of Paris as the centre of civilisation was confirmed and strengthened by virtue of its opposition to the backward semi-barbaric eastern ‘fringes’ of Europe.1 This division, which has long impressed itself on the political and cultural imaginary in Europe, shaped the course of art history. As recently as 1998 Steven Mansbach’s award-winning book Modern Art in Eastern Europe uncritically employed the notion of an ‘eastern’ European art, which he analysed in terms of its relation to the modernism of ‘western’ Europe.2 Nowhere has this divide between ‘east’ and ‘west’ had a more distorting effect than in the study of Austria-Hungary. A complex political, social and cultural space that occupied both eastern and western Europe, the Habsburg Empire has not fared well at the hands of commentators, who have frequently produced limited studies of individual parts, in particular, its capital city, at the expense of considering that complex network of relations that bound the imperial possessions together. The Vienna School of Art History has been no exception to this pattern. Studies of the work of its leading representatives, most notably Alois Riegl and Max Dvořák, have tended to place them the firmly within the tradition of German language scholarship. In one sense this is entirely appropriate and correct, but it risks producing a partial picture of the Vienna School. -
Journal of Art Historiography, No. 1 (December 2009)
Journal of Art Historiography, No. 1 (December 2009) Richard Woodfield ToC: Journal of Art Historiography Number 1 December 2009 Editor's introduction Vienna School: Agnes Blaha, 'Fritz Novotny and the new Vienna school of art history - an ambiguous relation' Abstract: Fritz Novotny was repeatedly described as a member of the New Vienna School. In my paper I argue that Novotny's relation to this group is rather ambiguous because Novotny, in spite of all similarities in the descriptions of formal qualities, had a very different attitude towards the role of the individual artwork than Sedlmayr and Pächt. Instead of aiming at a definite decision whether or not to include Novotny in the New Vienna School, the article demonstrates that opinions on this question can be interpreted as the result of different academic traditions in the Anglo-American and the German-speaking scientific communities. Jonathan Blower, 'Max Dvorak and Austrian Denkmalpflege at War' Abstract: As was often the case with Vienna School art historians, Max Dvo?ák (1874-1921) contributed a significant amount to the theory and practice of monument preservation. This paper considers his reactions to the precarious situation of artistic heritage during and after the first world war, which he conceived as a conflict between spiritual and material values. In writings that betray a less than objective patriotism, Italy emerges as Dvo?ák's principal antagonist, whilst critical voices in Austria - that of Karl Kraus in particular - undermined his position by calling for an end to the so-called monument cult. Ricardo di Mambro Santos, 'The concentric critique. Schlosser's Kunstliteratur and the paradigm of style in Croce and Vossler' Abstract: The essay analyzes the philosophical and methodological premises of Julius von Schlosser's most important contribution in the field of art historiography: Die Kunstliteratur, published in Vienna in 1924.