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Kunsthistorisches Institut in Florenz Max-Planck-Institut Forschungsbericht Herbst 2002 - Herbst 2004 Copyright © 2004 Kunsthistorisches Institut in Florenz Max-Planck-Institut Via Giuseppe Giusti 44 I-50121 Firenze Telefon +39 055 249 111 Telefax +39 055 249 1155 http://www.khi.fi.it Titelbild Lucantonio degli Uberti (zugeschrieben) nach einem verlorenen Kupferstich von Francesco Rosselli: Die große Ansicht von Florenz („Kettenplan“), um 1500/10. Holzschnitt, 57,8 x 131,6 cm. Berlin, SMPK, Kupferstichkabinett. INHALT DAS KUNSTHISTORISCHE INSTITUT IN FLORENZ: GESCHICHTE, STATUS, ZUKUNFTSPERSPEKTIVEN ........................................................... 9 ITALIENISCHE KUNSTGESCHICHTE IM EUROPÄISCHEN KONTEXT IN MITTELALTER UND FRÜHER NEUZEIT: MITTEL- UND OBERITALIEN ....... 11 Politische Ikonographie toskanischer Städte. Lucca .................................................... 13 Toskanische Kunst im Trecento ..................................................................................... 14 Die Achsenzeit der Mitte des 13. Jahrhunderts als Beginn einer in der Renaissance gipfelnden Kunstperiode ............................................................... 15 Edition der unveröffentlichten Schriften von Jacob Burckhardt über die Kunst der Renaissance...................................................................................... 15 Musik und bildende Kunst im 20. Jahrhundert: Luigi Dallapiccola......................... 15 Kunstkritik im 19. Jahrhundert: Vergleich Italien – Frankreich ................................. 16 BILDKONZEPTE UND BILDPRAKTIKEN IN ITALIEN UND IM MITTELMEERRAUM VON DER SPÄTANTIKE BIS ZUR FRÜHEN NEUZEIT ......17 Die Zirkulation von Artefakten im Mittelmeerraum (vom Bilderstreit bis zum 15. Jahrhundert) I: Das Mandylion von Genua und sein paläologischer Rahmen .............................. 19 Jerusalem in Europa (von der Spätantike bis in die Frühe Neuzeit) ........................ 20 Ordnungen der Bilder. Repräsentation von Fremdheit und Armut in der visuellen Kultur italienischer und burgundischer Städte (12.-16. Jahrhundert) ........................................................................................................ 21 Dante, Alberti, Cusanus: Theorien des Bildes und die Grundlegung der Kunsttheorie ................................... 22 Zwischen Mirakel und Magie. Bilderkult und Bildkonzepte in Spätmittelalter und Renaissance ...................................................................................... 23 Feder/Kunst. Europa und Mexiko (13.-17. Jahrhundert) ......................................... 23 FORSCHUNGEN DES WISSENSCHAFTLICHEN NACHWUCHSES ........................... 25 Doktorandinnen und Doktoranden .............................................................................. 27 Postdoktorandinnen und Postdoktoranden ................................................................. 36 Durch Drittmittel geförderte Stipendiatinnen und Stipendiaten ................................................................................... 52 FORSCHUNGEN DER UNBEFRISTET ANGESTELLTEN WISSENSCHAFTLICHEN MITARBEITERINNEN UND MITARBEITER ................... 57 GASTWISSENSCHAFTLERINNEN UND GASTWISSENSCHAFTLER ......................... 69 ERFORSCHUNG ITALIENISCHER KUNST IN INTERNATIONALEN MUSEEN ......... 73 Wissenschaftliche Kataloge italienischer Kunst in internationalen Museen..................................................................................................... 75 Katalog der italienischen Zeichnungen des Quattrocento im Kupferstich-Kabinett Dresden ....................................................................................... 75 Römische Gemälde des 17. und 18. Jahrhunderts im Kunsthistorischen Museum Wien ................................................................................... 76 DIE KIRCHEN VON SIENA ........................................................................... 77 Forschungsstand und Perspektiven des Siena-Projektes............................................. 79 Die Kirchen von Siena, III, 1: Der Dom zu Siena. Architektur ............................... 80 ASSOZIIERTE PROJEKTE .............................................................................. 93 Corpus of Florentine Painting ....................................................................................... 95 WISSENSCHAFTLICHE EINRICHTUNGEN ....................................................... 97 Bibliothek ........................................................................................................................... 99 Photothek ......................................................................................................................... 100 WISSENSCHAFTLICHE VERANSTALTUNGEN DES KUNSTHISTORISCHEN INSTITUTS IN FLORENZ ............................................ 103 Tagungen / Kongresse / Studientage ......................................................................... 105 Vorträge............................................................................................................................ 110 Institutsseminar ................................................................................................................ 112 Studienkurse ..................................................................................................................... 112 Stipendiatenexkursion .................................................................................................... 114 AUSWÄRTIGE WISSENSCHAFTLICHE TÄTIGKEITEN DER MITGLIEDER DES KUNSTHISTORISCHEN INSTITUTS IN FLORENZ ............................................ 115 Seminare ........................................................................................................................... 117 Vorträge............................................................................................................................ 119 Kongresse und Tagungen .............................................................................................. 124 Ausstellungstätigkeit ........................................................................................................ 125 Mitgliedschaften / Ehrungen........................................................................................ 125 VERÖFFENTLICHUNGEN ............................................................................. 127 Veröffentlichungen des Instituts ................................................................................... 129 Veröffentlichungen der Mitarbeiter ............................................................................. 133 MITGLIEDER DES KUNSTHISTORISCHEN INSTITUTS IN FLORENZ ................. 141 Verzeichnis der Nachwuchswissenschaftlerinnen und Nachwuchswissenschaftler ............................................................................................ 143 Personalstand ................................................................................................................... 145 FACHBEIRAT Vorsitzende: Prof. Dr. Elizabeth Cropper Center for Advanced Study in the Visual Arts National Gallery of Art Washington, Washington D.C., USA Stellvertretender Vorsitzender: Prof. Dr. Jörg Traeger Lehrstuhl für Kunstgeschichte Universität Regensburg, Regensburg Dr. Cristina Acidini Opificio delle Pietre Dure di Firenze, Firenze, Italien Prof. Dr. Oskar Bätschmann Institut für Kunstgeschichte Universität Bern, Bern, Schweiz Prof. Dr. Horst Bredekamp Lehrstuhl für Kunstgeschichte Humboldt-Universität zu Berlin Prof. Dr. Neil MacGregor The National Gallery London, London, Großbritannien Prof. Dr. Adriano Peroni Dipartimento di Storia delle Arti e dello Spettacolo, Musica, Teatro, Cinema ed Arti Figurative Università degli Studi di Firenze, Firenze, Italien Prof. Dr. Joachim Poeschke Institut für Kunstgeschichte Universität Münster, Münster Prof. Dr. Gosbert Schüssler Lehrstuhl für Kunstgeschichte und Christliche Archäologie Universität Passau, Passau DIREKTOREN Prof. Dr. Max Seidel Prof. Dr. Gerhard Wolf (Geschäftsführender Direktor seit Mai 2004) DAS KUNSTHISTORISCHE INSTITUT IN FLORENZ: GESCHICHTE, STATUS, ZUKUNFTSPERSPEKTIVEN Das Kunsthistorische Institut in Florenz (KHI) ist im Jahr 1897 als erste kunsthistorische Forschungsstätte von deutscher Seite in Italien gegründet worden. Dies verdankt sich der privaten Initiative einer Gruppe von Gelehrten, deren Interesse insbesondere dem Spätmittelalter und der Renaissance in Mittel- und Oberitalien galt. Wichtigstes Anliegen war ihnen und ihren Nachfolgern die Nähe zu den künstlerischen Monumenten, den Archiven und Bibliotheken. Ein entscheidender Schritt war der Aufbau einer Photothek und einer Bibliothek, die sich vor allem auf Monographien und topographische Literatur konzentrierte. Mit den sich seit der Nachkriegszeit stark erweiternden Arbeits- möglichkeiten für Mitglieder und Gäste entstand am KHI eine Vielzahl von individuellen und kollektiven Grundlagenwerken. Als Großprojekte, die noch im Gang sind, seien das „Handbuch der Kirchen von Siena“ (begonnen als Institutsprojekt) oder das am Institut angesiedelte „Corpus of Florentine Painting“ genannt. Eine der wichtigsten Aufgaben des KHI ist die Nachwuchsförderung; ein Stipendium am Institut stellte und stellt für zahlreiche Forscherinnen und Forscher einen wichtigen Schritt in ihrer Karriere dar. Unterstützt von einem Trägerverein war das von einem Direktor geleitete KHI seit 1970 dem Bundesministerium für Bildung und Wissenschaft angegliedert. Intensive Beziehungen zu deutschsprachigen und vermehrt auch internationalen Universitäten
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    116 Venice, Childe Harold IV and Beppo, July 30th 1817-January 7th 1818 Venice, 1817 July 30th 1817-January 7th 1818 Edited from B.L.Add.Mss. 47234. In the notes, “J.W.” indicates assistance from Jack Wasserman, to whom I’m most grateful. Hobhouse has been on a tour of Italy since December 5th 1816, and hasn’t seen Byron – who’s just moved from Venice to La Mira – since Byron left Rome on May 20th. For the next five-and-a-half months he’s with Byron in Venice and the surrounding area. Byron is for the most part polishing Childe Harold IV, and Hobhouse takes upon himself the task of annotating it. The truly significant event, however – which neither man fully understands, and Hobhouse never will – is when Byron, having read Hookham Frere’s Whistlecraft, suddenly composes Beppo on October 9th. Venice is held by Austria, which is systematically running down its economy so that the poor are reduced to eating grass. Hobhouse glances at the state of the place from time to time. His terribly British account of the circumcision ceremony on August 2nd implies much about what Byron found fascinating about the city – though Byron would never put such feelings into explicit prose. Wednesday July 30th 1817: I got up at four – set off half past five, and, crossing the Po, went to Rovigo, three posts and a half. A long tedious drive, in flats. From Rovigo I went to Padua without going five miles out of my way to see Arquà in the Euganean Hills – Petrarch’s tranquil place – it was too hot – the thermometer at eighty-three in the shade.
  • PERSPECTIVES on the COMPETITION 0F I4002 Dean

    PERSPECTIVES on the COMPETITION 0F I4002 Dean

    PERSPECTIVES ON THE COMPETITION 0F I40 02 Thesis for II“ Degree of M. A. MICHIGAN STATE UNIVERSITY Dean Minton 1977 rHESlS - g .. .,;.)' OVERDUE FINES: “I. _, ' 25¢ per day per im '4‘ #:X\\\\II. W: fw‘“ 'm Place in book return to remove ‘iw' 4V5??- -" charge from circulation records ' ‘ .4. "'20‘)‘ -‘.-’«v'/v‘- .I ‘ :‘ ' . “C".q .A": ABSTRACT PERSPECTIVES ON THE COMPETITION OF 1400-2 By Dean Minton This study is primarily a historiographical examina- tion of the competition among artists for the commission to cast the second set of doors for the Florentine Baptistry in 1400-2. By examining perspectives selected from a vast store of writings on the subject, one may reconstruct the event, speculate on the views of those involved and learn some of the deve10pments of art historical writing since the time of the competition. Part I examines the scarce documentary evidence sur- rounding the competitions. Part II looks at the most repre- sentative cross-section of authors who have commented on the contest. Part III reconstructs the viewpoints of humanists, artists and merchants toward art at the time of the event itself. From this, one may see the historical importance the competition has as an indication of the changing views toward art; from medieval to modern. PERSPECTIVES ON THE COMPETITION OF lhOO-Z By Dean Minton A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Art 1977 7/ 36 6M; ACKNOWLEDGMENTS I am very much indebted to Dr. Webster Smith's attempts to keep this thesis on a straight and narrow path and to his vigorous editorializing.