ars 2007 Ročník / Volume 40 Číslo / Number 2 Obsah / Contents Poznámka zostavovatea / Editorial (121) ŠTÚDIE / ARTICLES I. Vladimir P. GOSS Borders of Art History in a Europe without Borders (123) Hranice dejín umenia v Európe bez hraníc Milena BARTLOVÁ Creating Borders. The Uses of Art Histories in Central Europe (129) Vytváření hranic. Užití dějin umění ve střední Evropě Ernő MAROSI Zwischen Kunstgeographie und historischer Geographie. Das Königreich und der Ständestaat Ungarn im Mittelalter (135) Medzi geografiou umenia a historickou geografiou. Uhorsko ako kráovstvo a stavovský štát v stredoveku Ján BAKOŠ Vienna School Disciples and “The New Tasks” of Art History (145) Žiaci viedenskej školy a „nové úlohy“ dejín umenia II. Zsombor JÉKELY Regions and Interregional Connections. A group of Frescoes in the Kingdom of Hungary from around 1420 (157) Regióny a medziregionálne prepojenia. Skupina fresiek na územní Uhorského kráovstva okolo roku 1420 Marie LIONNET Borders in Central Europe during the Middle Ages. Some Iconographical Reflections about the Wall Paintings in Hungary (169) Hranice v strednej Európe počas stredoveku. Niekoko ikonografických reflexií o nástennom maliarstve v Uhorsku Ivan GERÁT Das Phänomen der Grenze in mittelalterlichen Bildlegenden der Heiligen Elisabeth von Ungarn (177) Fenomén hraníc v stredovekých obrazových legendách sv. Alžbety Uhorskej III. Jeannie J. ŁABNO Shifting Borders, Conceptual Identities and Cultural Boundaries. Child Commemoration in Renaissance Poland (185) Posúvanie hraníc, konceptuálne identity a kultúrne obmedzenia. Pomníky a náhrobky detí v renesančnom Posku Tadeusz J. ŻUCHOWSKI Kunstgeschichte zwischen Erinnern und Vergessen. Über Forschungen zur Kunst Preußenlandes (195) Dejiny umenia medzi spomínaním a zabúdaním. O výskume umenia Pruska Sergiusz MICHALSKI The Concept of National Art, Problems of Artistic Periphery and Questions of Artistic Exchange in Early Modern Europe (207) Koncept národného umenia, problémy umeleckej periférie a otázky umeleckej výmeny v Európe obdobia raného novoveku IV. Jana ZAPLETALOVÁ „Die Alpen als Grenze?“ Bemerkungen zum Studium italienischer Freskomaler auf der Wende des 17. und 18. Jahrhunderts in Mähren (217) „Alpy jako hranice?“ Postřehy ke studiu italských malířů nástěnných maleb přelomu 17. a 18. století na Moravě Martin MÁDL Distinguishing — Similarities — Style. Carpoforo and Giacomo Tencalla in Czech Lands (225) Odlišnosti — Podobnosti — Styl. Carpoforo a Giacomo Tencalla v českých zemích Jozef MEDVECKÝ Zu den Quellen von Tencallas Malstil (237) K prameňom Tencallovho maliarskeho štýlu V. Marina DMITRIEVA Reinventing the Periphery. The Central East European Contribution to an Art Geographical Discourse (245) Znovuobjavovanie periférie. Príspevok stredovýchodnej Európy k diskusiám o geografii umenia Frank-Thomas ZIEGLER Mitteleuropa im Spiegel der Kunstgeschichtsschreibung am Brukenthalmuseum 1948 — 2006 (253) Stredná Európa v zrkadle umeleckohistorickej spisby múzea Brukenthal 1948 — 2006 Joes SEGAL Ideological Borders and German Art at the Beginning and the End of the Cold War (261) Ideologické hranice a nemecké umenie na začiatku a na konci studenej vojny VI. Tomáš ŠTRAUSS Gab es eine, oder zwei Avantgarden? (Zur Diskussion um die treibende Kraft der Kunst des 20. Jahrhunderts) (269) Jedna alebo dve avantgardy? (K diskusii o hybnej sile umenia 20. storočia) Mária ORIŠKOVÁ Re-writing History, Re-drawing Maps. Central Europe in the Global Story of Art (279) Prepisovanie histórie, prekresovanie máp. Stredná Európa v globálnom príbehu umenia Andrea DOMESLE Von der Verschiedenheit künstlerischer Ästhetiken und Bildpolitiken sowie kuratorischer Herangehensweisen in der Gegenwartskunstszene Mitteleuropas (287) O odlišnosti umeleckých estetík, obrazových politík a kurátorských prístupov na súčasnej umeleckej scéne strednej Európy ŠTÚDIE / ARTICLES ARS 40, 2007, 2 Editorial The majority of articles in this number of Ars are re was taken by articles by Sergiusz Michalski and based on the papers presented at the international Tomáš Štrauss. The plurality of individual approa- conference “The Borders in the Art History of Cen- ches was one of the most interesting experiences of tral Europe/ Die Grenzen in der Kunstgeschichte Mit- the conference, as far as it reflected and manifested teleuropas”, held in Bratislava on February 15 and one more important aspect of the influence of bor- 16, 2007. The conference was organized by the In- ders on our art historical constructions. Since we wish stitute of Art History of the Slovak Academy of Scien- to present the fascinating differences in art historical ces in Bratislava and supported by the International thinking to the readers of our journal, the editing of Visegrad Fund, the City Gallery Bratislava, the the texts in this volume has been minimized and li- Goethe Institute Bratislava and the Cultural Institu- mited to some formal aspects of the language and te of the Hungarian Republic in Bratislava. In the the style of the journal. The productive communica- name of the institute, I would like to warmly thank tion over the borders requires tolerance and under- our sponsors for supporting the conference. standing of the differences, which might be under- A comparison of this issue with the papers pre- stood not only negatively as tolerating a different sented at the conference shows, that while some opinion in spite of the negative emotions it produces, authors have rewritten their papers into larger scho- but also positively as an opportunity for the delecta- larly articles, others have submitted their text with tion of the cultural richness, typical of Central Euro- only minor changes. In spite of certain incoherence, pe. Let us hope that this publication might be under- caused by this situation, we are publishing the ar- stood as a modest step on the long and difficult way ticles in thematic groups, which reflect the structure leading to an enjoyable cultural communication of the conference. There are two other changes in among states, nations, regions and individuals in our comparison with the conference — since the papers part of the world. by Milan Pelc and László Beke have not been sub- mitted for this publication, their place in the structu- Ivan Gerát 121 122 ŠTÚDIE / ARTICLES I. ARS 40, 2007, 2 Borders of Art History in a Europe without Borders Vladimir P. GOSS As soon as I put a key into the lock of my apart- of regional diversities, it possessed a common Chris- ment, or build a fence around my house, I have creat- tian faith, feudal social system, universal institutions ed a border between the “others” and myself. Barriers of Church and Empire, common Latin language of between individuals, communities, and political enti- higher communication, common church related elite ties have always existed, as testified by such phenome- to be slowly expanded by development of secular na as the Roman Limes, the Chinese Wall, or the wood- elites, common culture. In the period between ca. en fences King Bela IV created around the Lands of 1000 and 1200 it possessed a universal artistic ex- the Crown of St. Stephen.1 Whereas devices protect- pression based on a very rational and gradually de- ing individual safety and private property are unlikely veloping process of relating exteriors and interiors, to disappear any time soon, we are witnessing today in and of a growing tendency to speak up, both on the Europe, including Central Europe, dismantling of bor- facades and in the interior of buildings. This Ro- ders among national states, as they join together in an manesque art language combined traditions of Clas- again united Europe. When in a few years Croatia joins sical Antiquity and of the new settlers who arrived EU, the entire Central Europe would be united. between the 4th and the 10th century. It was, one I am no historian and I do not intend to deal with might say, all-inclusive. As all politics is local, so there a history of border making and dismantling. I was were endless local variants, but as all politics has a told in high school, that borders among national states single core — a will to power — so there was a com- came into being in the Early Modern period as a means mon substance to the European art of the period, of protecting vital national and economic interests. which, in a nutshell, we just tried to describe.2 Where- These are the borders that we are now dismantling. as there were endless barriers and borders between Are we returning to the state of affairs as it was in the kingdoms, counties, duchies, cities, village communes, Middle Ages? As the free man of the medieval period and individuals, the pre-nation-state Europe had a is defined as one who “potest ire ubi velit”, medieval large number of powerful common denominators, a Europeans should have known no borders. A look at high degree of cultural unity. A comparison with the the facts shows that this was simply not true. Among current state of affairs is of course implied, and I would the most valuable sources for an art historian are, in like to reserve its consideration for the conclusion. fact, documents describing borders of various hold- How did all this impact the mobility of artistic ings and estates. Yet the Europe of the Middle Ages forms? It is becoming, it seems, fashionable to some- was different from the Europe of nation-states. In spite what downplay the medieval artist’s ability to move.3 1 RISMONDO, V. (ed.): Toma Arhiđakon — Kronika. Split 1960, 2 GOSS, V. P.: Is there a Pre-Romanesque Style in Architectu- p. 75. re. In: Peristil, 25, 1982, pp. 33-51; GOSS, V. P.: Art and Politics in High Middle Ages — Heresy, Investiture Struggle, Crusades. In: L’art et artistes au Moyen-Âge. Conference Proce- edings (Rennes 1983). Paris 1990, Vol. 3, pp. 525-545. 123 framework of the “Renaissance of the 12th century”.4 The so-called “Saxons”, omnipresent in Central and Southeast Central Europe, a mixture of the people from the Lower Rhine and Northwestern German area, carried their cultural heritage as far as Scandi- navia, Poland, Transylvania, and Kosovo.