Ca_00_Titelei_1-6_Ca_00_Titelei_1-6 12.05.11 13:00 Seite 1 Photo Archives and the Photographic Memory of Art History Edited by Costanza Caraffa Ca_00_Titelei_1-6_Ca_00_Titelei_1-6 12.05.11 13:00 Seite 2 Italienische Forschungen des Kunsthistorischen Institutes in Florenz Max-Planck-Institut I Mandorli Band 14 Herausgegeben von Alessandro Nova und Gerhard Wolf Ca_00_Titelei_1-6_Ca_00_Titelei_1-6 12.05.11 13:00 Seite 3 Photo Archives and the Photographic Memory of Art History Edited by Costanza Caraffa Ca_00_Titelei_1-6_Ca_00_Titelei_1-6 12.05.11 13:00 Seite 4 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Lektorat: Catherine Framm, Martin Steinbrück Herstellung: Jens Möbius, Jasmin Fröhlich Layout und Satz: Barbara Criée, Berlin Reproduktionen: LVD Gesellschaft für Datenverarbeitung mbH Druck: AZ Druck und Datentechnik, Berlin Bindung: Stein + Lehmann, Berlin © 2011 Deutscher Kunstverlag GmbH Berlin München ISBN 978-3-422-07029-5 Ca_00_Titelei_1-6_Ca_00_Titelei_1-6 12.05.11 13:00 Seite 5 5 Summary Foreword 7 Dorothea Peters From Prince Albert’s Raphael Collection Photo Archives and the Photographic to Giovanni Morelli: Photography and Memory of Art History: the Project 9 the Scientific Debates on Raphael in the Nineteenth Century 129 Costanza Caraffa From ‘photo libraries’ to ‘photo archives’. Geraldine A. Johnson On the epistemological potential Using the Photographic Archive: of art-historical photo collections 11 On the Life (and Death) of Images 145 On Photo Archives Machtelt Israëls Elizabeth Edwards The Berensons, Photography, Photographs: Material Form and the Discovery of Sassetta 157 and the Dynamic Archive 47 Edith Struchholz Tiziana Serena Von der Anschauung ausgehen – The Words of the Photo Archive 57 Jacob Burckhardts Fotosammlung und seine kunsthistorischen Texte 169 Griselda Pollock Aby Warburg and Mnemosyne: Giovanni Pagliarulo Photography as aide-mémoire, Photographs to Read: Optical Unconscious and Philosophy 73 Berensonian Annotations 181 Giulio Manieri Elia Collecting Photographs, Giulio Cantalamessa, le Regie Gallerie Shaping Art History di Venezia e la fotografia 193 Pascal Griener Silvia Paoli Pour une nouvelle histoire des images Fotografia come documento. scientifiques. Eugène Müntz, Luca Beltrami architetto, storico dell’arte, la Renaissance et la nouvelle fonction collezionista, fotografo 205 de la photographie d’art 101 Graham Smith From Album to Archive: The Alinari Catalogues of 1856 and 1857 117 Ca_00_Titelei_1-6_Ca_00_Titelei_1-6 12.05.11 13:00 Seite 6 6 Summary Andrea Mattiello Melissa Beck Lemke Giacomo Boni: A Photographic Memory A Connoisseur’s Canvas: for the People. Documenting Architecture The Photographic Collection through Photographic Surveys in of Clarence Kennedy 323 Post-Unification Italy 217 Regine Schallert Alessandra Sarchi I tesori nascosti d’Italia: l’archivio Sulle tracce di Lányi e Malenotti. dello studio Foto Arte Minore Il fondo Brogi su Donatello di Max Hutzel 335 nella Fototeca Zeri 227 Angela Matyssek Per Rumberg Memory and the Archive: Photography, Aby Warburg and the Anatomy Conservation and Restoration 347 of Art History 241 Mary Bergstein We Make Our Photo Archives Italian Painting in Proust’s Imaginary Archive 359 and Our Photo Archives Make Us Ann Jensen Adams Kelley Wilder The Rijksbureau voor Kunsthistorische Locating the Photographic Archive Documentatie and the Subject of Science 369 of Dutch Art History: The Market, the Scholar, and National Identity 253 In A Photo Archive Anthony Hamber Inge Reist Observations on the Classification Photograph Archives and Scholarship: and Use of Photographs at Past, Present, and Future 381 the South Kensington Museum: Valentina Branchini 1852–1880 265 The Photograph Study Collection Ewa Manikowska of the Metropolitan Museum of Art: Building the Cultural Heritage of a Nation: A Change of Reference 389 The Photo Archive of the Society for Dorothea Peters the Protection of Ancient Monuments Raphael Revisited: On the Authenticity at the Twilight of the Russian Empire 279 of the Early Photography of Drawings. Dominique Morelon A research project in the Photothek of the L’image documentaire et Kunsthistorisches Institut in Florenz 395 ses métamorphoses : les collections Matthias Bruhn photographiques de la bibliothèque Bilder außer Dienst? Transformationen de l’INHA 289 der Gebrauchsfotografie 405 Hubert Locher Quoted Bibliography 415 Hamann’s Canon: The Illustration of the Geschichte der Kunst (1933) Index 441 and the Photo Archive of the Kunst- geschichtliches Seminar in Marburg 297 Creditlines 451 Pepper Stetler Authors Biographies 453 Art History without Words: The Photographic Books of the Marburg Archive 313 Ca_01_7-44_Ca_01_7-44_A 12.05.11 13:01 Seite 7 7 Foreword The present volume gathers together the papers given at the two-part Conference “Photo Archives and the Photographic Memory of Art History”. The first part was held at the Courtauld Institute of Art in London on 16–17 June 2009, and the second at the Kunsthistorisches Institut in Florenz, Max-Planck- Institut, on 29–31 October 2009.1 The connecting threads of the conference—and hence of the present volume—are the history of photography as a tool of art history and the formation of photo archives for academic research and in particular for art-historical studies. But questions tackled in this book go well beyond the confines of any one academic discipline and concern photo archives tout court. The Kunsthistorisches Institut in Florenz decided to support the holding of the “Photo Archives” Conference, and then the publication of this volume, as part of its project to review and widen the role of its Photothek in the twenty-first century. The promotion of interdisciplinary research confers new scientific relevance on the resources of photo archives by opening them to studies of the most diverse kind. Reflection on the tools and practices of art history does not only have a historical dimension, but can also help us to perform our task of running a photo archive more diligently and to embrace the currently available technologies. The Conference in its two parts represented an important forum for discussion between scholars at an international level and also between the academic world and those who work in photo archives. The present publication is addressed not only to art historians, but to all those who in various disciplinary fields are interested in photo archives and documentary photogra- phy, in the hope of stimulating new research. The case studies collected in this book permit us to study the historic processes that led to the for- mation and institutionalization of photo collections and photo archives. We posed such questions as: Who created photo archives and with what aims? How are photographic archives organized? How are they made accessible? And by what conservational practices are they secured? But we also touched on 1 See http://www.khi.fi.it/en/aktuelles/veranstaltungen/ Venetia Harlow, Elizabeth Reissner, Stuart Whatling and veranstaltungen/veranstaltung190/index.html. For the Michael Remmy have not presented a written version of programs of the two conferences see http://www.cour- the papers they presented at the conference, while the tauld.ac.uk/researchforum/documents/PhotoArchives contributions of Matthias Bruhn and Inge Reist, partici- conf-poster-programme_h_.pdf and http://www.khi.fi.it/ pants in the final round table in Florence, a well as that of pdf/c20091029.pdf. Steven Bann, Mark Haworth-Booth, Regine Schallert have been added. Ca_01_7-44_Ca_01_7-44_A 12.05.11 13:01 Seite 8 8 Foreword current developments spearheaded by digital technologies. The case studies sometimes focus on cer- tain photographs, or groups of photographs, particularly rich in implications. The intention, howev- er, is not to showcase individual photographs, however exceptional, but rather to emphasize the di- mension of the photo archive as a whole as a place in which knowledge is sedimented. The studies are subdivided into four sections. The first, “On Photo Archives”, presents some re- flections of a theoretical nature, though with an eye to the actual practice of photo archives. The sec- ond section, “Collecting Photographs, Shaping Art History”, contains studies devoted to some partic- ular photographic collections and the use of photography mainly by individual personalities who have shaped the practices and methods of studying, teaching, publishing and exhibiting art. The third sec- tion, “We Make Our Photo Archives and Our Photo Archives Make Us”,2 focuses more specifically on the dynamics and context of the formation of photographic archives, not only in the field of art histo- ry. The last section, “In A Photo Archive”,3 spotlights some eloquent examples, past and present, of work in photo archives; furthermore it emphasises the need to promote their role as places of research and to enrich their function as spaces of memory. This book would never have seen the light of day if Patricia Rubin and I had not begun a fruitful di- alogue in the spring of 2008 on the purpose of photo archives: a dialogue that has far from having been exhausted. I would like to express special thanks to her for her magnificent partnership. Nor would the realization of the book have been possible without the contribution of the whole staff of the Photothek of the Kunsthistorisches Institut in