FORSCHUNGSBERICHT I JULI 2012 – JULI 2015 FORSCHUNGSBERICHT I JULI 2012 – JULI 2015 Kunsthistorisches Institut in Florenz Max-Planck-Institut Copyright 2015 Kunsthistorisches Institut in Florenz Max-Planck-Institut Via Giuseppe Giusti 44 I-50121 Firenze Telefon +39 055 249 11-1 Telefax + 39 055 249 11-55 http://www.khi.fi.it/ Herausgeber: Alessandro Nova und Gerhard Wolf Redaktion und Lektorat: Annette Hoffmann, Fabian Jonietz, Lisa Jordan, Henry Kaap, Eva Mußotter, Brigitte Sölch, Tim Urban und Samuel Vitali Formales Lektorat: Dorit Malz und Eva Mußotter Layout und Satz: Rebecca Milner Druck: Grafiche Cappelli s.r.l., Firenze Titelbild Jacopo Ligozzi, Corona imperialis (Fritillaria imperialis), Detail, Tempera auf Karton, 68 × 46 cm. Florenz, Gabinetto Disegni e Stampe degli Uffizi, Inv.-Nr. 1943 O Inhalt Einleitung 7 Fachbeirat und Kuratorium 13 Bild/Sprachen. Italienische Kunstgeschichte der Neuzeit im europäischen Kontext 15 Abteilung Alessandro Nova Rinascimento conteso ............................................................................................................... 17 Vasaris Welten und die deutsche kommentierte Ausgabe der Vite in den beiden Editionen von 1550 und 1568 ......................................................................... 19 Piazza e monumento ................................................................................................................. 20 Ethik und Architektur ................................................................................................................. 21 Bilder, Dinge, Orte. Kunstgeschichte Italiens und des Mittelmeerraums in ihren globalen Bezügen (4.–16. Jahrhundert) 25 Abteilung Gerhard Wolf The Art of Containment.............................................................................................................. 27 Art History and the Post-catastrophic City ................................................................................ 29 Ecology and Aesthetics. Environmental Approaches in Art History ....................................... 31 Sacred Space and Sacred Topographies in an Interreligious Perspective between Asia and the Mediterranean: Palestine and the Caucasus Region ......................... 33 Objects in the Contact Zone – The Cross-Cultural Lives of Things 37 Max Planck Research Group Eva-Maria Troelenberg Keystones of Islamic Art: Mshatta in Berlin ............................................................................. 40 Mapping the Peninsula: Arabia and Routes of Culture ........................................................... 41 Art History, Media and Representation: Towards a Postglobal Canon? ................................. 42 Nomos der Bilder. Manifestation und Ikonologie des Rechts 45 Minerva Research Group Carolin Behrmann Norm und Gestaltung: Bilder, Objekte und Zeichen des Rechts ............................................ 48 MPG Senior Research Scholars 51 Iconologies and Iconospheres of the Sea, ca. 1200–1650, III: Liquid Materialities (Hannah Baader) ....................................................................................... 53 Ship Ex-Voto as Objects, Metaphors and Figures of Communality, from Antiquity to the Nineteenth Century (Hannah Baader) ................................................... 53 Renaissance’s Universalims (Hannah Baader) ........................................................................ 54 Die vor-/moderne Forumsidee und das Ideal der res publica. Zum Verhältnis von Architektur und Öffentlichkeit im urbanen Raum (Brigitte Sölch) ................................... 55 Bild, Schwelle, Grenze, Fusion (Brigitte Sölch) ......................................................................... 55 Max Planck Fellow 57 Avinoam Shalem Crossing Boundaries, Creating Images: In Search of the Prophet Muhammad in Literary and Visual Traditions ................................................................................................ 59 Sight of Memory: When Nature Becomes Ideology ................................................................. 61 Juniorprofessur für italienische Kunst der Frühen Neuzeit 63 Freie Universität Berlin | Kunsthistorisches Institut in Florenz Wolf-Dietrich Löhr »Meister aller Dinge«: Künstlertypen und Kunsttheorie in Florenz um 1400: Franco Sacchetti und Filippo Villani .......................................................................................... 65 »Io dipinsi questa tavola«: Materialität der Temperamalerei im Kontex ................................. 66 Direktor emeritus 69 Max Seidel Nicola und Giovanni Pisano....................................................................................................... 71 Fellini – Picasso ......................................................................................................................... 71 Perspektiven ............................................................................................................................... 72 Kooperationsprojekte 75 Art Histories and Aesthetic Practices. Kunstgeschichte und ästhetische Praktiken ............. 77 Art, Space, and Mobility in the Early Ages of Globalization: The Mediterranean, Central Asia and the Indian Subcontinent 400–1650 ........................................................... 79 Bilderfahrzeuge | Warburg’s Legacy and the Future of Iconology ......................................... 81 Connecting Art Histories in the Museum. The Mediterranean and Asia ................................ 82 CONVIVENCIA – Iberian to Global Dynamics ........................................................................... 83 CENOBIUM – Ein Projekt zur multimedialen Darstellung romanischer Kreuzgangkapitelle im Mittelmeerraum ................................................................................... 84 MaxNetAging .............................................................................................................................. 85 Networks: Textile Arts and Textility in a Transcultural Perspective (Fourth to Seventeenth Centuries) ............................................................................................ 86 Die Typographia Medicea im Kontext: Text und Bild als Medien des Kultur- und Wissenstransfers zwischen europäischen und orientalischen Kulturräumen um 1600 ...... 87 Il Progetto EUPLOOS................................................................................................................... 88 Il Progetto LINEA ......................................................................................................................... 88 Die Kirchen von Siena ............................................................................................................... 89 Forschungen des wissenschaftlichen Nachwuchses 93 Promovierende ........................................................................................................................... 95 Postdoktorandinnen und Postdoktoranden ............................................................................. 120 Extern geförderte Forscherinnen und Forscher am KHI 139 Forschungen der wissenschaftlichen Gäste 153 Assoziierte Projekte 159 Forschungen der wissenschaftlichen Mitarbeiterinnen und Mitarbeiter 165 Wissenschaftliche Einrichtungen 177 Bibliothek .................................................................................................................................... 179 Photothek .................................................................................................................................. 183 Archiv .......................................................................................................................................... 190 Personenverzeichnis 193 EINLEITUNG | 7 EINLEITUNG The Kunsthistorisches Institut in Florenz and the Future of Art History What does it mean and what does it entail to engage in art history in Florence in 2015? And to do so at a research institute founded more than a hundred years ago? This research report presents the projects, activities and achievements of the Kunsthistorisches Institut in Florenz (KHI) and its international community over the last three years. It demonstrates the manifold ways in which the Institute is taking part in the shaping of the future of art history, from Bildwissenschaft, the study of visual culture and the materiality or biographies of objects, to postcolonial approaches and transcultural or global art histories. Whereas the narrative report may be itself the best witness of the intellectual creativity and spirit of collaboration which pervades the single projects or programs, a few lines about the early history of the Institute may be added. When the Kunsthistorisches Institut in Florenz was founded in 1897, there was no need to explain why an institution primarily devoted to the study of the history of art of the Mid- dle Ages and the Renaissance should open its doors in Italy and, more specifically, in the center of Tuscany. Indeed, this decision was taken neither by the German nor by the Italian cultural authorities; it was instead a wish expressed in 1893 by the international community of scholars united in Nuremberg for the second International Congress of Art History. This fact demonstrates how the foundation of the Institute was the result of a complex political and academic scenario: informally founded in the 1880s by a group of scholars with modest means (Schmarsow and his students, Warburg and Friedländer among them) and molded on the model of the German archeological institutes in