Number 24 June 2021

Doing connoisseurship. Guest edited by Joris Heyder

Joris Corin Heyder (Eberhard Karls University, Tübingen), ‘Doing connoisseurship. Yesterday, today, tomorrow. Introductory remarks’ 24/JCH1

Peter Bell (Friedrich Alexander Universität, Erlangen-Nürnberg) and Fabian Offert (University of California, Santa Barbara),  Reflections on connoisseurship and computer vision’ 24/BO1

Elvira Bojilova (Villa I Tatti), ‘The “value of drawing” and the “method of vision”. How formalism and connoisseurship shaped the aesthetic of the sketch24/EB1

Thomas Ketelsen (Klassik Stiftung, Weimar) in cooperation with Uwe Golle (Klassik Stiftung, Weimar) , ‘Digital images and art historical knowledge: Connoisseurship today between “top-down design” and “bottom-up’ capabilities”’ 24/KG1

Valérie Kobi (Universität Hamburg), ‘On spectacles and magnifying glasses: the connoisseur in action’ 24/KB1

Historic libraries and the historiography of art. Guest-edited by Jeanne-Marie Musto

Jeanne-Marie Musto (Independent), Introduction: ‘Historic libraries and the historiography of art’: articles arising from sessions held at the 107th College Art Association Annual Conference, New York, 13-16 February 2019, and the 108th College Art Association Annual Conference, Chicago, 12-15 February 2020  24/JM1

Claire Dupin de Beyssat (INHA Paris), ‘Tracing the public of the first Parisian library for art and archaeology: on the readership at Doucet’s library (1910-1914) ‘ 24/CDB1

Katie Lissamore (National Gallery, London) and Jonathan Franklin (National Gallery, London), ‘Art history scholarship between the 1820s and 1870s: contextualising the Eastlake library at the National Gallery, London’ 24/KL1

Susan M. Dixon (La Salle University, Philadelphia), ‘Rodolfo Lanciani’s revenge’ 24/SD1

Silvia Massa (Kupferstichkabinett, Staatliche Museen zu Berlin), ‘“Il più bello gabinetto delle stampe che esiste”: a (failed) project for the Ortalli collection of prints at the Biblioteca Palatina in Parma’ 24/SM1

Jesse Feiman (Massachusetts Institute of Technology), ‘The natural history of art: Adam von Bartsch and the taxonomic classification of prints’ 24/JF1

General articles

Matthew Rampley (Institute of Art History of the Czech Academy of Sciences, Prague), ‘Agency, affect and intention in art history: some observations’ 24/MR1

Raphael Rosenberg (University of Vienna), ‘Delineating the history of art literature by genre:
Julius von Schlosser revisited24/RR1

D. Schott (National Hospital for Neurology and Neurosurgery, London, and Institute of Neurology, UCL), ‘Four colours and the visual separation of adjacent areas: lessons from mapping and ancient paintings’ 24/GDS1


Karl Johns (Independent), ‘Sidelight on an unwilling grey eminence – Schlosser as “Schlüsselfigur”’. A paper originally presented at the conference Viennese Art Historiography 1854-1938, University of Glasgow, 1-4 October 2009. 24/KJ2

Stepan Vaneyan (Lomonosov Moscow State University), ‘”Wien oder Salzburg?”: late Sedlmayr as a symptom and cure’ 24/SV1


Ricardo De Mambro Santos (Willamette University, Salem, Oregon), ‘Square plans for a circular journey: remarks on the “decolonial” critique of art history’. Review of: Carolin Overhoff Ferreira, Decolonial Introduction to the Theory, History and Criticism of the Arts,, 2019, ISBN 9780244195182 paperback, ISBN 9780244795177 e-book, 356 pages, 93 b/w ill. 24/RdMS

Karl Johns (Independent), ‘Julius Schlosser breaks yet another barrier’. Review of: Julius von Schlosser, Art and Curiosity Cabinets of the Late Renaissance: A Contribution to the History of Collecting, edited by Thomas DaCosta Kaufmann, translation by Jonathan Blower, Los Angeles: Getty Research Institute, 2021, 222 pp., 7 colour and 103 b/w illustrations, 1 line drawing, paperback US $65.00, UK £55.00, ISBN 978-1-60606-665-2.  24/KJ1

Matilde Mateo (Syracuse University), A fresh look at Spain: urban views through foreign and domestic gazes (16th-19th centuries). Review of: Imago Urbis. Las ciudades españolas vistas por los viajeros (siglos XVI-XIX), Luis Sazatornil Ruiz and Vidal de la Madrid Álvarez (eds), Gijón (Asturias): Ediciones Trea and Museo de Bellas Artes de Asturias, 2019, 694pp., 412 col. Illus., €60.00 pbk ISBN 978-84-17987-45-9. 24/MM1

Robert Nelson (Yale), ‘Byzantium in Brno: joining an Eastern and Western Middle Ages’. Review of: Byzantium or democracy?  Kondakov’s legacy in emigration: the Institutum Kondakovianum and Andre Grabar, 1925-1952 by Ivan Foletti and Adrien Palladino, Rome: Viella, Brno: Masaryk University Press, 2020, 211pp, 381 b. & w. illus.  € 25.00 ISBN 9788833134963. 24/RN1

Eva Pluhařová-Grigienė (Europa-Universität Flensburg, Germany), ‘Unearthing the legacies of art historiography during the Post-War decades’. Review of: A Socialist Realist History? Writing Art History in the Post-War Decades edited by Krista Kodres, Kristina Jõekalda, Michaela Marek, Wien, Köln, Weimar: Böhlau Verlag, 2019, 279 pp., 35 b/w illustrations, ISBN 978-3-412-51161-6 (=Robert Born, Michaela Marek, Ada Raev: Das östliche Europa: Kunst und Kulturgeschichte, vol. 9).  24/EPG1

József Sisa (University of Pécs), ‘Ludwig Hevesi and art in fin-de-siècle Vienna’. Review of: Ilona Sármány-Parsons, Bécs művészeti élete Ferenc József korában, ahogy Hevesi Lajos látta [The artistic life in Vienna in Franz Joseph’s time, as seen by Lajos Hevesi]. Budapest: Balassi Kiadó, 2019, 472 pp, 336 col. and b. & w. illus., bibliography, index, HUF 6,900 hdbk, ISBN 978-963-456-057-9. 24/JS1

Arnold Witte (University of Amsterdam), ‘The fringes in and of art historiography in post-1945 Europe’. Review of: Noemi de Haro García, Patricia Mayayo and Jesús Carrillo (eds.), Making Art History in Europe after 1945, New York/London: Routledge, 2020. ISBN 978-0-8153-9379-6. (Hardback) £ 120; ISBN 9781351187596 (eBook) £ 33.29.  24/AW1


This journal has been recognized by the online Dictionary of Art Historians as ‘The major serial organ for the study of art historiography. Essays, primary texts, translations. Seminal.’ It is indexed by ProQuest, EBSCO, DOAJ and is linked to by the world’s leading research centres for art history. It is archived by LOCKSS and the New York Art Resources Consortium (NYARC). It has also been awarded the DOAJ Seal. The journal has been approved for inclusion in ERIH PLUS