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Number 19 December 2018

General articles

Iñigo Basarrate (Independent), ‘The British discovery of Spanish Gothic architecture’ 19/IB1

Robert Couzin (Independent), ‘Invented traditions: Latin terminology and the writing of art history’ 19/RC1

Georgi R. Parpulov (Independent), ‘”De Rossi’s School” and Early Christian iconography, ca. 1852–1894’ 19/GRR1

Ludwig Qvarnström (Lund University), ‘A history of dead ends: the historiography of early twentieth-century Swedish mural painting’ 19/LQ1

G. D. Schott (National Hospital for Neurology and Neurosurgery, Queen Square, London, and Institute of Neurology, UCL), ‘Gombrich and “Pictures that follow with their eyes”’ 19/GDS1

Ian Verstegen (University of Pennsylvania), ‘Otto Demus, Byzantine art and the spatial icon’ 19/IV1

The canonisation of modernism. Exhibition strategies in the 20th and 21st century

Guest edited by Gregor Langfeld and Tessel M. Bauduin

Gregor Langfeld Amsterdam) and Tessel M. Bauduin (Amsterdam), ‘Introduction’ 19/LB1

Gregor Langfeld (University of Amsterdam), ‘The canon in art history: concepts and approaches’ 19/GL1

Ilka Voermann (Schirn Kunsthalle, Frankfurt), ‘Harvard’s Busch-Reisinger Museum and the American reception of post-war German art in the 1940s and 1950s’ 19/IV1

Claartje Wesselink  (University of Amsterdam), ‘The memory of World War Two and the canonisation of the Cobra movement in the Netherlands’ 19/CW1

Jennifer McComas (Eskenazi Museum of Art, Indiana University), ‘Public art and the perils of canonization: the case of Swing Landscape by Stuart Davis’ 19/JMcM1

Elena Korowin (Albrecht-Ludwigs University, Freiburg), ‘Natalia Goncharova’s canonization in Europe after 1945‘ 19/EK1

Sandra Zalman (University of Houston), ‘The canonisation of Surrealism in the United States’ 19/SZ1

Miriam Oesterreich (Technische Universität, Darmstadt) and Kristian Handberg (Louisiana Museum of Modern Art and the University of Copenhagen), ‘Alter-canons and alter-gardes – formations and re-formations of art historical canons in contemporary exhibitions: the case of Latin American and Eastern European art’ 19/HO1

Art History and the Art of the Present: Interactions between artists and scholars

Guest edited by Eleonora Vratskidou

Introduction: Eleonora Vratskidou (Technische Universität, Berlin), ‘A third art history? The role of artistic practice in the shaping of the discipline’ 19/EV1

Lena Bader (DFK, Paris), ‘Artists versus art historians? Conflicting interpretations in the Holbein controversy’ 19/LB1

Yannis Hadjinicolaou (Warburg Haus, University of Hamburg),  ‘”Die Neue Sachlichkeit Rembrandts”. Aby Warburg´s Claudius Civilis19/YH1

Émilie Oléron Evans (Queen Mary College, University of London), ‘Art practice and art history in fin de siècle Alsace: the art journal Das Kunstgewerbe in Elsass-Lothringen19/EOE1

Spyros Petritakis (University of Crete, Greece), ‘Rudolf Steiner’s engagement with contemporary artists’ groups: art-theoretical discourse in the anthroposophical milieu in Germany in the early 20th century’ 19/SP1

Pier Paolo Racioppi (IES Abroad Italy, Rome), ‘The men of letters and the teaching artists: Guattani, Minardi, and the discourse on art at the Accademia di San Luca in Rome in the nineteenth century’ 19/PPP1

Robert Skwirblies (Technische Universität, Berlin),  ‘”The simplicity of old times” and a community of artists: the construction of history as an artistic objective in Johann David Passavant’s early texts’ 19/RS1

Translations

Karl Johns (Independent), ‘The long shadow of Emmy Wellesz with a translation of her “Buddhist Art in Bactria and Gandhāra”’. Originally published as ‘Buddhistische Kunst in Baktrien und Gandhāra’, Josef Strzygowski ed., Kunde, Wesen, Entwicklung: Eine Einführung: Beiträge zur vergleichenden Kunstforschung herausgegeben vom Kunsthistorischen Institut der Universität Wien (Lehrkanzel Strygowski), Heft 2, Vienna: Holzhausen, 1922, 137-151.] 19/KJ1

Tomáš Murár (Czech Academy of Sciences, Prague), ‘Hans Sedlmayr’s art history’. Originally published as a review of Maria Männig, Hans Sedlmayrs Kunstgeschichte: Eine kritische Studie, Köln–Weimar–Wien, Böhlau Verlag 2017. 19/TM1

Reviews

Susanna Avery-Quash (National Gallery, London), ‘”I consider I am now to collect facts not form theories”: Mary Merrifield and empirical research into technical art history during the 1840s’: La Donna che amava i colori. Mary P. Merrifield: Lettere dall’Italia, 1845-1846, edited by Giovanni Mazzaferro, Milan: Officina Libraria, 2018.  19/SA-Q1

Catherine De Lorenzo (University of New South Wales, Sydney and Monash Art Design and Architecture, Melbourne), ‘Challenging the paradigm: rethinking Aboriginal art within Australia’s art history’: Susan Lowish, Rethinking Australia’s art history: The challenge of Aboriginal art, New York & Abingdon, Oxon: Routledge, 2018. 19/CDL1

Andrew Graciano (School of Visual Art and Design, University of South Carolina), ‘The roles and influence of monographic exhibitions on art historical scholarship’: Maia Wellington Gahtan and Donatella Pegazzano, eds. Monographic Exhibitions and the History of Art.  Studies in Art Historiography, hbk: 368 pages, New York and London: Routledge, 2018. 19/AG1

Branko Mitrović (Norwegian University of Science and Technology), ‘Phenomenology, architecture and the writing of architectural history’: Alberto Pérez-Gómez, Timely Meditations, Selected Essays on Architecture, 2 vols, Montreal: Right Angle International, 2016, and Alberto Pérez-Gómez, Attunement, architectural meaning after the crisis of modern science, Cambridge, Mass.: The MIT Press, 2016. 19/BM1

Nkiru Nzegwu (Binghamton University, New York), ‘”When the Paradigm Shifts, Africa Appears”: reconceptualizing Yoruba art in space and time’: Rowland Abiodun, Yoruba Art and Language: Seeking the African in African Art, Cambridge: Cambridge University Press, 2014. 19/NN1

 

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.

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