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Inhalt des Dokuments

Art History for Artists - Interactions Between Scholarly Discourse and Artistic Practice in the 19th Century

Originalbild: J.A.H. Milchsack, Kunstgeschichte im Kupferstichkabinett, Düsseldorf, 1870, pencil and ink wash, 25,6 x 32 cm.
Lupe

The international conference aimed to explore the interactions and productive tensions between art practice and art scholarship in the 19th century.

  • Datum: 7. Juli bis 9. Juli 2016 
  • Ort: Technische Universität Berlin, Straße des 17. Juni 135, 10623 Berlin

Konzeption

Lupe

Eleonora Vratskidou, Alexander von Humboldt Postdoctoral Fellow - TU Berlin

Gefördert durch die Alexander von Humboldt Stiftung und die TU Berlin

Zum Thema der Tagung

The conference aimed to examine the shaping of art history as a discipline during the 19th century in relation to artistic training and exchanges between artists and scholars. The development of art history has been associated with an array of socio-political and economic factors such as the formation of a bourgeois public, the politics of national identity and state legitimacy or the needs of an expanding art market. This conference aspires to explore yet another, less studied dimension: the extent to which the historical study of art was also rooted in an intention to inform contemporary artistic production.

The scholarship produced by the first generations of art historians in this period was intertwined with their interest in the art of their time, its quality and future development. Throughout the century many art historians made studies entirely dedicated to contemporary art and sought to provide artists with new ideals. The connection between scholarly discourse and artistic practice was also validated at an institutional level. Since the late 18th century courses in art history, along with courses in history, archaeology, art theory and aesthetics, had been systematically incorporated into the curricula of art academies, schools of design, academies of architecture and polytechnics. These spaces of art education were among the first institutional homes of art history, and played an important role in the shaping of the discipline well before the establishment of autonomous university chairs - a development largely overlooked in the history of art history, but also in the history of art education.

The historical study of art questioned established canons and multiplied the aesthetic models available for artists. Many artists claimed a new role as creators for art history and for the museum, reacting against the growing commodification of art. At the same time, the influx of knowledge on past art was often seen as a burden for artistic creativity. The overall reflective turn upon art and its past, tainted by the Hegelian proclamation of the end of art, influenced the work of artists in ways that remain to be explored.

Tagungsberichte

Merten Lagatz, Conference Report, in: Punctum, 2(1) (2016), S. 92–93, (URL: http://punctum.gr/, 14.12.2016).

Ulf Dingerdissen, Tagungsbericht: Der bildende Künstler als Kunsthistoriker – Kunstgeschichte für zeitgenössische Künstler, in: Kunstchronik 11 (2016), S. 532–536.

Programm

Programmübersicht

Ausführliches Programm mit Abstracts

PROGRAMME

Thursday July 7, 2016 – H 3005

 

14.30
Registration
15.00
Eleonora Vratskidou, Alexander von Humboldt Stiftung/Technische Universität Berlin 
Introduction: Art history, a discipline rooted in practice?
I. Art history in the art school: Institutional frameworks
Panel 1 
Chair: Olga Medvedkova, CNRS-ENS
15.30
Heinrich Dilly, Martin-Luther-Universität Halle-Wittenberg 
Christian Friedrich Prange (1756-1836) und die älteste Provinzialkunstschule Preußens in Halle an der Saale
15.55
Eric Garberson, Virginia Commonwealth University 
Wilhelm Stier’s (1799-1856) architectural history at the Bauakademie, Berlin
16.20
Discussion
17.00
Coffee break
Panel 2 
Chair: Olga Medvedkova, CNRS-ENS
17.30
Pascal Griener, Université de Neuchâtel 
Another wolf in the sheep yard: David Sutter (1811-1880) and the teaching of art history at the École des beaux-arts in Paris
17.55
Annalea Tunesi, Independent researcher 
The polymath Aleardo Aleardi (1812-1878), professor ofestetica applicata alle arti at the Art Academy in Florence
18.20
Foteini Vlachou, Universidade Nova de Lisboa 
Defining the object of art history: Teaching at the Lisbon Academy of Fine Arts c. 1874-1911
18.45
Discussion
19.30
Reception

 

Friday July 8, 2016 – H 1035

I. Art history in the art school: Institutional frameworks
Panel 3 
Chair: Andrea Meyer, Technische Universität Berlin
9.30
Bénédicte Savoy, Technische Universität Berlin 
Das Museum als Ort der Künstlerausbildung um 1800
9.55
Deborah Schultz, Regent’s University London/University of Oxford 
Photo archives and the role of photography in art education: The case of the Royal Academy in London in the late 19th century
10.20
Julia Witt, Technische Universität Berlin 
Die Kunstgeschichte und die Reformen der deutschen Kunstakademien ab 1910. Eine unauflösliche Diskrepanz?
10.45
Discussion
11.30
Coffee break
 
II. Art history and the art of the present: Scholars and artists 
Panel 1
Chair: Hubert Locher, Philipps-Universität Marburg
12.00
Robert Skwirblies, Technische Universität Berlin 
„Die Einfalt der alten Zeiten“ und eine Bürgerschaft von Künstlern: Geschichtskonstruktion als Programmatik bei Johann David Passavant um 1820
12.25
Spyros Petritakis, University of Crete 
Rudolf Steiner’s engagement with contemporary artists’ groups: Art-theoretical discourse within the anthroposophical milieu in Germany in the early 20th century
12.50
Émilie Oléron Evans, Institut d’Études Avancées, Strasbourg 
Crafting the history of decorative arts: Das Kunstgewerbe in Elsass-Lothringen (1900-1906)
13.15
Discussion
14.00
Lunch break – free time
 
Panel 2 
Chair: Hubert Locher, Philipps-Universität Marburg
15.30
Petra Brouwer, University of Amsterdam 
Colliding times: The contemporary in 19th-century architectural history books
15.55
Melanie Sachs, Philipps-Universität Marburg 
Vom Nutzen und Nachteil der Kunstgeschichte für die mitlebende Kunst: Historismuskritik in kunsthistorischen Schriften um 1900
16.20
Yannis Hadjinicolaou, Humboldt Universität Berlin 
‘Die Neue Sachlichkeit Rembrandts’: Aby Warburg’s Claudius Civilis
16.45
Discussion
17.30
Coffee break
Panel 3 
Chair: Eleonora Vratskidou, Alexander von Humboldt Stiftung/Technische Universität Berlin
18.00
Pier Paolo Racioppi, IES Abroad Italy, Rome 
The men of letters and the teaching artists: Debating invention at the Accademia di San Luca in Rome during the first decades of the 19th century
18.25
Lena Bader, Deutsches Forum für Kunstgeschichte Paris 
Künstler vs. Kunsthistoriker? Streit der Interpretationen im Holbein-Streit
18.50
Discussion

 

Saturday July 9, 2016 – H 1035

3. Art history by artists: The artist as producer of art discourse
Panel 1 
Chair: Eleonora Vratskidou, Alexander von Humboldt Stiftung/Technische Universität Berlin
10.00
Claire Barbillon, Université de Poitiers 
How did 19th-century French sculptors write the history of ancient Greek sculpture?
10.25
Wibke Schrape, Museum für Asiatische Kunst, Staatliche Museen zu Berlin 
From artists to art historians: Art discourse in transition in 19th-century Japan
10.50
Discussion
11.30
Coffee break
Panel II – Chair: Bärbel Küster, Technische Universität Berlin
12.00
Michael Thimann, Georg-August-Universität Göttingen 
Kunsthistorisches Praxiswissen: Carl Wilhelm Oesterley (1805-1891) als Professor an der Universität Göttingen
12.25
Margherita D’Ayala Valva, Scuola Normale Superiore in Pisa 
Artists’ reading and copybook practice as a form of self-taught education
12.50
Anne Gregersen, University of Copenhagen 
Artists’ collections as producers of alternative art historical narratives: The example of J. F. Willumsen’s collection
13.15
Discussion
14.00
Lunch break – free time
Panel 3 
Chair: Pascal Griener, Université de Neuchâtel
16.00
Léa Kuhn, Ludwig-Maximilians-Universität München 
Configuring the gaze: Matthew Pratt’s painterly in(ter)vention
16.25
France Nerlich, Université François-Rabelais de Tours 
Setting new paradigms for art and science: Art history by Friedrich Overbeck and Paul Delaroche
16.50
Jan Dirk Baetens, Radboud University Nijmegen 
Bruegel the Elder, Bruegel the much much Younger, and the Antwerp Raphael: The invention of Pieter Bruegel the Elder in the work of Henri Leys and his followers
17.15
Discussion
18.00
Closing roundtable

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