The article is dedicated to the mostly unknown surveys written by Renate Wagner-Rieger that can be found in the archive of the Federal Monuments Authority Austria. These surveys were commissioned by ...the Federal Monuments Authority Austria and the Ministry of Education and Science and were dedicated to the protection of certain monuments. The article observes the protection process and shows Wagner-Rieger's rule as an expert.
"This dissertation examines the relationship between collage – experiences of difference – artists. It explores the (art) history of collage as well as the perspective on collage as an artistic, ...methodological, epistemological and biographical principle. Likewise, the thesis that experiences of difference materialize artistically as well as biographically and can be found in textual and pictorial material will be pursued – with a focus on subjectification theory. Experiences of difference are understood in this research as reflections of experiences of discrimination and of othering (processes of being made into supposed others). The present research on subjectification – which centers on the life and work of Hannah Höch (1889-1978) – is carried out, on the one hand, on the basis of a discourse-analytical examination of biographical text documents of the artist; on the other hand, this very text analysis is related to an image analysis of the höch collage “Lebensbild” from 1972/1973. The pictorial and textual material will be interrogated for the (de-)thematization of the four categories of difference: gender, class, body/disability, race as well as their intersectional entanglement. In a micro-linguistic fine analysis, the linguistic (re-)production of possible experiences of difference will be examined on the basis of the three analysis heuristics: invocation, self-statements, biographical experiences. Embedded in and engaging with contemporary discourses of art and special education, this work aims to transform research findings on experiences of difference/collage/artists for those same disciplines. The perspective of Hannah Höch as an artist has so far been a research desideratum with a deeper focus on the analysis of body/disability and gender; the present study addresses this very issue and thus also shows transdisciplinary connectivity to Gender and Disability Studies."
"Die vorliegende Dissertation untersucht das Verhältnis Collage – Differenzerfahrungen – Künstler:Innen. Dabei wird die (Kunst-)Geschichte der Collage sowie die Perspektive auf Collage als künstlerisches, methodisches, epistemologisches und biographisches Prinzip erforscht. Ebenso wird – unter subjektivierungstheoretischem Fokus – der These nachgegangen, dass sich Differenzerfahrungen künstlerisch wie biographisch materialisieren und sich in Text- und Bildmaterial auffinden lassen. Differenzerfahrungen werden in dieser Forschungsarbeit verstanden als Reflexionen von Diskriminierungserfahrungen und von Othering/Veranderung (Prozessen des Gemacht-Werdens zu vermeintlich Anderen). Die vorliegende Subjektivierungsforschung – in deren Zentrum Leben und Werk Hannah Höchs (1889-1978) stehen – vollzieht sich zum einen anhand einer diskursanalytischen Untersuchung biographischer Textdokumente der Künstlerin; zum anderen wird ebendiese Textanalyse mit einer Bildanalyse der höch’schen Collage „Lebensbild“ aus dem Jahr 1972/1973 in Bezug gesetzt. Das Bild- und Textmaterial wird auf die (De-)Thematisierung der vier Differenzkategorien Geschlecht, Klasse, Körper/Behinderung, Herkunft/race sowie deren intersektionaler Verschränkung befragt und in einer mikrosprachlichen Feinanalyse anhand der drei Analyseheuristiken Anrufung, Selbstaussagen, biographische Erfahrungen auf die sprachliche (Re-)Produktion möglicher Differenz(-Erfahrungen) untersucht. Eingebettet in und in Auseinandersetzung mit zeitgenössischen Diskursen von Kunst- und Sonderpädagogik verfolgt diese Arbeit das Ziel, Forschungsergebnisse zu Differenzerfahrungen/ Collage/Künstler:Innen für ebenjene Disziplinen zu transformieren. Die Perspektivierung der Künstlerin Hannah Höch stellte unter dem vertieften Analysefokus von Körper/Behinderung und Geschlecht bislang ein Forschungsdesiderat dar; die vorliegende Untersuchung bespielt ebendieses und zeigt sich hierdurch zusätzlich transdisziplinär anschlussfähig an die Gender und Disability Studies."
The work of Renate Wagner-Rieger was crucial in reviving interest in 19th-century architecture and in its inclusion in Croatia’s national history of art. The use of stylistic terms, periodization of ...19th-century architecture, particularly historicism, and Renate Wagner-Rieger’s method of organizing the text within monographs on the history of architecture of cities or areas according to building types have had a remarkable influence on how similar topics are treated in Croatian art history.
Rad Renate Wagner-Rieger pozitivno se odrazio na oživljavanje interesa za arhitekturu19. stoljeća u Hrvatskoj kao i za njezino uključivanje u hrvatsku nacionalnupovijest umjetnosti. Korištenje stilskih termina, periodizacija arhitekture 19. stoljeća,posebice historicizma, te način na koji je Renate Wagner-Rieger organiziralatekst unutar monografija o povijesti arhitekture gradova ili područja prema tipovimagrađevina, značajno su utjecali na to kako su se slične teme obrađivale u hrvatskojpovijesti umjetnosti.
After World War II, the Comité International d’Histoire de l’Art (CIHA), an international NGO of art historians, resumed its scientific activity. Since the first post-war meeting, however, we found ...that all members were men: famous figures from the History of Art who made up the historiographical pantheon and built the twentieth-century Western art historiography. During the 1950s, the sole exception was Cécile Goldscheider, Rodin Museum curator, who attended the Bureau sessions and general assemblies as a secretary. There were other female researchers linked somehow to the CIHA, like those involved in the Corpus Vitrearum Medii Aevi project or those who participated in the International Congresses of Art History. Over time, women gained ground and joined the CIHA as full members. Else Kai Sass, Professor at Aarhus University, was first in 1964, followed by Anna Maria Brizio, Klára Garas, and Jean Sutherland Boggs. Until 1979, no woman entered the Bureau. The Mexican Beatriz de la Fuente starred in this milestone. Since the gender gap was a fact, the aim of this paper is to delve into the role and achievements of these female academics within the CIHA during the Cold War period.
The impact of Max Dvořák is habitually considered to consist of reading his texts. I would like to argue that the key aspect is rather an interpretation and representation and that their mode depends ...on specific conditions of time and place. A recapitulation of renewed interest in Dvořák in Czech art historiography during the 1960s recognizes the strategies that were used to adapt his “idealistic” methodology for the use of the period Marxist-Leninist scholarship. It was only due to success of this re-interpretation campaign that Dvořák was able to fill the position of the “father of Czech art history”.
U ovom radu analizirat će se tri studije hrvatskog povjesničara umjetnosti Božidara Gagre objavljene u katalozima „decenijskih izložaba” Muzeja savremene umetnosti u Beogradu. Prva (1972.) ...predstavlja početke hrvatskog modernog slikarstva kao niz spram neposrednoj prošlosti kritički usmjerenih iskaza, obilježenih individualizmom i u uskoj vezi s društvenom situacijom. Druga (1975.) pak obrađuje hrvatsku skulpturu u dugačkom razdoblju od osam desetljeća (1870. – 1950.): analizira se njezina uloga u modernom građanskom društvu te se detektiraju kiparski naraštaji i njihovi nositelji. U trećoj studiji (1977.) Gagro pruža sintezni pregled hrvatske grafike u prvoj polovini 20. stoljeća, raspravljajući prije svega o njezinu društvenom položaju. U autorovu pristupu prepoznat će se tako utjecaji one metodološke struje povijesti umjetnosti koja je umjetničku produkciju promatrala kao jasan odraz društvenih okolnosti. Ocijenit će se zatim povijesnoumjetnički prinosi tih studija, a zaključno istaknuti i obilježja Gagrine valorizacijske paradigme koja je europskim kanonskim vrijednostima pridavala značenje važne orijentacijske točke, a ne nedostižnog cilja.
This article investigates how one of the most eminent Byzantinists of the twentieth century, André Grabar (1896-1990), constructed his own methodology in a balanced dialogue between texts and images. ...At the very core of this study is his monograph L'empereur dans l'art byzantin (1936), which can be seen as emblematic of Grabar's approach. However, this article investigates not only Grabar's methodology but also his personal cultural background. I believe that this approach is necessary in the context of the epistemology of art history, since, as has been proven in other important studies, the interplay between history, social situations, and scholarship is crucial.
The second half of the nineteenth century was a crucial period for the consolidation of art history as an academic discipline in German-speaking countries. That period also witnessed a sharpening of ...attitudes toward the genres of the discipline’s literature—attitudes sometimes shaped by the different tasks art historians confronted when working in a museum or university. The status of the catalogue raisonné cannot be viewed in terms of a simple dichotomy between these two fields of activity, however, the less so as the opinions of individual protagonists occasionally changed over time and according to circumstances. As such, the numerous voices assembled in this contribution reveal an interesting variety of methodological approaches. The artist’s biography emerges here as a telling counterpoint to the evolution of the catalogue raisonné at a time of elated nation-statehood that was of paramount importance for the history of art history.
The second half of the nineteenth century was a crucial period for the consolidation of art history as an academic discipline in German-speaking countries. That period also witnessed a sharpening of attitudes toward the genres of the discipline’s literature—attitudes sometimes shaped by the different tasks art historians confronted when working in a museum or university. The status of the catalogue raisonné cannot be viewed in terms of a simple dichotomy between these two fields of activity, however, the less so as the opinions of individual protagonists occasionally changed over time and according to circumstances. As such, the numerous voices assembled in this contribution reveal an interesting variety of methodological approaches. The artist’s biography emerges here as a telling counterpoint to the evolution of the catalogue raisonné at a time of elated nation-statehood that was of paramount importance for the history of art history.
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