Published by Deutscher Kunstverlag (DKV)

Volume 80 Issue 1

April 2017

Issue of Zeitschrift für Kunstgeschichte

Contents
Journal Overview

Publicly Available December 30, 2017

Frontmatter

Page range: i-ii

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Aufsätze

December 30, 2017

Andrea del Sarto’s Disputation on the Trinity and the “Sighs of Holy Desire”

Steven J. Cody

Page range: 3-34

Abstract

Andrea del Sarto’s Disputation on the Trinity (1517) engages with powerful traditions of spiritual learning that can be traced back to St. Augustine’s theological writings. This paper asks how and in what ways Andrea’s altarpiece might belong to such a rich intellectual history. The analysis connects Augustinian notions of desire and reform to the painting’s iconography and to the artist’s composition and treatment of color. This line of inquiry not only has exciting implications for the study of Renaissance altarpieces; it also lays the groundwork for a larger study of Andrea del Sarto and of his contributions to the period’s sense of spiritual reform, broadly conceived.

December 30, 2017

Giulio Romano und Andrea Palladio Die Landshuter Residenz Herzog Ludwigs X. und ihre Rezeption in den frühen Palastkonzepten Palladios

Klaus Endemann

Page range: 35-82

Abstract

The palace of Duke Ludwig X in Landshut provides insight into the research concerning the development of Andrea Palladio. The palace is a link that illuminates the relationship between Palladio and Giulio Romano. For the “German wing,” the still unknown architect presented a remarkably innovative design. The duke had a second palace built behind the first after he had seen the Palazzo Te. The form of the “Italian wing,” with its refined combination of palace and villa, supports the authorship of Romano. That Palladio, for his famous project for Iseppo da Porto, took over the site in Landshut designed by Romano confirms the close relationship between the two architects. In I Quattro Libri , Palladio would later name the combination of the palace and the villa Casa degli antichi .

December 30, 2017

“Framing and Fashioning of Images”: The Pictorial Invention of the Art Lover in Daniel Mytens’s Portrait of Thomas Howard, Earl of Arundel (ca 1618)

Miriam Volmert

Page range: 83-107

Abstract

The article examines Daniel Mytens’s portrait of Thomas Howard, Earl of Arundel, and the pendant portrait of his wife, Aletheia Howard (ca 1618), in relation to early modern rhetorical concepts in portrait painting and art theory. Particular focus is placed on the pictorial meaning of the depicted sculpture gallery in Lord Arundel’s portrait in its relation to the sitter. The author argues that the composition subtly transforms certain patterns of a long-standing pictorial code in portrait painting, which can be identified as a type of “picture within a picture.” Already established in the Italian portrait tradition, an integrated little picture or window view next to the sitter was a widespread formula in seventeenth-century Dutch and British portraiture, in order to praise a sitter’s moral and political virtues. Mytens reinterprets this portrait type, in this way inventing a pictorial mode of highlighting the particular virtues of the art lover: his portrait, through its adaptation of the picture-within-a-picture formula, praises the earl’s noble act of collecting antiquities while at the same time strongly emphasizing his intellectual strength.

December 30, 2017

“Must the Arts Suffer from the Progress of Reason?” Four Slave Statues, the 1790 Place des Victoires Debate, and the Urban Monument in Early Revolutionary France

Desmond Kraege

Page range: 108-126

Abstract

In June 1790, the Assemblée nationale decided that the statues of slaves surrounding the monument to Louis XIV on the Place des Victoires were offensive to the inhabitants of some French provinces, and should be removed. This triggered a wide-ranging debate in the Parisian press, with calls for the conservation of the monument or for the use of the statues in a new setting. The discussion dealt with the monument’s iconography, but also with its aesthetic and historical significance, and reflected wider debates on slavery and on the (un)popularity of the monarchy. The article analyses these arguments, points out the importance of public monuments in Parisians’ relation to their city, and shows how the removal of these statues was part of a climate of construction, rather than destruction.

December 30, 2017

Die Zukunft der Vergangenheit Richard Oelze (1900 – 1980) and Post-war Reflection

Eleanor F. Moseman

Page range: 127-155

Abstract

The Surrealist artist Richard Oelze’s postwar enterprise was one of inner reflection and personal questioning linked to the broader project of coming to terms with the past. The essay takes a critical view of his artworks and his automatist Wortskizzen to assess the manner and extent to which Oelze utilizes his artistic practice as a mode of working through his, and Germany’s, complicity with the Nazi regime. Analysis of the Wortskizzen exposes how verbal probing informs Oelze’s visual expression of inner turmoil, while implied gaps and voids in paintings and drawings puncture space as well as time, illuminating memory and blending the past with the present. Oelze’s serious play with word and image in turn invites his viewers to release repressed memories through reflective contemplation.

Buchbesprechungen

December 30, 2017

Politik der Evidenz. Öffentliche Bilder als Bilder der Öffentlichkeit im Trecento

C. Jean Campbell

Page range: 156-159

December 30, 2017

Parergon. Attribut, Material und Fragment in der Bildästhetik des Quattrocento

Thomas Golsenne

Page range: 159-164

December 30, 2017

I segni nel tempo. Dibujos españoles de los Uffizi

María López-Fanjul, Díez del Corral

Page range: 165-167

About this journal

Founded by Wilhelm Waetzold and Ernst Gall in 1932, the Zeitschrift für Kunstgeschichte is published quarterly by Deutscher Kunstverlag. As the leading international German-language journal of art history it is one of the foremost periodicals of the academic discipline world-wide. Scholarly articles undergo a double-blind peer review by two independent experts; contributions are accepted in German, English, French, and Italian.

The Zeitschrift für Kunstgeschichte is a journal covering the whole range of art-historical matters. It offers a space for contributions dealing with all epochs and subjects, and using all methodical approaches. Open to art-historians from all points of the compass, it should at the same time serve to retain the polyglot nature of the discipline.

Organisation

The editorial office of the Zeitschrift für Kunstgeschichte is located at the Zentralinstitut für Kunstgeschichte in Munich. Since January 2020, Gerrít Walczak is Managing Editor.

The publisher delegates editorship to five Editors covering different areas of the discipline. For the sake of openness and plurality, Editors will generally serve for five years. The annual withdrawal of a member of the editorial board, and the subsequent by-election of a new Editor, assures steady change while maintaining continuity.

The Editors are nominated by an advisory committee, whose members are recruited from the institutes of art history at German universities, or operating outside higher education, and from the three German art historical research establishments at Florence, Paris, and Rome. Each institute or research establishment is invited to send a representative. Additionally, the board of directors of the Verband Deutscher Kunsthistoriker, the directorate of the Zentralinstitut für Kunstgeschichte and Deutscher Kunstverlag are represented each by a consultative member. All members serve on the committe for six years unless their term is extended.

Submissions

The Zeitschrift für Kunstgeschichte accepts only contributions that have not been published elsewhere. Submissions are welcome in German, English, French, and Italian. Translations of essays either previously published or about to be published as well as outtakes from books in the making will not be processed. The editorial office assumes that articles and reviews are not parallely submitted to other journals. Articles will first be assessed by the editorial office and the editorial board, then passed on anonymously to two external referees