Published by Deutscher Kunstverlag (DKV)

Volume 84 Issue 1

March 2021

Issue of Zeitschrift für Kunstgeschichte

Contents
Journal Overview

Publicly Available March 13, 2021

Frontmatter

Page range: i-vi

Download PDF

Aufsätze

March 13, 2021

La «Nemesi» düreriana:Un manifesto della Translatio artium verso il Nord

Elena Filippi

Page range: 5-33

Abstract

In ca. 1502, Dürer created an engraving known to history with the title The Great Fortune , which is considered one of his first artistic peaks given its technical mastery and compositional power. The piece bears witness to an important chapter of the artist’s relationship with Antiquity and with the graphic proposals of his contemporary Italian colleagues. Owing to the research that arose from the important 2012 exhibition Der frühe Dürer , this study intends to shed light on the reasons for which this artwork should be re-evaluated as an expression of the ‘new awareness’ of Nuremberg’s cultural environment of the time, so much so that it expresses this specific environment’s eager desire for self-affirmation. Dürer’s engraving became a manifesto of the translatio artis et sapientiae in the North. The various elements that constitute the original compositional idea must therefore be considered within the specific context that promoted its creation. To this end, it is also necessary to reflect upon the actual title, the name by which the artist himself referred to his work: Nemesis .

March 13, 2021

Eloquent Artifice and Natural Simplicity: Moral Aesthetics of Painting and Eating in Chardin’s Late Food Still Lifes

Hyejin Lee

Page range: 34-57

Abstract

Jean-Siméon Chardin’s food still lifes from the 1750s and 1760s diverge from his earlier kitchen displays by exhibiting mainly ready-to-eat fruit, baked goods, and beverages, without any suggestion of additional cooking. The emergence of this subgenre in the artist’s oeuvre corresponded to the rise of a new ethos of eating in mid-1700s France, which championed simply prepared food as the alimentary corrective to the corrupting influence of over-refined modern cookery. This moral discourse on Chardin’s subject matter ran parallel to the critical acclaim for the distinct visuality of his art as an antidote to the excess of rococo style. In light of the mid-century discourse on art and food, Chardin’s late still lifes embodied the reformist aesthetic advocated by the French intellectual elite.

March 13, 2021

Allegory and Analogy in Menzel’s The Iron Rolling Mill

Malika Maskarinec

Page range: 58-77

Abstract

Adolph Menzel’s Das Eisenwalzwerk, or Moderne Cyklopen (The Iron Rolling Mill, or Modern Cyclopes ) from 1875 depicts an analogy central to nineteenth- century thought, namely, that between the human motor and the combustion engine. The painting visualizes the differing rhythms of these two “machines” and the entropy produced as a result of that difference. The painting’s reflection on labor also elaborates an allegory of the activity of painting. Such an allegorical reading, motivated by particular attention to the objects placed in the painting’s foreground, entails a reevaluation of Menzel’s self-understanding and of the changing nature of allegory in nineteenth- century painting. In this instance, allegory operates not through identification but by means of analogy.

March 13, 2021

Karikatur als Kriegsdienst: Aby Warburgs »neuer Stil zwischen Wort und Bild«, 1914–1918

Dorothea McEwan

Page range: 78-95

Abstract

This article attempts to throw a light on Warburg’s little-known engagement in political caricature during World War I. Though deemed unfit for military service, Warburg was eager to contribute to the German war effort. Perceiving Allied war propaganda as anti-German lies, he recorded what he considered its half-truths and falsehoods in his Kriegskartothek , or war archive. But Warburg, as indicated by his involvement with the short-lived La Guerra del 1914: Rivista illustrata in the early stages of the war, kept looking for a more active role in influencing public opinion: From privately commenting on the output of the Allied press, he went on to offering his own ideas for political caricatures to leading artists like Olaf Gulbransson and Max Slevogt, and to well-established satirical journals such as Simplicissimus and Kladderadatsch .

March 13, 2021

Matisse in Vence: Die Kapelle als Atelier

Sebastian Zeidler

Page range: 96-137

Abstract

This essay aims at a re-evaluation of Henri Matisse’s Chapel at Vence. It accounts for all major elements of the chapel’s decoration, including the celebrated windows and tile drawings, but also probes a little-known liturgical object: the ciborium, the container of the hosts, which Matisse designed as a goldfish bowl. Whenever the ciborium is placed on the altar during Mass, it transforms the chapel space into a three-dimensional version of Matisse’s paintings of artist’s studios. The result is a space that transcends the familiar divide between secularism and reenchantment. By placing his own surrogate at the chapel’s center as the beholder of its decoration, Matisse gave form to a modern subject position for which boundless self-empowerment is indistinguishable from solipsism.

Buchbesprechung

March 13, 2021

Was Jan van Eyck sah und wusste

Page range: 138-143

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