Ausgabe 3.2015 / Renaissance
http://edoc.hu-berlin.de/18452/601
Exhibiting the Renaissance2024-03-28T14:25:27ZExhibiting the Renaissance: Moscow Kremlin Museums and Victoria & Albert Museum
http://edoc.hu-berlin.de/18452/8344
Exhibiting the Renaissance: Moscow Kremlin Museums and Victoria & Albert Museum
Murdoch, Tessa
http://dx.doi.org/10.18452/7692
Dressen, Angela; Gramatzki, Susanne
The most recent exchange of exhibitions between London's VandA and Moscow's Kremlin Museum celebrated diplomatic exchange and trade between the two nations from 1509 to 1685. Exhibition designers selected colours from Tudor and Stuart paintings and textiles. Two videos captured the spectacular Kremlin English carriage, a diplomatic gift from James I to Boris Gudonov and diplomatic processions through Restoration London. The original design for the coat of arms for the English Muscovy Company, the list of diplomatic gifts from James I to Boris Gudonov from the Moscow archives and the diagram of the choreography of the reception of the Russian ambassador Gregory Mikulin in the presence of Queen Elizabeth I from the College of Arms are illustrated here for the first time. Miriam Hanid's 2013 silver centrepiece, commissioned for display in the V&A exhibition, demonstrates that British silver is still worthy of presentation in the cause of diplomacy.
2015-09-23T00:00:00ZSpuren des Sehens
http://edoc.hu-berlin.de/18452/8343
Spuren des Sehens
Böck, Angelika
http://dx.doi.org/10.18452/7691
Dressen, Angela; Gramatzki, Susanne
Diese Arbeit befasst sich mit der visuellen Wahrnehmung von Renaissancegemälden, welche mit Hilfe von Eye-Trackern nachvollzogen werden.
2015-09-23T00:00:00ZIn a Material World. Il Rinascimento in America da Henry Clay Frick a Andy Warhol
http://edoc.hu-berlin.de/18452/8342
In a Material World. Il Rinascimento in America da Henry Clay Frick a Andy Warhol
Trotta, Antonella
http://dx.doi.org/10.18452/7690
Dressen, Angela; Gramatzki, Susanne
What makes the Renaissance cultural capital? The paper will highlight the process of defining the image of Renaissance as an important and durable part of public history in the USA in the twentieth century. In the collections of the tycoons of the American Renaissance, in the Lochoff Cloister and in Andy Warhol's Details of Renaissance Painting series, the Renaissance artifacts constitute a material legacy to be admired, copied, publicized, invented and which create ad re-create the American past and present.
2015-09-23T00:00:00Z“Make space for the great Raphael!” On the Exhibition Policies for Raphael’s Masterpieces
http://edoc.hu-berlin.de/18452/8341
“Make space for the great Raphael!” On the Exhibition Policies for Raphael’s Masterpieces
Kroegel, Alessandra Galizzi
http://dx.doi.org/10.18452/7689
Dressen, Angela; Gramatzki, Susanne
The essay discusses the exhibition policies that were developed for a few altarpieces by Raphael in German and Italian museums during the nineteenth century and up to the first half of the twentieth century. In particular, it is argued that the spectacular presentation reserved for the Sistine Madonna in the Gemäldegalerie Alte Meister in Dresden after 1855 was deeply influential for the presentation of the Ecstasy of Santa Cecilia in the Pinacoteca Nazionale di Bologna, and for the Marriage of the Virgin in the Pinacoteca di Brera in Milan. Evidence supports the idea that these similarities were the result of specific interchanges among people in the field, whether museum directors, art historians, or intellectuals in general, thus confirming that museums are an ideal place for transnational discourse and cultural exchange.
2015-09-23T00:00:00ZThe ‘Basilica’ in the Bode-Museum: a Central (and Contradictory) Space
http://edoc.hu-berlin.de/18452/8340
The ‘Basilica’ in the Bode-Museum: a Central (and Contradictory) Space
Rowley, Neville
http://dx.doi.org/10.18452/7688
Dressen, Angela; Gramatzki, Susanne
At the heart of the Bode-Museum in Berlin, opened in 1904 under the name Kaiser- Friedrich-Museum, is a monumental evocation of a church interior in the Florentine 15th-century Renaissance style. The ‘Basilica’, as the space is named, has always been seen as symbolical; yet, when one studies the successive dispositions of the works in the museum over a century, one senses that the Basilica has often been felt as a curatorial problem: should the major altarpieces of the collection be displayed in the lateral chapels of the Basilica, in keeping with their original religious destination, or be hanged on the walls of the other, “secular” galleries of the museum? Addressing this question will suggest that the very center of a museum can also be a gigantic void.
2015-09-23T00:00:00ZRenaissance-Ausstellungen aus Privatbesitz in Berlin und München um 1900
http://edoc.hu-berlin.de/18452/8339
Renaissance-Ausstellungen aus Privatbesitz in Berlin und München um 1900
Kriebel, Sandra
http://dx.doi.org/10.18452/7687
Dressen, Angela; Gramatzki, Susanne
Der vorliegende Beitrag setzt sich mit der Präsentation von Kunstwerken der Renaissance auf deutschen Ausstellungen in der Zeit um 1900 auseinander. Im Zentrum der Untersuchung stehen Ausstellungen aus Privatbesitz, die während des Kaiserreichs vermehrt in den deutschen Städten veranstaltet wurden und sich in der Zeit der Jahrhundertwende verstärkt der Renaissancekunst widmeten. Sie dienten als ‚temporäre Museen‘ der Sichtbarmachung und Erforschung bislang unbekannter Kunstwerke und stellten kunsthistorische Inhalte und Zusammenhänge geschlossen dar, um so auf Bildung und Geschmack des Publikums wie auch der zeitgenössischen Künstlerschaft einzuwirken. Das Phänomen der sogenannten Leih-ausstellung wurde von der kunst- und kulturwissenschaftlichen Forschung bisher kaum gewürdigt und soll nun im Sinne einer ersten Bestandsaufnahme am Beispiel zweier historischer Renaissance-Ausstellungen in den damals konkurrierenden Kunststädten Berlin und München vorgestellt werden. Im Fokus steht dabei die Frage nach den jeweiligen Organisations- und Inszenierungsstrategien, es soll untersucht werden, wie diese Privatbesitzausstellungen didaktisch gestaltet waren und ob sie einem konkreten Forschungs- beziehungsweise Bildungsanspruch folgten.
2015-09-23T00:00:00ZExhibiting Renaissance Art at the Poldi Pezzoli Museum in Milan. From the Permanent Collection to Temporary Exhibitions
http://edoc.hu-berlin.de/18452/8338
Exhibiting Renaissance Art at the Poldi Pezzoli Museum in Milan. From the Permanent Collection to Temporary Exhibitions
Manoli, Federica
http://dx.doi.org/10.18452/7686
Dressen, Angela; Gramatzki, Susanne
Gian Giacomo Poldi Pezzoli started his career as a collector in 1848. Aiming to achieve a summa of the history of every form of art. From the archaeological age up to the 19th century, he progressively focused on Renaissance. His exhibiting criterion was based on the contextualization of the collections in historical rooms: the Gothic style for the Armory, the Baroque style for the porcelain collection, the medieval style for the cabinet and three rooms inspired to the Renaissance art. His house-museum opened to the public in 1881. The most important change in the display of the collections took place after the second world war bombing. In the reconstruction a very sober style was chosen and the various directors that followed, tried to keep it up to date according to the most recent museological and museographical theories, without ever completely renewing it. The first temporary exhibition was organized in 1922 and the first show on Renaissance art was held in 1982-83. It was entitled Zenale e Leonardo and it focused on Lombard art from 1480 to the early 16th century. The idea of the exhibition came up during the restoration of the two Poldi Pezzoli's panels representing St. Stephen and St. Anthony from Padua. The show had to revolve around the reconstruction of the Triptych of the Immaculate Conception (Cantù) by Bernardo Zenale, to which the panels originally belonged. More than fifty paintings by Zenale and followers of Leonardo were shown in the exhibition, in order to better contextualize the triptych in the Lombard artistic milieu. This show introduced in the Poldi Pezzoli Museum a new way of conceiving exhibitions, which had to focus and give value to the permanent collections through research campaigns, often showing a limited number of artworks. This became a guideline, which is still followed today.
2015-09-23T00:00:00ZDisplaying Renaissance Art in Melbourne
http://edoc.hu-berlin.de/18452/8337
Displaying Renaissance Art in Melbourne
Martin, Matthew J.
http://dx.doi.org/10.18452/7685
Dressen, Angela; Gramatzki, Susanne
In 2014 the National Gallery of Victoria in Melbourne, Australia embarked upon a redisplay of its Italian fifteenth and sixteenth century holdings. Inspired by recent art historical scholarship exploring the materiality of family life in the Renaissance casa the new displays depart from the traditional museum ordering principles of geography and chronology in favour of groupings of artworks structured around themes like marriage, domestic devotion and the Humanist scholar. Such thematic displays not only make best use of the museum’s collections which, whilst including many works of great distinction, are by no means comprehensive in scope, but also open up new avenues of audience engagement. By replacing the interpretive apparatus of traditional connoisseurship with an interest in the role of objects in performing and memorialising the rituals surrounding key life events of fifteenth and sixteenth century Italian families, as well as exploring the role of consumption in self-representation, connections are forged with the lives and interests of the contemporary visiting public.
2015-09-23T00:00:00Z