Ausgabe 2016.3 / Ostblick
http://edoc.hu-berlin.de/18452/622
Mobility of artists in Central and Eastern Europe between 1500 and 19002024-03-28T15:17:14ZMobility of artists in Central and Eastern Europe between 1500 and 1900 [Foreword and content]
http://edoc.hu-berlin.de/18452/18652
Mobility of artists in Central and Eastern Europe between 1500 and 1900 [Foreword and content]
Lipińska, Aleksandra
http://dx.doi.org/10.18452/17989
2016-10-23T00:00:00ZItaly too sweet
http://edoc.hu-berlin.de/18452/8231
Italy too sweet
Zachariáš, Jan
http://dx.doi.org/10.18452/7579
Baumewerd), Aleksandra Lipińska (in collaboration with Stéphanie
Traveling was an important part of artistic education for many landscape painters in late imperial Russia, and the St Petersburg Academy of Arts devoted considerable funds for travel scholarships for its most excellent graduates. In the middle of the nineteenth century, the desired destination for foreign study for Russian landscape painters changed from Italy to the more artistically progressive places such as Düsseldorf and Geneva. From 1860 onwards many Russian landscape painters, including Ivan Shishkin and Aleksey Savrasov, studied with renowned painters like Alexandre Calame and Rudolf Koller in Switzerland, or with the Achenbach brothers in Düsseldorf. This paper will explore how two Russian artists – Shishkin and Savrasov – mastered the painting manner of Calame and the Düsseldorf School, and how they were able to reuse the visual strategies of Central European painting to express Russian nature.
2016-10-23T00:00:00ZReproducing il primo quadro del mondo
http://edoc.hu-berlin.de/18452/8230
Reproducing il primo quadro del mondo
Mardilovich, Galina
http://dx.doi.org/10.18452/7578
Baumewerd), Aleksandra Lipińska (in collaboration with Stéphanie
Fedor Iordan (1800-1883) spent more than twenty years in Europe studying printmaking as a pensioner of the Russian Imperial Academy of Arts: first in Paris, then in London, and finally, from 1835 in Rome, where he embarked on his monumental engraving of Raphael’s Transfiguration. Scrutinising the production and reception of this print – which took fifteen years to complete and afforded the artist an opportunity to remain in Italy – this essay reconsiders Iordan’s work within the wider context of international printmaking and, within the emerging debates about Russia’s position in transnational artistic developments and its national distinctiveness.
2016-10-23T00:00:00ZKuntze/Chuntze/Konicz in the Casino Borghese, and the identity-alterity of the artist
http://edoc.hu-berlin.de/18452/8229
Kuntze/Chuntze/Konicz in the Casino Borghese, and the identity-alterity of the artist
Nitka, Maria
http://dx.doi.org/10.18452/7577
Baumewerd), Aleksandra Lipińska (in collaboration with Stéphanie
This paper scrutinizes the medallions, which were created by Taddeus (Tadeusz) Kuntze in the mid-1780s, for the Casino Borghese, one of the first modern museums, in Stanza di Ercole, Rome. In terms of the iconographic program of the Casino Borghese, the images of musicians portrayed in the medallions relate to the idea of an artist identifying to a cultural field other than the “classical” one. In fact, the medallions present a distinctive strategy of fostering a broadening definition of the artist, who until then was defined in national terms as Polish or German. In the context of the scuola romana, these medallions will be interpreted as a mark of the artist’s “alterity” in eighteenth-century Rome.
2016-10-23T00:00:00ZHans von Kulmbach in Poland
http://edoc.hu-berlin.de/18452/8228
Hans von Kulmbach in Poland
Sitek, Masza
http://dx.doi.org/10.18452/7576
Baumewerd), Aleksandra Lipińska (in collaboration with Stéphanie
In the mid-19th century, a certain case of artistic mobility in the early Renaissance entered the agenda of Polish, and subsequently German, antiquarianism and art history. The artist in question was the presumed student of Albrecht Dürer, Hans Suess von Kulmbach (d. 1522), whose name was eventually linked to a number of high-quality paintings dispersed among Cracow churches and private collections. At the same time, a controversy erupted over the supposition that the painter behind the masterpieces had resided in Cracow and developed manifold relationships with the local milieu. In the face of scarce and inconclusive evidence, the answers successively offered in the debate have proven closely dependent on changing methodological as well as political factors.
2016-10-23T00:00:00ZBetween “Silesiae metropolim” and “Quasi centrum Europae”
http://edoc.hu-berlin.de/18452/8227
Between “Silesiae metropolim” and “Quasi centrum Europae”
Patała, Agnieszka
http://dx.doi.org/10.18452/7575
Baumewerd), Aleksandra Lipińska (in collaboration with Stéphanie
Although several scholars have explored the issue of commercial and artistic relationships between Nuremberg and Breslau, the multidimensional phenomenon of artists’ mobility between the banks of the Pegnitz and the Oder in the 15th and the 16th centuries has received little attention. Taking into account the vast number of networks – especially commercial, family, ecclesiastical, and monastery ties – that determined and facilitated the migration in question, especially among painters and goldsmiths, it turns out that the presence of numerous merchants in Breslau who were originally from Nuremberg had little impact on this particular mobility. Nevertheless, almost every case of artists’ mobility discussed was anything but coincidental, taking place within the framework of dense networks. Moreover, it becomes clear that the social position of artists from particular crafts was closely related to their mobility – more affluent and appreciated by their patrons, goldsmiths migrated more frequently than painters.
2016-10-23T00:00:00ZGeorg Pencz
http://edoc.hu-berlin.de/18452/8226
Georg Pencz
Dyballa, Katrin
http://dx.doi.org/10.18452/7574
Baumewerd), Aleksandra Lipińska (in collaboration with Stéphanie
Both the mobility of artists and the mobility of artworks are discussed based on the example of Georg Pencz, who rose to become Nuremberg’s leading painter following the death of Albrecht Dürer. Becoming an “honourable servant” in 1532, Pencz found himself in a fairly comfortable position; he received a small annual salary, and it certainly became much easier for him to build up his own complex network and to be part of a network. All this was the prerequisite for him being commissioned to work on prestigious projects such as the Silveraltar, which was made for the burial chapel of the Polish King Sigismund I (reign 1506-1548). But his prominent position also allowed Pencz to generate interest among a number of people. Ultimately Pencz became mobile through a combination of fortunate factors, including his own skills, his position, his relationships and a generous offer. Becoming a court painter in Königsberg was a great step in his career, which unfortunately ended somewhat abruptly when he died after only around four weeks in his new role.
2016-10-23T00:00:00ZEditorial
http://edoc.hu-berlin.de/18452/8225
Editorial
Lipińska, Aleksandra
http://dx.doi.org/10.18452/7573
Baumewerd), Aleksandra Lipińska (in collaboration with Stéphanie
2016-10-23T00:00:00Z