Browsing Ausgabe 2016.3 / Ostblick by Title
Now showing items 1-8 of 8
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2016-10-23ZeitschriftenartikelBetween “Silesiae metropolim” and “Quasi centrum Europae” The mobility of Breslau and Nuremberg artists in the 15th and 16th centuriesAlthough 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 ...
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2016-10-23ZeitschriftenartikelEditorial
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2016-10-23ZeitschriftenartikelGeorg Pencz Between Nuremberg, Cracow and KönigsbergBoth 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 ...
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2016-10-23ZeitschriftenartikelHans von Kulmbach in Poland On the writing of the storyIn 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 ...
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2016-10-23ZeitschriftenartikelItaly too sweet Russian landscape painters travelling central Europe. The case of Savrasov and ShishkinTraveling 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 ...
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2016-10-23ZeitschriftenartikelKuntze/Chuntze/Konicz in the Casino Borghese, and the identity-alterity of the artist 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 ...
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2016-10-23ZeitschriftenartikelMobility of artists in Central and Eastern Europe between 1500 and 1900 [Foreword and content]
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2016-10-23ZeitschriftenartikelReproducing il primo quadro del mondo Fedor Iordan’s Engraving of Raphael’s Transfiguration, 1835-1850Fedor 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 ...
