TOC: Bruno Alfieri, Leo Castelli and Robert Rauschenberg, by Graham Smith

Visual Resources XXXIII/3-4, 2017

Visual Resources. An International Journal on Images and their Uses.
Published by Routledge/Taylor and Francis.

Vol. XXXIII no.3-4 is now published, print and online: http://www.tandfonline.com/toc/gvir20/current

From the Table of Contents:

Bruno Alfieri, Leo Castelli and Robert Rauschenberg: Metro and the Introduction of Rauschenberg into Italy
by Graham Smith

Reference: TOC: Visual Resources XXXIII/3-4, 2017. In: ArtHist.net, Oct 11, 2017. <https://arthist.net/archive/16349>.

TOC: Irene Schütze: Koons, Murakami und Vasconcelos in Versailles

Marburger Jahrbuch fuer Kunstwissenschaft, Bd. 43 (2016)


Editors Ingo Herklotz and Hubert Locher,
with Angela Kappeler-Meyer und Lena Terlisten

Publication of the Kunstgeschichtliche Institut der Philipps-Universität Marburg/Lahn and the Deutschen Dokumentationszentrums für Kunstgeschichte – Bildarchiv Foto Marburg

(with the support of Wilhelm Hahn und Erben-Stiftung, Bad Homburg),
Weimar/Kromsdorf: Verlag und Datenbank für Geisteswissenschaften 2017

From the content:

Irene Schütze: Koons, Murakami und Vasconcelos in Versailles. Wertzuschreibung und Wertewandel durch Kontextualisierung

Reference:

TOC: Marburger Jahrbuch für Kunstwissenschaft, Bd. 43 (2016). In: ArtHist.net, Oct 9, 2017. <https://arthist.net/archive/16333>.

Artl@as Bulletin 5: GeoMap project ONLINE: Mapping Paris art dealers 1815-1955

https://paris-art-market.huma-num.fr/

Building upon a preliminary socioeconomic analysis of the art dealers in Paris between 1815 and 1955 (ARTL@S Bulletin 2, n°2), this paper presents the findings of a spatial study of the Parisian art market in this period. Using serial geographical data drawn from a single, consistent source – the Bottin du commerce – we mapped the spatial evolution of art dealers over 140 years, using a geocoding system with composite locators. The article explores the different spatial dynamics of this market, and seeks to shed light on the links between the evolution of the Parisian economy as a whole and the individual trajectories of its art dealers.


Artl@as Bulletin 5, no. 1, GeoMAP – Géographie du
marché de l’art parisien

 

GeoMAP stands for Geographie du marché de l’art parisien and it maps all the “marchands de tableaux” (art dealers) that were mentioned in the Bottin du commerce, in Paris, from 1815 through 1955. The articles giving further details can be found here, for the statistic and quantitative approach, and here, for the mapping of the Parisian art dealers. GeoMAP project is an open access database. Researchers can look up and visualize art dealers in Paris by using the timeline or navigate the map : the GeoMAP project is thus both a repository of the Parisian dealers, and a tool of visualization.

GeoMAP was developed by Julien Cavero, who is cartographer at the Ecole Normale Supérieure (Labex TranferS) and the data were collected by Félicie de Maupeou and Léa Saint-Raymond.
The website will be available in English soon.

New Book out now: Markt und Macht. Der Kunsthandel im »Dritten Reich«

Markt und Macht. Der Kunsthandel im »Dritten Reich«

Ed. Fleckner, Uwe; Gaehtgens, Thomas W. and Huemer, Christian
Series: Schriften der Forschungsstelle “Entartete Kunst” 12
xvi, 434 pages
Language: German, English

Buy the book here – Markt und Macht

Die Geschichte des Kunsthandels im “Dritten Reich” zu schreiben, steht nicht nur aufgrund einer schwierigen Quellenlage vor besonderen Herausforderungen. Zwischen Komplizenschaft und Sabotage verstrickt sich das Handeln der Akteure in eklatante Widersprüche. Vom Alltagsgeschäft der Kunsthändler bis zum Widerstand gegen restriktive Vorschriften reicht das Themenspektrum, vom Auktionshandel bis zum Schwarz- und Schattenmarkt, von zahllosen Verbrechen nicht nur an jüdischen Sammlern und Händlern bis zum Kunstraub in den von deutschen Truppen besetzten Ländern. Kunst- und Wirtschaftshistoriker untersuchen in diesem Buch den Kunstmarkt und seine Mechanismen im Nationalsozialismus, die Rolle der Raubkunst sowie insbesondere moderner und “entarteter” Werke auf dem Kunstmarkt im “Dritten Reich”.

Book out soon: Anke Matelowski, Die Berliner Secession 1899-1937. 

Die Berliner Secession 1899-1937. Chronik, Kontext, Schicksal

 

Anke Matelowski. Die Berliner Secession 1899-1937. Chronik, Kontext, Schicksal
24 x 17 cm, ca. 650 Seiten, 400 Abbildungen.
Fadenheftung, Lesebändchen, Halbleinen
Euro 68.00 / CHF 75.00 ISBN 978-3-03850-033-9

out in October 2017

 

As much as the myth adheres to the Berlin Secession of being the birthplace of “Classical Modernism” in Germany, it is, likewise, a relatively little researched subject. As a matter of fact, neither its date of foundation nor its dissolution has been established so far. The best known protagonists of the Berlin Secession were Max Liebermann, Walter Leistikow, Lovis Corinth and Max Slevogt and their merit was to bring Impressionism to Germany in the years heavy with imperial, representational subjects and, thus, to begin a new era for art in Germany. With the dissolution of the Secession in the Spring of 1913, however, the role seemed exhausted after a splendid dozen years.

About the time of the Berlin Secession after 1913 little is known. In her study, Anke Matelowski now closes this gap. From largely unknown sources, she has been able to establish the founding history of the Secession as well as the years of the First World War, the Weimar Republic until the time of National Socialism. Great detail is paid to the various aspects of this history: the exhibitions, membership structure, buildings and premises available to the association, its relationship with local authorities and towards official art policies, cooperations with other artists’ associations, strategies for coping with political and economic crises, etc.

Matelowski supplements her account with extensive lists, which provide reliable data about members, board members and exhibitions for the first time. Similarly, she provides information about the groupings that split from, competed or co-operated with the Secession. The work sets a new standard for the most important modernist art association in modern Germany.

Source: verlag@nimbusbooks.ch, www.nimbusbooks.ch

Book presentation and panel discussion (Berlin, 20 Sept, 17)

Panel discussion of the forthcoming research on the foundation of the Gemäldegalerie with Bénédicte Savoy, Neville Rowley, and Robert Skwirblies on the occasion of the new publication:

Robert Skwirblies. Altitalienische Malerei als preußisches Kulturgut Gemäldesammlungen, Kunsthandel und Museumspolitik 1797–1830. Ars et Scientia, 13. Berlin/Boston: De Gruyter, 2017.

Location: Central Hall of the Gemäldegalerie, Kulturforum, Berlin
Date: 20 September 2017, 6.30pm

On the podium:

Welcome:

Moderation

  • Sarah Salomon, Research Assistant at Gemäldegalerie and Skulpturensammlung

Download:

 Partner

Logos_Altitalienische Malerei_2_mit Rahmen