This session will explore the intersections between provenance research and connoisseurship with regard to the early modern period. In order to go beyond today’s dominant understanding of provenance research as a practice exclusively related to Nazi-looted art and questions of restitutions, the panel will deliberately focus on topics from the late fifteenth to the eighteenth centuries. By setting this alternative chronological limit, we will delve into the historical role of provenance research, its tools and significations, and its relation to connoisseurship and collecting practices. What influence did the biography of an artwork exert on the opinion of some of the greatest connoisseurs of the past? How did the documented (or suspected) provenance of a work of art impact its attribution and authentication process? Which strategies were employed in the mentioning of provenance information in sale catalogues or, sometimes, directly on the artworks themselves? Did the development of art historical knowledge change the practice of provenance research over time? And finally, how can we call attention to these questions in contemporary museum practice and reassess provenance research as a tool of connoisseurship? In addition to addressing the history as well as the strategies of provenance research, this session will be an opportunity to question its relationship to other domains as well as to bring it closer to core problems of art history and museology. We invite contributions that introduce new historical and methodological approaches. Proposals which go beyond the case study are especially encouraged.
10 July, 2017
6.15pm Room A 111 Architekturgebäude der TU Straße des 17. Juni 150/152 10623 Berlin
On May 26, 2017, the media reported that the legal steps (of 2014) against the Bavarian restorer, church painter and forger Christian Goller would be suspended because the defendant was unable to negotiate permanently due to health problems. Thus a “tangible scandal shrank to a provincial farce”. However, such withdrawals from accused forgers are not the only challenges faced by art history and art technology.
Fakes and Forgeries seem to exist since art has existed and attempts to introduce new counterfeits will probably not be fully prevented in the future either. However, on the basis of the hitherto known and resolved cases, one can also learn a lot about the future, including the development of precise nomenclatures and the steps to be considered.
Prof. Keazor will use a specific case to outline a panorama of the currently known methods of counterfeiting and discuss the lessons to be drawn from them by means of three problems (1. nomenclature, 2. unmasking or relationship between art technology and other methods, 3. dissemination of information). He will also take up the question of how to deal with objects exposed as counterfeits. From this, conclusions can be drawn about the possibilities of prevention and quick exposure, to limit or reduce the effect of forged art.
This spring, the Liebieghaus Skulpturensammlung will take a look back at a chapter in its history that has rarely been a focus of attention to date: the Nazi period and the acquisitions made during those years. With the aid of twelve selected objects, the exhibition will offer insights into the history of the museum in the years 1933 to 1945 and tell the stories of the people intimately linked with the twelve works. Since 2001, the Städel Museum has been examining its collections with regard to artworks whose owners were deprived of them in connection with Nazi persecution. It was thus one of the first museums in Germany to embark on this task.
In the spring of 2015, its provenance research activities were expanded through the addition of a comprehensive project supported by the German Lost Art Foundation and the city of Frankfurt am Main: the systematic examination of the Liebieghaus Skulpturensammlung holdings. The special exhibition will now present this initiative’s current research results by way of a tour through the sculpture collection’s three main departments – Antiquity, Middle Ages and Renaissance to Neoclassicism. Continue reading “Exh: Between Definite and Dubious, Liebieghaus, Frankfurt a.M., until 27 Aug 2017”→
Art and propaganda: art policy in national socialism and its aftermath – Kunst und Propaganda: Kunstpolitik im Nationalsozialismus und ihre Nachwirkungen
Freiburg i. Breisgau, 30.03. – 13.07.2017
On the occasion of the special exhibition National Socialism in Freiburg, the Circle of Friends Augustinermuseum e.V. is organizing a series of lectures on art politics, policies and regulations and the art of the National Socialists [in German].
Thursday, March 30, 7.oopm
Prof. Dr. Christoph Zuschlag (Universität Koblenz-Landau)
Kunst und Kunstpolitik im Nationalsozialismus
Thursday, May 18, 7.oopm
Dr. Tessa Rosebrock (Staatliche Kunsthalle Karlsruhe)
Provenienzforschung in Theorie und Praxis. Erwartungen – Möglichkeiten – Grenzen
Thursday, July 13, 7.oopm
Dr. Tilmann von Stockhausen (Städtische Museen Freiburg)
Das Augustinermuseum im Nationalsozialismus
Exhibition open until 7.00pm on the days of the lectures.
Entrance: 7 Euro non-members; free for members of the Freundeskreises.
Venue: Skulpturenhalle, Augustinermuseum, Freiburg i. Brsg.
ANN: Kunstpolitik im Nationalsozialismus (Freiburg i. Breisgau, 30 Mar-13 Jul 17). In: H-ArtHist, Mar 21, 2017 (accessed Mar 28, 2017).
For further questions please contact Eyke Vonderau
Forschungskoordinator – FG Kunstgeschichte der Moderne
Technische Universität Berlin
Sekretariat A56 | Straße des 17. Juni 150/152 | 10623 Berlin
+49 (0)30 314-23750 www.kuk.tu-berlin.de