Art History and Visual Studies in Europe

Art History and Visual Studies in Europe

Brill, Leiden, 2012

Reflection on the history and practice of art history has long been a major topic of research and scholarship, and this volume builds on this tradition by offering a critical survey of many of the major development in the contemporary discipline, such as the impact of digital technologies, the rise of visual studies or new initiatives in conservation theory and practice. Alongside these methodological issues this book addresses the mostly neglected question of the impact of national contexts on the development of the discipline. Taking a wide range of case studies, this book examines the impact of the specific national political, institutional and ideological demands on the practice of art history. The result is an account that both draws out common features and also highlights the differences and the plurality of practices that together constitute art history as a discipline....Read more

BSIH 212 RAMPLEY ET AL (EDS) ART HISTORY AND VISUAL STUDIES IN EUROPE Reﬂection on the history and practice of art history has long been a major topic of research and scholarship, and this volume builds on this tradition by offering a critical survey of many of the major development in the contemporary discipline, such as the impact of digital technologies, the rise of visual studies or new initiatives in conservation theory and practice. Alongside these methodological issues this book addresses the mostly neglected question of the impact of national contexts on the development of the discipline. Taking a wide range of case studies, this book examines the impact of the speciﬁc national political, institutional and ideological demands on the practice of art history. The result is an account that both draws out common features and also highlights the differences and the plurality of practices that together constitute art history as a discipline. Matthew Rampley is Professsor in the History of Art of the University of Birmingham. He has published widely on aesthetics and the historiography of art, with a particular focus on Nietzsche, Warburg, Riegl and the Vienna School of Art History, and is associate editor of the Journal of Art Historiography. Thierry Lenain is Professor of Art Theory at the Université Libre de Bruxelles. Published works include studies of forgery, monkey painting and the image in Deleuze, Foucault and Lyotard. Hubert Locher is Professor of the History and Theory of the Image, and Director of the German Art Historical Documentation Centre of the Philipps University, Marburg. Alongside work on the Renaissance, speciﬁcally, Alberti, Raphael and Ghirlandaio, he has also written and edited numerous books on museum and exhibitionary practice, art theory and the historiography of art. Andrea Pinotti is Professor of Philosophy at the Università degli Studi, Milan. He has written widely on German nineteenth- and twentieth-century aesthetics and its place within the historiography of art, including books on Riegl, Warburg and Walter Benjamin. Charlotte Schoell-Glass is Professor of Art History at the University of Hamburg. A member of the editorial board of Word & Image, her research interests focus on the relation between image and text, and she has also published on Aby Warburg, including a critical edition of the Diary of the Warburg Library in Hamburg and a study of Warburg and anti-Semitism. Kitty Zijlmans is Director of the Leiden University Institute for Cultural Disciplines. Her main areas of research and publication have been contemporary art, the theory and methodologies of art history and world art studies as a new disciplinary paradigm. BRILL’S STUDIES IN INTELLECTUAL HISTORY 212 BRILL’S STUDIES ON ART, ART HISTORY, AND INTELLECTUAL HISTORY 4 ISSN 0920-8607 brill.nl/BSIH BRILL’S STUDIES IN INTELLECTUAL HISTORY 212 BRILL’S STUDIES ON ART, ART HISTORY, AND INTELLECTUAL HISTORY 4 Edited by MATTHEW RAMPLEY, THIERRY LENAIN, HUBERT LOCHER, ANDREA PINOTTI, CHARLOTTE SCHOELL-GLASS & KITTY ZIJLMANS Subseries Editor: ROBERT ZWIJNENBERG ART HISTORY AND VISUAL STUDIES IN EUROPE TRANSNATIONAL DISCOURSES AND NATIONAL FRAMEWORKS

This book was supported by funds made available by the European Science Foundation (ESF), which was established in 1974 to provide a common platform for its Member Organisations to advance European research collaboration and explore new directions for research. This publication was supported by grants from the Aby Warburg-Stiftung and the Hamburgische Wissenschaftlich Stiftung, both in Hamburg. Cover illustration: Elliott Erwitt. Personal. 1996. © Elliott Erwitt/Magnum Photos. This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.nl/brill-typeface. ISSN 0920-8607 ISBN 978 90 04 26929 2 (hardback) ISBN 978 90 04 23170 2 (e-book) Copyright 2012 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhof f Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper. 04 21877 2

BRILL’S STUDIES IN INTELLECTUAL HISTORY 212 BSIH BRILL’S STUDIES IN INTELLECTUAL HISTORY 212 BR ILL’S STUDIES ON A RT, A RT HISTORY, A ND INTELLECTUA L HISTORY 4 212 BR ILL’S STUDIES ON A RT, A RT HISTORY, A ND INTELLECTUA L HISTORY 4 Reflection on the history and practice of art history has long been a major topic of research and scholarship, and this volume builds on this tradition by offering a critical survey of many of the major development in the contemporary discipline, such as the impact of digital technologies, the rise of visual studies or new initiatives in conservation theory and practice. Alongside these methodological issues this book addresses the mostly neglected question of the impact of national contexts on the development of the discipline. Taking a wide range of case studies, this book examines the impact of the specific national political, institutional and ideological demands on the practice of art history. The result is an account that both draws out common features and also highlights the differences and the plurality of practices that together constitute art history as a discipline. RAMPLEY ET AL (EDS) Matthew Rampley is Professsor in the History of Art of the University of Birmingham. He has published widely on aesthetics and the historiography of art, with a particular focus on Nietzsche, Warburg, Riegl and the Vienna School of Art History, and is associate editor of the Journal of Art Historiography. ART HISTORY AND VISUAL STUDIES IN EUROPE Thierry Lenain is Professor of Art Theory at the Université Libre de Bruxelles. Published works include studies of forgery, monkey painting and the image in Deleuze, Foucault and Lyotard. Hubert Locher is Professor of the History and Theory of the Image, and Director of the German Art Historical Documentation Centre of the Philipps University, Marburg. Alongside work on the Renaissance, specifically, Alberti, Raphael and Ghirlandaio, he has also written and edited numerous books on museum and exhibitionary practice, art theory and the historiography of art. Andrea Pinotti is Professor of Philosophy at the Università degli Studi, Milan. He has written widely on German nineteenth- and twentieth-century aesthetics and its place within the historiography of art, including books on Riegl, Warburg and Walter Benjamin. Charlotte Schoell-Glass is Professor of Art History at the University of Hamburg. A member of the editorial board of Word & Image, her research interests focus on the relation between image and text, and she has also published on Aby Warburg, including a critical edition of the Diary of the Warburg Library in Hamburg and a study of Warburg and anti-Semitism. K itty Zijlmans is Director of the Leiden University Institute for Cultural Disciplines. Her main areas of research and publication have been contemporary art, the theory and methodologies of art history and world art studies as a new disciplinary paradigm. ISSN 0920-8607 brill.nl/BSIH ART HISTORY AND VISUAL STUDIES IN EUROPE TRANSNATIONAL DISCOURSES AND NATIONAL FRAMEWORKS Edited by MATTHEW RAMPLEY, THIERRY LENAIN, HUBERT LOCHER, ANDREA PINOTTI, CHARLOTTE SCHOELL-GLASS & KITTY ZIJLMANS Subseries Editor: ROBERT ZWIJNENBERG This book was supported by funds made available by the European Science Foundation (ESF), which was established in 1974 to provide a common platform for its Member Organisations to advance European research collaboration and explore new directions for research. This publication was supported by grants from the Aby Warburg-Stiftung and the Hamburgische Wissenschaftlich Stiftung, both in Hamburg. Cover illustration: Elliott Erwitt. Personal. 1996. © Elliott Erwitt/Magnum Photos. This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.nl/brill-typeface. ISSN 0920-8607 ISBN 978 90 04 21877 2692922 (hardback) ISBN 978 90 04 23170 2 (e-book) Copyright 2012 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper. Art History and Visual Studies in Europe Art History and Visual Studies in Europe Transnational Discourses and National Frameworks Edited by Matthew Rampley Thierry Lenain Hubert Locher Andrea Pinotti Charlotte Schoell-Glass Kitty Zijlmans LEIDEN • BOSTON 2012 © 2012 Koninklijke Brill NV 978 90 04 21877 2 CONTENTS List of Contributors ........................................................................................ Preface and Acknowledgements ................................................................ Thierry Lenain, Hubert Locher, Andrea Pinotti, Charlotte Schoell-Glass, Matthew Rampley and Kitty Zijlmans ix xv Introduction ..................................................................................................... Matthew Rampley 1 PART ONE METHODS, DEBATES AND PARADIGMS Art History, Aesthetics and Art Criticism ............................................... Antonio Somaini 17 The Idea of the Canon and Canon Formation in Art History .......... Hubert Locher 29 European Heritage: Unity in Diversity? ................................................... Brian Graham 41 Contemporary Art and the Concept of Art History: Influence, Dependency and Challenge .................................................................... Peter J. Schneemann 59 Formalism and the History of Style .......................................................... Andrea Pinotti 75 Visual Culture and Visual Studies .............................................................. Jan Baetens 91 Theories of the Image in France: Between Art History and Visual Anthropology ................................................................................. Ralph Dekoninck 107 © 2012 Koninklijke Brill NV 978 90 04 21877 2 vi contents Bildwissenschaft: Theories of the Image in German-Language Scholarship ................................................................................................... Matthew Rampley Computerization, Digitization and the Internet ................................... Antonella Sbrilli 119 135 Technical Art History: The Synergy of Art, Conservation and Science .......................................................................................................... Erma Hermens 151 Dimensions of Dialogue: Art History and the Discourse of Economics .................................................................................................... Victor Ginsburgh and François Mairesse 167 Sociologies of Art: With and against Art History .................................. Nathalie Heinich 185 Museums and Museologies .......................................................................... Dominique Poulot 197 Art History in a Global Frame: World Art Studies ............................... Wilfried van Damme and Kitty Zijlmans 217 The Construction of National Art Histories and the ‘New’ Europe ............................................................................................... Matthew Rampley 231 PART TWO THE GEOGRAPHY OF THE DISCIPLINE Cultures of Interruptions. Art History in the Baltic States: Estonia, Latvia and Lithuania ................................................................................. Krista Kodres, Giedrė Mickūnaitė and Stella Pelše In Search of a Synthesis: Art History in Belgium .................................. Raphaël Pirenne © 2012 Koninklijke Brill NV 978 90 04 21877 2 249 275 contents vii Art History in Bulgaria: Institutional Frameworks, Research Directions and Individual Scholars ...................................................... Elka Bakalova 287 Art History in the Czech and Slovak Republics: Institutional Frameworks, Topics and Loyalties ....................................................... Milena Bartlová 305 Art History in France: A Conflict of Traditions ..................................... Ralph Dekoninck and Joël Roucloux Art History in German-Speaking Countries: Austria, Germany and Switzerland .......................................................................................... Charlotte Schoell-Glass Art History and Visual Studies in Great Britain and Ireland ............ Griselda Pollock 315 335 355 Born of a ‘Peripheral’ Modernism: Art History in Greece and Cyprus ............................................................................................................ Areti Adamopoulou 379 Art History in Italy: Connoisseurship, Academic Scholarship and the Protection of Cultural Heritage ............................................. Laura Iamurri 393 Art History in the Netherlands: The Past and Present of the Discipline ...................................................................................................... Marga van Mechelen and Kitty Zijlmans 407 Art History in the Nordic Countries ......................................................... Dan Karlholm, Hans Dam Christensen and Matthew Rampley 421 A Marginalised Tradition? Polish Art History ........................................ Wojciech Bałus 439 In Search of National Traditions: Art History in Romania ................ Corina Teacă 451 © 2012 Koninklijke Brill NV 978 90 04 21877 2 viii contents Art History in Serbia, Bosnia-Herzegovina and Macedonia .............. Nenad Makuljević 461 Art History in Spain: A Generational History ........................................ Gonzalo M. Borrás Gualis 473 Art History and the Founding of the Modern Turkish State ............ Burcu Dogramaci 485 Bibliography ..................................................................................................... Dennis Janzen 493 Index ................................................................................................................... 543 © 2012 Koninklijke Brill NV 978 90 04 21877 2

The knowledge concerning Muzio Clementi's piano sonatas has developed mainly with the studies in conjunction with his 250th birth anniversary. Although historical works about Clementi's figure are well detailed, the analytical ones present some unexplored topics, especially from the perspective of the Classical Form Theory. Along his artistic career, between 1782 and 1820, Muzio Clementi composes eight piano or harpsichord sonatas in minor mode. These could be considered as a landmark for the use of the minor mode in the classical context. This analysis focuses on Clementi's most peculiar formal and tonal compositional procedures in the minor mode, in relationship with the ones of other composers from Viennese Classicism, as Beethoven and Mozart, and from London Classicism, as Dussek, Donaldson and Cogan. A complete analysis of Clementi's minor mode sonatas allows us to reconstruct Clementi's stylistic choices in a typically experimental compositional environment. This let us to deduce the components of the author's language. The results are interesting. First, from a restricted point of view emerge the formal and tonal thematic organization features. For example the Clementi's predilection for a redundant language. From a tonal point of view, the traditional relationship between first and fifth degree is replaced by the third one, both in large and small modulations. Secondary theme groups are extended, monothematism is very common, and reprises are usually non-conventional. These features become more relevant if compared with those of other contemporary composers in the main field. A desk study approach to this type of repertoire could be considered dispersive because of its particular nature. Indeed, the minor mode in the Classc Era it is usually considered as an experimental compositional environment, more free from the rules that usually constrain major mode compositions. Consequently it would be unsuccessful to formalize in a coherent whole a group of practices that are usually free in their very nature. Also comparative analysis often has of combining distant works and authors both chronologically and stylistically. Although both of these arguments have their strengths, the analysis of this group of sonatas demonstrates that, even though in an experimental compositional context, it is possible to group the most important compositional features in a coherent compositional system. Also the comparison between Clementi's compositional procedures with the ones from other classical authors has is advantages. Indeed, for instance, this study demonstrates that the Joseph Kerman's comparative explanation of the relationship between some Beethoven minor mode characteristics and Mozart and Haydn's ones, it is unreliable because of the Clementi's exclusion examples in the analysis. In conclusion this paper has a double scope. First it wants to deepen the studies already existing on that subject that, above all compared to Clementi, still show unexplored themes. Second it wants to contribute to the definition of a more general issue: if it is possible or not to define an autonomy of the minor mode sonata language.

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Art History and Visual Studies in Europe