TOC Dec 3, 2013

Journal of Art Historiography, No. 9, 2013

Richard Woodfield, University of Birmingham

Journal of Art Historiography Number 9 December 2013

Priyanka Basu, ‘Ideal and material ornament: rethinking the “beginnings” and history of art’ 9/PB1

Colleen Becker, ‘Aby Warburg’s Pathosformel as methodological paradigm’ 9/CB1

Rex Butler and A.D.S. Donaldson, ‘Surrealism and Australia: towards a world history of Surrealism’ 9/RBAD1

A.A. Donohue, ‘History and the Historian of Classical Art’ 9/AAD1

Antoinette Friedenthal, ‘John Smith, his Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters (1829–1842) and the “stigma of PICTURE DEALER”’ 9/AF1

Carolyn C. Guile, ‘Winckelmann in Poland: An Eighteenth-Century Response to the “History of the Art of Antiquity”’ 9/CCG1

Christopher P. Heuer, ‘”Hundreds of eyes”: Beyond Beholding in Riegl’s “Jakob van Ruysdael” (1902)’ 9/CPH1

Vlad Ionescu, ‘The rigorous and the vague: aesthetics and art history in Riegl, Wölfflin and Worringer’ 9/VI1

Emmanouil Kalkanis, ‘The “Meidias” hydria: a visual and textual journey of a Greek vase in the history of art of antiquity (c. 1770s–1840s)’ 9/EK1

Kwame Amoah Labi, ‘Afro-Ghanaian influences in Ghanaian paintings’ 9/KAL1

Branko Mitrovic?, ‘Romantic worldview as a narcissistic construct’ 9/BM1

David Pestorius, ‘Ian Burn’s Questions: Art & Language and the rewriting of Conceptual Art history’ 9/DP1

Parjanya Sen, ‘”Gaur as ‘Monument”: The Making of an Archive and Tropes of Memorializing’ 9/PS1

Buildings and objects — the Rococo and after:

Kristel Smentek, ‘Introduction. Buildings and objects: the Rococo and after’ 9/KS1

Jean-François Bédard, Beds and thrones: the reform of aulic space in late eighteenth-century France’ 9/J-FB1

Alexis H. Cohen, ‘Domestic utility and useful lines: Jean-Charles Krafft’s and Thomas Hope’s outlines’ 9/AHC1

Michael Yonan, ‘Material transformations: thinking about objects and spaces at the Wieskirche’ 9/MY1

Irish art histories:

Niamh NicGhabhann, ‘Introductory essay: writing Irish art histories’ 9/NNG1

Mary Jane Boland, ‘A troublesome “genre”? Histories, definitions and perceptions of paintings of everyday life from early nineteenth-century Ireland ‘ 9/MJB1

Riann Coulter (F.E. McWilliam Gallery and Studios), ‘John Hewitt: Creating a Canon of Ulster Art’ 9/RC1

Gabriel Gee (Franklin College, Switzerland), ‘The catalogues of the Orchard Gallery: a contribution to critical and historical discourses in Northern Ireland, 1978-2003’ 9/GG1

Nicholas E. Johnson, ‘Performative Criticism: Samuel Beckett and Georges Duthuit’ 9/NEJ1

Róisín Kennedy, ‘The Irish Imagination 1971 – Stereotype or Strategy’ 9/RK1

Una Walker, ‘The Scandinavian Report: its origins and impact on the Kilkenny Design Workshops’ 9/UW1

To what end? Eschatology in art historiography’:

Jeanne-Marie Musto, ‘To what end? Eschatology in art historiography’ 9/J-MM1

Robert Born, ‘World Art Histories and the Cold War’ 9/RB1

Benjamin Harvey, ‘The rest is silence: the senses of Roger Fry’s endings’ 9/BH1

Henrik Karge, ‘Projecting the future in German art historiography of the nineteenth century: Franz Kugler, Karl Schnaase, and Gottfried Semper‘ 9/HK1

David O’Brien, ‘Delacroix, Chenavard, and the End of History’ 9/DOB1

Travelling Artists in Medieval and Renaissance Europe:

Sandra Cardarelli, ‘Travelling Artists in Medieval and Renaissance Europe: An Introduction’ 9/SC1

Sandra Cardarelli, ‘Antonio Ghini and Andrea di Francesco Guardi: Two 15th-century Tuscan Artists in the Service of Local Governments’ 9/SC2

Katja Fält, ‘Locality, nation and the ‘primitive’ – notions about the identities of late medieval non-professional wall painters in Finnish historiography from 1880 to 1940’ 9/KF1

Michelle Moseley-Christian, ‘Confluence of Costume, Cartography and Early Modern European Chorography’ 9/MM-C1

Cinzia Maria Sicca, ‘Vasari’s Vite and Italian artists in sixteenth-century England’ 9/CMS1


Alois Riegl, ‘Lovers of art, ancient and modern’ posthumously published as ‘Über antike und moderne Kunstfreunde Vortrag gehalten in der Gesellschaft der Wiener Kunstfreunde,’ Kunstgeschichtliches Jahrbuch der K. K. Zentral-Kommission zur Erforschung und Erhaltung der kunst- und historischen Denkmale, Volume 1, 1907, Beiblatt für Denkmalpflege, column 1-14, reprinted in Alois Riegl, Gesammelte Aufsätze, Augsburg Vienna: Filser, 1929, 194-206. Translated with an introduction by Karl Johns 9/KJ1


Kristina Jõekalda, ‘What has become of the New Art History?’ 9/JK1

Stefan Muthesius, ‘Towards an “exakte Kunstwissenschaft”(?), A report on some recent German books on the progress of mid-19th century art history. Part I: Work by German art historians on nineteenth-century art-historiography since 2000’ 9/SM1

Stefan Muthesius, ‘Towards an “exakte Kunstwissenschaft”(?). Part II: The new German art history in the nineteenth-century: a summary of some problems’ 9/SM2


Branko Mitrovic?, ‘A realist theory of art history’. Review of: Ian Verstegen, A Realist Theory of Art History (Ontological Explorations), London and New York: Routledge 2013, 192 pages, £89.72 hbk, ISBN-10: 0415531519, ISBN-13: 978-0415531511. 9/BM2

Andrea Pinotti (Università Statale di Milano), ‘Styles of Renaissance, renaissances of style’. Review of: L’idée du style dans l’historiographie artistique. Variantes nationales et transmissions, edited by Sabine Frommel and Antonio Brucculeri, Roma: Campisano Editore, 2012, 343 pp, 91 b & w ills., € 40,00, ISBN 9788888168982. Was war Renaissance? Bilder einer Erzählform von Vasari bis Panofsky, edited by Hans Christian Hönes, Léa Kuhn, Elizabeth J. Petcu, Susanne Thüringen, with a foreword by Ulrich Pfisterer and Wolf Tegethoff, Passau: Dietmar Klinger Verlag, 2013, 182 pp, 90 colour and b & w ills., $ 47,50, ISBN 9783863281212. 9/AP1

Matthew Rampley, ‘Images of Globalisation: Paris 1889’. Review of Beat Wyss, Bilder von der Globalisierung. Die Weltausstellung von Paris 1889. Berlin: Insel Verlag, 2010, 285 pp., 112 b. & w. illus., € 49.90 hbk, ISBN 9783458174851 9/MR1

Mark A. Russell, ‘”Cannon fodder for respectable question marks”: Fritz Saxl and the history of the Warburg Library’. Review of: Dorothea McEwan, Fritz Saxl – Eine Biografie: Aby Warburgs Bibliothekar und Erster Direktor des Londoner Warburg Institutes, Wien, Köln, Weimar: Böhlau Verlag, 2012, 344 pp., 36 b. & w. illus., €39.00 hdbk, ISBN 978-3-205-78863-8. 9/MAR1

Kathryn A. Smith, ‘Medieval women are “good to think’ with”. Review of: Therese Martin, ed., Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture, Visualising the Middle Ages, volume 7, 2 vols, Leiden and Boston: Brill, 2012, 1,280 pp., 287 b&w illustrations, 32 colour plates, ISBN: 978-90-04-18555-5 (hardback), E-ISBN: 978-90-04-22832-0, Euro 215.00 / US$ 299.00. 9/KAS1

Ian Verstegen, ‘Art is not what you think it is (but we can approach it through the Art Matrix)’. Review of: Donald Preziosi and Claire Farago, Art is Not What You Think It Is. Wiley-Blackwell, 2012. 171 pp. ISBN-10: 1405192402. ISBN-13: 978-1405192408. 9/IV1

Jind?ich Vybíral, ‘Writing the history of modern architecture after the fall of the Iron Curtain’. Review of: Hans Ibelings, European Architecture since 1890, Amsterdam: SUN, 2011, 236 pp., 735 col. illus. 38 EUR, ISBN 978 90 8506 8815. 9/JV1


André Chastel (1912-1990), Histoire de l’Art & Action Publique, Catalogue de l’Exposition, Institut National d’Histoire de l’Art, 8 février 2013 – 6 avril 2013. 9/AC1

TOC: Journal of Art Historiography, No. 9, 2013. In:, Dec 3, 2013 (accessed Jun 21, 2024), <>.