Book synopsisIn 1992, the Comité International d’Histoire de l’Art (CIHA) held its 28th Congress in re-unified Berlin under the theme Künstlerischer Austausch – Artistic Exchange. The subject fed a strain of idealism and optimism relating the history of art to the life of our times. Change was palpable to all the participants. A wall that had seemed everlasting had fallen, a cold war that had lasted a lifetime was now history. The shifting borders and a revised sense of periodization inspired new views of the past as well as the present, of art as well as nationhood and society. One generation later, the contributions to Artistic Innovations and Cultural Zones show how art history has responded to our newly broadened vision of the artistic heritage of Europe. In this volume, the previously unquestioned practice of labelling artists with a period and a place is challenged at an empirical as well as a fundamental level. Artistic Innovations and Cultural Zones revisits the constellation of questions posed at CIHA 1992 at a moment when European history is again being rewritten. It offers new art-historical insights for our time on what it means to be a European.
Contents: Larry Silver: Leonardo in the Lowlands – Michael W. Kwakkelstein: Leonardo da Vinci’s Recurrent Use of Patterns of Individual Limbs, Stock Poses and Facial Stereotypes – Jeffrey Chipps Smith: What Dürer Missed in Venice – Giovanni Maria Fara: Albrecht Dürer and Venice in the Sixteenth Century – Till-Holger Borchert: Memling und Italien – Maria Clelia Galassi: The Reception of Italian Art in the Paintings of Jan Massys – Ingrid Ciulisová: Rogier van der Weyden and Veit Stoss and Their TwoFollowers– Mark Evans: Hybrid Styles. The Historiography of Artistic Dialogue between Italy and the North 1440 – 1520 – Thomas DaCosta Kaufmann: What is German about the German Renaissance?
About the author(s)/editor(s)
Ingrid Ciulisová is a senior research fellow at the Slovak Academy of Sciences, Institute of Art History in Bratislava. Recently she has been awarded fellowships at the Centre for Advanced Studies of the Royal Flemish Academy of Belgium for Sciences and the Arts, Brussels, and at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. She has published extensively on art in the Low Countries, history of art collecting, history of art history and preservations of monuments.
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