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The paper is devoted to transformation of Riegl's, Dvorak's and Schlosser's heritage of methodology in the 1930s. At the same time the pupils of Vienna school of art history Hans Sedlmayr, K. M. Swoboda and Dagobert Frey declared a 'new tasks' of art historiography under an influence of new political situation near closed with the ideology of Nazis. They intentionally attempted to harmonize the diachronic...
The article takes a closer look at the problematic relationship between Art History and connoisseurship - the latter in today's general opinion summarizing all negative and old-fashioned aspects of the discipline - in a broad historical overview (from G. Vasari to B. Berenson). The author concludes with defending a complete and organic Art History focused on the object, which allows to conjugate the...
Ernst Gombrich stated that reading Max Dvořák convinced him that the art of the past “offered an immediate and exciting access to the mind of bygone ages”. The paper documents his involvement with Dvořák from his school-leaving essay, through his experience at university, into his essays for Kritische Berichte and then into his later career at the Warburg Institute. It will argue that although Gombrich...
The introduction presents basic facts about the work of Max Dvořák, one of the founding fathers of the 20th-century art history, whom the given issue of Ars is dedicated to. It also summarizes how the art historical community perceived ideas of this distinctive Central European scholar in course of the 20th century.
The article studies Max Dvořák’s role in the monumental enterprise of the Deutscher Verein fűr Kunstwissenschaft (German Society for Art Scholarship) – a comprehensive publication of German monuments (“Monumenta artis Germaniae”, from 1908). The author points out that Dvořák’s active involvement with the “Verein” and its nationalistic aim suggests a gradual personal rapprochement with some form of...
The article examines the perception of the relationship between war and art in Max Dvořák’s work, exemplified on papers dedicated to works of art by Francisco de Goya (“Desastres de la guerra”) and Albrecht Dürer (“Apocalypse”). The influential Central European art historian thought that the war experience had no causal effect on the spiritual life, but may have, to some extent as a kind of catalyst,...
The essay presents a factual example of how the synergy of iconological and anthropological research can be harnessed in relation to the motif of the Haemorrhoissa, the Woman with an Issue of Blood, which is to be found in texts and images from the early Christian period onwards. The authors – keeping in mind the porous boundaries – put forward an iconological reading and an anthropological reading,...
The paper examines the social and institutional dimensions of art history in post-communist Slovakia. Art history itself an often-presumed neutral autonomous science – though brutally contaminated ideologically in the previous regime – struggles today with several problems. Not only a lack of self-reflection on the discipline and its methods and a lack of critical dialogue with past practices, but...
A number of authors have written about the history of the concept of style, one of the key formulating concepts of art history. Those deserving special mention here are Jan Białostocki (‘Styl’, in: BIAŁOSTOCKI, J.: Historia sztuki wśród nauk humanistycznych. Wrocław-Warszawa-Kraków-Gdańsk 1980, pp. 36-55), Willibald Sauerländer, (‘From Stilus to Style: Reflections on the Fate of a Notion’, in: Art...
This article is an in-depth probe into A. Güntherová-Mayerová’s pedagogical activities at the Comenius University in Bratislava, which affected an entire generation of our art historians. It based on the summarizing and verifying of known, but especially new information acquired through the study of various archive sources. It strives to provide answers to questions arising from our existing knowledge...
Vojtech (Béla) Tilkovský, the art historian, art critic, radio editor and journalist, is not well known among art historians. His primary research focused on painter Dominik Skutezky (Skutecký), about whom he wrote his masters’ thesis and dissertation, and in 1954 his monograph. Tilkovský also sought out teaching positions. After several attempts at the Slovak School of Technology in 1955, he became...
The article addresses the topic of the significance of the law of the frame in academic discussion, the classification of artworks, and the pursuit to understand the formal aspects of artistic objects. It has been demonstrated how frequently and to what extent the law of the frame is included in cross-sectional publications on the history of art. The analysis has confirmed considerable importance...
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