The development of art history as a discipline during the 19^th century has been variously associated with the politics of national identity, the needs of a growing bourgeois public in search of cultural capital, or of an expanding art market. However, the role of art training, and art practitioners themselves in the shaping of the discipline remains unexamined. Courses in art history had been systematically introduced in the curricula of art and architecture academies since the late 18^th century, and spaces of art education count among the first institutional homes of the discipline, well before the establishment of autonomous university chairs. This conference aims to explore the interactions and productive tensions between art practice and art scholarship in the 19^th century. 

Argument

The development of art history as a discipline during the 19^th century has been variously associated with the politics of national identity, the needs of a growing bourgeois public in search of cultural capital, or of an expanding art market. However, the role of art training, and art practitioners themselves in the shaping of the discipline remains unexamined. Courses in art history had been systematically introduced in the curricula of art and architecture academies since the late 18^th century, and spaces of art education count among the first institutional homes of the discipline, well before the establishment of autonomous university chairs.

How did the institutional framework of art education and exposure to the problems of artistic practice affect the historical study of art? How did scholars’ engagement with contemporary art evolve alongside the growing academic recognition of art history within the university? How did artists themselves react to the emergence of a community of professional specialists claiming control over art discourse? To what extend did practitioners propose parallel or counter discourses in their works, writings or teachings?

This conference aims to explore the interactions and productive tensions between art practice and art scholarship in the 19^th century. 

Programme

Thursday July 7, 2016

Room H 3005

14.30  Registration

15.00 Eleonora Vratskidou, Alexander von Humboldt Stiftung/Technische Universität Berlin

Introduction: Art history, a discipline rooted in practice?

I. Art history in the art school: Institutional frameworks

Panel 1

Chair: Olga Medvedkova, CNRS-ENS

• 15.30 Heinrich Dilly, Martin-Luther-Universität Halle-Wittenberg, Christian Friedrich Prange (1756-1836) und die älteste  Provinzialkunstschule Preußens in Halle an der Saale
• 15.55 Eric Garberson, Virginia Commonwealth University, Wilhelm Stier’s (1799-1856) architectural history at the Bauakademie, Berlin

16.20  Discussion

17.00  Coffee break

Panel 2

Chair: Olga Medvedkova, CNRS-ENS

• 17.30 Pascal Griener, Université de Neuchâtel, Another wolf in the sheep yard: David Sutter (1811-1880) and the teaching of art history at the École des beaux-arts in Paris
• 17.55 Annalea Tunesi, Independent researcher, The polymath Aleardo Aleardi (1812-1878), professor of estetica applicata alle arti at the Art Academy in Florence
• 18.20 Foteini Vlachou, Universidade Nova de Lisboa, Defining the object of art history: Teaching at the Lisbon Academy of Fine Arts c. 1874-1911

18.45  Discussion

19.30  Reception

Friday July 8, 2016

Room 1035

I. Art history in the art school: Institutional frameworks

Panel 3

Chair: Andrea Meyer, Technische Universität Berlin

• 9.30 Bénédicte Savoy, Technische Universität Berlin, Das Museum als Ort der Künstlerausbildung um 1800
• 9.55 Deborah Schultz, Regent’s University London/University of Oxford, Photo archives and the role of photography in art education: The case of the Royal Academy in London in the late 19th century
• 10.20 Julia Witt, Technische Universität Berlin, Die Kunstgeschichte und die Reformen der deutschen Kunstakademien ab 1910. Eine unauflösliche Diskrepanz?

10.45  Discussion

11.30  Coffee break

II. Art history and the art of the present: Scholars and artists

Panel 1

Chair: Hubert Locher, Philipps-Universität Marburg

• 12.00 Robert Skwirblies, Technische Universität Berlin, „Die Einfalt der alten Zeiten“ und eine Bürgerschaft von Künstlern: Geschichtskonstruktion als Programmatik bei Johann David Passavant um 1820
• 12.25 Spyros Petritakis, University of Crete, Rudolf Steiner’s engagement with contemporary artists’ groups: Art-theoretical discourse within the anthroposophical milieu in Germany in the early 20th century
• 12.50 Émilie Oléron Evans, Institut d’Études Avancées, Strasbourg, Crafting the history of decorative arts: Das Kunstgewerbe in Elsass-Lothringen (1900-1906)

13.15  Discussion

14.00 Lunch break - free time

Panel 2

Chair: Hubert Locher, Philipps-Universität Marburg

• 15.30 Petra Brouwer, University of Amsterdam, Colliding times: The contemporary in 19th-century architectural history books
• 15.55 Melanie Sachs, Philipps-Universität Marburg, Vom Nutzen und Nachteil der Kunstgeschichte für die mitlebende Kunst: Historismuskritik in kunsthistorischen Schriften um 1900
• 16.20 Yannis Hadjinicolaou, Humboldt Universität Berlin, ‘Die Neue Sachlichkeit Rembrandts’: Aby Warburg’s Claudius Civilis

16.45  Discussion

17.30  Coffee break

Panel 3

Chair: Eleonora Vratskidou, Alexander von Humboldt Stiftung/Technische Universität Berlin

• 18.00 Pier Paolo Racioppi, IES Abroad Italy, Rome, The men of letters and the teaching artists: Debating invention at the Accademia di San Luca in Rome during the first decades of the 19th century
• 18.25 Lena Bader, Deutsches Forum für Kunstgeschichte Paris, Künstler vs. Kunsthistoriker? Streit der Interpretationen im Holbein-Streit

18.50  Discussion

Saturday July 9, 2016

Room 1035

III. Art history by artists: The artist as producer of art discourse

Panel 1

Chair: Eleonora Vratskidou, Alexander von Humboldt Stiftung/Technische Universität Berlin

• 10.00 Claire Barbillon, Université de Poitiers, How did 19th-century French sculptors write the history of ancient Greek sculpture?
• 10.25 Wibke Schrape, Museum für Asiatische Kunst, Staatliche Museen zu Berlin, From artists to art historians: Art discourse in transition in 19th-century Japan

10.50  Discussion

11.30  Coffee break

Panel II - Chair: Bärbel Küster, Technische Universität Berlin

• 12.00 Michael Thimann, Georg-August-Universität Göttingen, Kunsthistorisches Praxiswissen: Carl Wilhelm Oesterley (1805-1891) als Professor an der Universität Göttingen
• 12.25 Margherita D’Ayala Valva, Scuola Normale Superiore in Pisa, Artists’ reading and copybook practice as a form of self-taught education
• 12.50 Anne Gregersen, University of Copenhagen, Artists’ collections as producers of alternative art historical narratives: The example of J. F. Willumsen’s collection

13.15  Discussion

14.00 Lunch break - free time

Panel 3

Chair: Pascal Griener, Université de Neuchâtel

• 16.00 Léa Kuhn, Ludwig-Maximilians-Universität München, Configuring the gaze: Matthew Pratt’s painterly in(ter)vention
• 16.25 France Nerlich, Université François-Rabelais de Tours, Setting new paradigms for art and science: Art history by Friedrich Overbeck and Paul Delaroche
• 16.50 Jan Dirk Baetens, Radboud University Nijmegen, Bruegel the Elder, Bruegel the much much Younger, and the Antwerp Raphael: The invention of Pieter Bruegel the Elder in the work of Henri Leys and his followers

17.15  Discussion

18.00  Closing roundtable

Convenor/Concept

Eleonora Vratskidou

Alexander von Humboldt Postdoctoral Fellow

Technische Universität Berlin

Institut für Kunstwissenschaft und Historische Urbanistik

Fachgebiet Kunstgeschichte der Moderne

Scientific Committee

• Heinrich Dilly, Martin-Luther-Universität Halle-Wittenberg
• Pascal Griener, Université de Neuchâtel
• Hubert Locher, Philipps-Universität Marburg
• Olga Medvedkova, CNRS-ENS (Centre Jean Pépin)
• Michela Passini, CNRS-ENS (IHMC)
• Matthew Rampley, University of Birmingham
• Bénédicte Savoy, TU Berlin
• Eleonora Vratskidou, TU Berlin

http://arthistoryforartists.com/

http://www.kuk.tu-berlin.de/