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Alvin Langdon Coburn ist der erste Künstler, der 1916 von »abstrakter Photographie« schreibt und sie auch ästhetisch umsetzt. Und das, obwohl er selbst der piktorialistischen Strömung, der stimmungsvollen Kunstphotographie, angehört. Anhand von Coburns Wirken als zentrale Figur des epistemisch-ästhetischen Umbruchs in der Zeit der Jahrhundertwende verdeutlicht Cathrin Hauswald eindrucksvoll die Entwicklung der Photographie vom 19. Jahrhundert in die Moderne. Sie zeigt: Während Coburn die Beben des technologischen und photographischen Fortschritts aufzeichnet und gleichsam gestaltet, inszeniert sich der Kunstphotograph selbst als ambivalentes und geradezu antimodernes Element seines photographischen Schaffens, dessen Ziel stets die eigene Nobilitierung bleibt. »Für alle, die mehr über die Kunstfotografie um 1900 erfahren wollen.« Rowena Schubert-Fuß, Portal Kunstgeschichte, 17.09.2018 Besprochen in: Photonews, 10 (2018), Gottfried Jäger

Photographie; Abstraktion; Moderne; Piktorialismus; Kunst; Kunstgeschichte des 19. Jahrhunderts; Kunstgeschichte des 20. Jahrhunderts; Kunstwissenschaft; Photography; Abstraction; Modernity; Art; Art History of the 19th Century; Art History of the 20th Century; Fine Arts

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Die Jahre zwischen 1890 und 1914 werden in Frankreich rückblickend als Belle Époque bezeichnet. Die Beiträge des Bandes beleuchten die außerordentliche kulturelle Produktivität dieses »goldenen Zeitalters« aus unterschiedlichen Perspektiven und rücken die Kunst, Literatur, Musik und Philosophie vor dem Ausbruch des Ersten Weltkrieges in den Mittelpunkt. Dabei beziehen sie sich immer wieder auf die legendäre Sammlung von Arthur und Hedy Hahnloser-Bühler, die bis 2014 in der Villa Flora in Winterthur zu sehen war und die Frankreichs »schöne Zeit« wie in einem Brennglas bündelt.

Frankreich; Belle Époque; Kultur; Malerei; Literatur; Musik; Philosophie; Nabis; Kunst; Kunstgeschichte des 19. Jahrhunderts; Kunstgeschichte; Kunstwissenschaft; France; Belle époque; Culture; Painting; Literature; Music; Philosophy; Art; Art History of the 19th Century; Art History; Fine Arts --- France --- Civilization --- Art History of the 19th Century. --- Art History. --- Art. --- Belle époque. --- Culture. --- Fine Arts. --- Literature. --- Music. --- Nabis. --- Painting. --- Philosophy.

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Kunstgeschichte ist schon immer »im Fluss«. Zentrale Fragen und Vorstellungen zu Künstler_innen, Werk oder Stil werden mit dem Hinweis auf »Quellen«, »Strömungen«, »Einflüsse« und andere Fluida zu beantworten versucht. Doch die Kunstgeschichte scheint mit der Zeit immer noch fluider zu werden. Die methodenkritische Auseinandersetzung hat diesem Phänomen bislang wenig Bedeutung zugemessen und kaum etwas für eine reflektiertere Verwendung dieser Begriffe, Sprachbilder und Denkmodelle getan. Dagegen reagieren aber vor allem moderne und zeitgenössische Künstler_innen mit ihren Werken auf diesen »aquatic turn«. Der Band untersucht nun erstmals aquatische Metaphern und die dahinter stehenden Denkmodelle der Kunstgeschichtsschreibung im Zusammenhang.

Kunstgeschichte; Kunsttheorie; Metapher; Sprachbild; Denkmodell; Medien; Fluxus; Kunst; Kunstgeschichte des 19. Jahrhunderts; Kunstgeschichte des 20. Jahrhunderts; Kunstwissenschaft; Art History; Theory of Art; Metaphor; Figure of Speech; Hypothesis; Media; Art; Art History of the 19th Century; Art History of the 20th Century; Fine Arts --- Art History of the 19th Century. --- Art History of the 20th Century. --- Art. --- Figure of Speech. --- Fine Arts. --- Fluxus. --- Hypothesis. --- Media. --- Metaphor. --- Theory of Art.

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"In this innovative book, Gundula Kreuzer argues for the foundational role of technologies in the conception, production, and study of nineteenth-century opera. She shows how composers increasingly incorporated novel audiovisual effects in their works and how the uses and meanings of the required machineries consistently changed, sometimes still resonating in contemporary stagings, performance art, and popular culture. Focusing on devices (which she dubs 'Wagnerian technologies') intended to amalgamate opera's various media while veiling their mechanics, Kreuzer offers a practical counternarrative to Wagner's idealist theories of total illusionism. Curtain, Gong, Steam's multifaceted exploration of the three titular technologies repositions Wagner as catalyst more than inventor in the history of operatic production. With its broad chronological and geographical scope, the book deepens our understanding of the material and mechanical conditions of historical operatic practice as well as of individual works, both well known and obscure"--Éditeur.

Wagner, Richard --- Aesthetics. --- MUSIC / Genres & Styles / Opera. --- Opera and technology --- Opera and technology. --- Opera --- PERFORMING ARTS / Theater / General. --- History --- Production and direction --- Production and direction. --- Stage-setting and scenery --- Stage-setting and scenery. --- Wagner, Richard, --- 1800-1899. --- Technology and opera --- Technology --- Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- History and criticism --- MUSIC / History & Criticism. --- 1800-1899 --- 19th century art. --- 19th century music. --- 19th century opera. --- 19th century. --- 20th century. --- acoustics. --- architecture. --- art history. --- artistic. --- audiovisual. --- composer. --- composition. --- french opera. --- german opera. --- inventor. --- music history. --- musical composition. --- opera. --- performance art. --- pop culture. --- popular culture. --- popular music. --- stage crew. --- technology. --- theatre. --- wagner. --- wagnerian technology.

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This handsomely illustrated book is a welcome addition to the history of women during America’s Gilded Age. Wanda M. Corn takes as her topic the grand neo-classical Woman’s Building at the 1893 Columbian Exposition in Chicago, a structure celebrating modern woman’s progress in education, arts, and sciences. Looking closely at the paintings and sculptures women artists made to decorate the structure, including the murals by Mary Cassatt and Mary MacMonnies, Corn uncovers an unspoken but consensual program to visualize a history of the female sex and promote an expansion of modern woman’s opportunities. Beautifully written, with informative sidebars by Annelise K. Madsen and artist biographies by Charlene G. Garfinkle, this volume illuminates the originality of the public images female artists created in 1893 and inserts them into the complex discourse of fin de siècle woman’s politics. The Woman’s Building offered female artists an unprecedented opportunity to create public art and imagine an historical narrative that put women rather than men at its center.

Sex role in art,. --- Women artists. --- Women in art. --- Women in art --- Sex role in art --- Mural painting and decoration --- Decoration and ornament, Architectural --- Women artists --- Themes, motives --- History --- Themes, motives --- Woman's Building (World's Columbian Exposition, 1893, Chicago, Ill.) --- Chicago (Ill.) --- Buildings, structures, etc. --- 1893 columbian expedition. --- 19th century art. --- 19th century chicago. --- 19th century culture. --- 19th century history. --- 19th century women. --- art at columbian expedition. --- art criticism. --- art herstory. --- art history. --- art. --- artists. --- chicago worlds fair. --- columbian expedition chicago. --- historical art. --- murals. --- paintings. --- public art. --- white city worlds fair. --- white city. --- womans building 1893 columbian expedition. --- womans building. --- women artists. --- women in art. --- womens history. --- worlds fair.