« Une constellation dans la nuit de l'histoire, une tache lumineuse devant les ténèbres de la mort » : l'œuvre d'Ernst Wilhelm Nay vue par Werner Haftmann by Vincenza Benedettino

“…Jahrhundert, published by Haftmann in 1954, and exhibitions catalogues, this study retraces the fundamental stages of the path to the consecration of Nay’s abstract painting undertaken by the art historian in Germany and internationally. On the one hand, Nay benefited considerably from the critical support of one of West Germany’s most influential art historians. …”
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La marcia degli alfabeti. Indagine semiologica degli Slavs and Tatars by Davide Tolfo

“…Expanding on the categorization proposed by art historian David Joselit, it will examine how the collective privileges propositions, documents, and ready-mades as central forms of their operations. …”
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Schöner wohnen und besser leben by Christian Reiss

“…Hans Sedlmayr was an influential Austrian art historian in the 20th century. With his book Der Verlust der Mitte, he reached a broad audience beyond academia in post-war Germany. …”
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Exposer la science dans l’après-guerre. Hommage à Léonard de Vinci et Rembrandt, étude photographique et radiographique au laboratoire du musée du Louvre by Camille Bourdiel

“…With the exhibitions Hommages à Léonard de Vinci (1952) and Rembrandt, étude photographique et radiographique (1955), she made a new type of document with a didactic aim for viewing by the public and thus contributed to making her department an indispensable tool for the art historian, while ensuring the renown of the Laboratoire du Musée du Louvre in France and abroad.…”
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Ancient Art in the Collection of the National Museum in Gdańsk by Grzegorz First

“…The only definite aspect is the acquisition of some items: Coptic fabrics from the collection of Robert Forrer—a Swiss collector, antiquarian, archaeologist, and art historian. The remaining artifacts stored in Gdańsk have not been thoroughly studied; they do not form a homogeneous collection, and it cannot be ruled out that they may also be remnants of former bourgeois collections dating back to the 16th century or German collections acquired in Gdańsk after World War II. …”
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Trans-archive. Magnus Hirschfeld et l’atlas visuel des sexualités de l’entre-deux-guerres by Damien Delille

“…The Institute of Sexology in Berlin, created in 1919, which served as a location for the collection and archival preservation of this queer archeology of non-normative identities, was also inspired by a monistic conception of science and the visual, which Hirschfeld shared with art historian Aby Warburg. Art thus plays a central role in the construction of trans-archives, conceived as an expression of subjectivities, in the process of sexual emancipation, and as a place of performative knowledge of gender identities.…”
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De l’effet de sidération et de peur dans les autoportraits d’Andy Warhol by Marie CORDIÉ-LEVY

“…Using the technique of the tactile micro-analysis inspired by historian Carlo Ginzburg and art historian Aloïs Riegl, we will attempt to decipher the effects of fear and shock by referring to the different stages defined by Roger Caillois as composing fear: travestissement, camouflage, and bullying. …”
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Le musée de Sculpture comparée au prisme de la collection de cartes postales éditées par les frères Neurdein (1904-1915) by Dominique Jarrassé, Emmanuelle Polack

“…Beyond the patrimonialisation of this exceptional collection, the article focuses on the first series of 486 cards organised chronologically and proposes an analysis of the intrusion of this medium, during its “golden age”, into the art historian’s studio.…”
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Le Musée européen des copies de Charles Blanc comme « pendant » du Louvre by Elisa Rodríguez Castresana

“…The project, mainly imagined by the French art historian and director of the École des beaux-arts Charles Blanc, was opened in April 1873 and remained open barely nine months. …”
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Finding provenance, seeking context by Peter Mark

“…If, therefore, one assumes that some of the works were produced in the northern range of ‘Sape’ occupation, present-day Guinea-Bissau, it then becomes advisable for the art historian to compare these ivories with the rich corpus of wood sculpture made by the groups whose ancestors belonged to or lived adjacent to the northern ‘Sapes’. …”
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Emilie Oléron Evans, Transferts culturels et historiographie de l'art : le cas de Nikolaus Pevsner (1902-1983) by Émilie Oléron Evans

“…Our contention is that the role of an art historian as a mediator between his subject and society goes beyond the realm of academia. …”
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L’Histoire de l’Espagne à l’épreuve du musée. Les expériences du Museo Nacional Centro de Arte Reina Sofía (2008-2023) by Nicolas Morales

“…Arte y poder en la posguerra española. 1939-1953, by art historian María Dolores Jiménez-Blanco, shows how the museum institution ‘makes and breaks’ the public representation of Spain's contemporary history. …”
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'J.I. introduces very interesting concepts, but…': From the academic biography of J.I. Ioffe in the late 1930s by V.G. Ananiev

“…An episode from the academic life of Jeremiah Isaevich Ioffe, an outstanding Russian art historian and cultural theorist, related to the criticism of his book “Music of the Soviet Cinema” (1938–1939) was discussed. …”
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Observation as a Tool for Historian: A Critical Analysis of James Elkins’ Theories in the book How to Use Your Eyes by Jamal Arabzadeh

“…The initial assumption is that the author specializes in visual studies of art history, has indirectly proposed the qualities ideas and how art historian activity dealing with various phenomena in art and culture. …”
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Art and Decolonial Worldviews: Transcultural Resistance in and Beyond the Installations of Hassan Hajjaj by Siobhán Shilton

“…Those whose work appears to conform to stereotypes, by depicting subjects such as the Islamic veil, Islamist terrorism and war, more easily gain international visibility (see, for example, Ben Soltane). Tunis-based art historian and curator Rachida Triki signalled, in 2009, an emerging tendency in the work of the latest generation of Tunisian and Maghrebi artists to resist “à la fois à l’uniformisation du goût opérée par le marché mondialisé de l’art, et au traditionalisme à visée identitaire” (Triki, “Art” 54). …”
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Pour une approche génétique de l'ébauche by Floriane Philippe

“…However, their use is surrounded by a certain amount of confusion : their meaning remains unclear, and they are often treated as synonyms, even by art historians and museum professionals. This article proposes a lexical and material study of the “ébauche” establishing the bases for a working definition for art historians. …”
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Vers des frontières plus claires entre restauration et hyper-restauration by Hélène Verougstraete

“…After visiting the exhibition Fake or not Fake, held in the Bruges Groeningemuseum, November 2004-February 2005, art historians were essentially struck by the revelations about Van der Veken. …”
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Vignettes of interdisciplinary technical art history investigation by Joyce Hill Stoner

“…The Foundation of the American Institute for Conservation oral history archive, which began in 1975, contains almost 300 interviews with pioneer conservators, conservation scientists, and art historians.  Technical examination and technical art history, as exemplified by Roger H. …”
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Bloomsbury or the Art of Disinterestedness by Catherine Bernard

“…The theoretical positioning and artistic production of Roger Fry, Duncan Grant and Vanessa Bell have always puzzled the critics and art historians who have found them not to square with the accepted great narrative of Modern art. …”
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Goya dans l’historiographie française du xixe siècle : images et textes by Agnès Gué

“…In the second half of the century, many books – sometimes illustrated – about the artist began to appear. While art historians and critics were fascinated by Goya, he was not as highly regarded as Velázquez. …”
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