« 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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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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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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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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De la restauration à l’exposition : à la recherche de sens et de cohérence by Christine Benoit, Paméla Grimaud, Claude Badet, Elisabeth Mognetti, Roland May

“…During the alloted time for restoration, studies and interventions of numerous actors –conservators, curators, art historians, photographers and conservation scientists – have been focusing on the achievement of the restoration. …”
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La connaissance des maîtres allemands anciens en France, de Dominique-Vivant Denon à Henri Focillon by Isabelle Dubois-Brinkmann, François-René Martin

“…Knowledge of the old German masters, the so-called "Primitives", from the end of the 18th century to the middle of the 20th century, is the result of an immense collective effort, to which art historians, museum curators, critics and writers have all contributed. …”
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La mise en tourisme du patrimoine paysager de la Vallée des peintres entre Berry et Limousin : un levier de développement rural ? by Edwige Garnier, Frédéric Serre

“…This profusion of artistic creativity focusing on the landscapes of the valley then fell into oblivion before the work of art historians exhumed this key period of local cultural history. …”
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L’Antiphonaire d’Oosteeklo et son enlumineur (Cornelia van Wulfschkercke ?) by Dominique Vanwijnsberghe

“…Despite its importance for the history of Flemish book painting, the Oosteeklo Antiphonal, kept at the library of the Ghent Museum of Fine Arts, has been largely neglected by art historians. A remarkable colophon discloses the identity of its patroness, Quentine de Mastaing, abbess of the Cistercian convent of Oosteeklo. …”
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Représenter volailles et volaillères dans la peinture italienne du Cinquecento by Valérie Boudier

“…Artistic image has a language of its own the Art historians attempt to decipher by analyzing the objectives, conventions, styles, and techniques of each work. …”
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A Handlist of Illustrated Early Solomonic Manuscripts in German Public Collections by Sophia Dege-Müller, Jacopo, Vitagrazia

“… Illustrated manuscripts in the Ethiopic language, as material objects that carry textual and visual information, are among the most valuable sources of data for art historians specializing in this area. This article provides a handlist of illustrated early Solomonic manuscripts housed in German libraries and museums. …”
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Zadání architektonického a uměleckého díla v raném novověku. Mezi hospodářskými dějinami a dějinami umění by Tomáš Knoz

“…Historians of social and economic history must take into account in their research that the commissioning of an architectural or artistic work (not only) in the early modern period is not merely one type of economic investment, but that it represents a distinctive type of human action characterized by its artistic and spiritual value. Art historians, when studying the sources accompanying the commissioning of architectural works, must take note that, on the basis of the same principles, works that are usually perceived as non-art were commissioned in the early modern domain. …”
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The Landbound Chicken and the Deliberate Chameleon yet have their Uses: Yorùbá Art History, Language, and Interpretation. by Kathy Curnow

“…The import of Abiodun’s major contributions regarding Yorùbá art’s history and the validity of his contentions are considered here in light of the varied contributions both foreign and Yorùbá art historians bring to Yorùbá scholarship, in the recognition that working with art of bygone centuries makes all scholars outsiders to a degree.   …”
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Pedagogika muzealna. Cele, idea, kierunek rozwoju i zastosowanie w praktyce na przykładzie „lekcji muzealnej” w polskim muzeum historycznym by Mallek Anna

“…At the end of the 19th century two German art historians and educationists Alfred Lichtwark and Georg Kerchensteiner started to form a special educational programme for children and young people, concerning the museum collection. …”
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Framing Colonial Australia: A Socio-historical Articulation of the Display of Art by Anita Gowers

“…Remarkably, Australian art historians have published little on frames of Australian colonial artists and more specifically the framing intentions of the artists themselves. …”
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