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This essay looks into the very beginnings of paper photography in the Austrian Empire. It focuses on two salted paper portraits of two most iconic figures of the Slovak National Revival in the mid-19th century, Ľudovít Štúr and Jozef M. Hurban. Created around 1849 by Anastas Jovanović, a Serbian photographer and lithographer based in Vienna, both portraits are the earliest paper photographs today preserved in Slovak collections. The article elucidates not only the salted paper prints' authorship, origin, ownership and material characteristics, but also the notion of reproduction and circulation of images during the revolutionary years of 1848 and 1849 and by the advent of photography on paper in Central Europe at the same time. Special attention is paid to social and cultural contacts between Slovaks and Serbs around 1848 as a key factor to the photographs' production. [ABSTRACT FROM AUTHOR]

This paper explores the intersections between gender, display, and empire at turn-ofthe-century world's fairs in the United States. The 1915 Panama-Pacific International Exposition serves as a case study. Designed to celebrate the completion of the Panama Canal, the 1915 fair was hinged on contemporary notions of manliness and used gender ideology to articulate prevailing ideas and assumptions about the American nation, its new empire, and its influence on the entire world. Indeed, gendered rhetoric found its way into numerous contemporary published tracts, articles, paintings, and popular culture that take on the enormity of the Panama Canal and its implications. Manliness and its mechanical prosthetic, technology, became the arenas through which the United States refashioned its national body and confidently assumed its new role as imperialist on the world stage. [ABSTRACT FROM AUTHOR]

"The Great Exhibition of the Industry of all Nations", held at the Crystal Palace in London in 1851, hosted an array of objects that testified to both artistic and technical virtuosity, while their display served as a spectacle for the public. This paper takes up the rich history of mechanical technologies in the service of art using the example of the machine for reproducing sculptures, which was presented as a cutting-edge innovation at the Great Exhibition. Drawing on the history of early photography and in particular the historical context of various techniques of three-dimensional reproduction (such as the 'photo-sculpture' introduced later in 1862), the process of reproducing and displaying works of art on a small scale will be explored. The study of mechanically minded sculptors, who celebrated the almost magical qualities of their machines and the demonstration of the production processes, reveals their ambition to join the ranks of the great inventors, alongside the situation of the pioneers of early photography. The presentation of sculptures, reliefs and objets d'art in the milieu of technical knowledge, industry and manufacture at the universal exhibition of 1851 is thus put up for discussion, also with a view to subsequent international exhibitions. [ABSTRACT FROM AUTHOR]

The paper focuses on the gendered self-conceptions of engineers and their relevance for studying world exhibitions. It thus analyses debates in German engineering around 1900 on the relationship between technology and culture in order to reconstruct how masculinity in engineering is understood as a symbolic position of cultural production. This aim necessitates using a concept of 'hegemonic masculinity' as a relational construction. This is illustrated by the example of the professionalisation of modern German engineering from the 1870s on until the turn of the century. In their writings, engineering scholars initially constructed the idea of a 'scientist of machinery' as a symbolically neutralised position of objectivity by following a narrative of progress. Later, the engineer as a 'man of action' supplanted this concept, and emphasis was now placed on a narrative of the technological man whose competence was regarded a talent arising from the nature of his sex. Both historical conceptions of the German engineer are interpreted as a specific mode of masculinity construction, motivated by the need to attain a dominant position, not only with respect to women but also to other social groups of men. [ABSTRACT FROM AUTHOR]

It was mainly thanks to the efforts of the Belgian artist Laurent Moonens, who had founded an art academy in the then Belgian Congo, that a group of young art students from Lubumbashi were able to travel to the 1958 World Exhibition in Brussels. Today, their works are regarded as the first generation of modern art in the DR Congo. At the time, the issue of modern art in the Congo was incorporated into the national tasks of the Belgian colonial power; voices criticising power relations or definitions are difficult to find in the sources. Nevertheless, the way in which these works were presented at the World Expo was not a matter of course at the time. This essay analyses the conditions of this very first exhibition, in which European and Congolese works were shown together. All those involved embraced an idea of "humanism", albeit their respective conceptions of it varied. [ABSTRACT FROM AUTHOR]

This paper shows that the Nazi persecution of Jewish coin dealers and collectors prominent in Germany's economic and cultural life resulted in a weakening of the domestic numismatic market. The failure of Nazi cultural-economic policy is illustrated by a study of the trade in ancient coins. While the Nazi authorities (e.g., Foreign Exchange Offices, Customs) failed to prevent the export of numismatic assets, the most prominent Jewish dealers were able to reestablish their businesses abroad, especially in Switzerland as the new international trading center for ancient coins. Their non-Jewish German colleagues, in turn, had great difficulty filling the gaps in the supply of ancient coins in the German Reich left by the Jews who had emigrated or fled. [ABSTRACT FROM AUTHOR]

Between 1949 and 1953, about 2,100 "unclaimed" artworks returned to France from Germany after World War II were selected by museum professionals and labeled MNR (Musées nationaux récupération). About half of the works are paintings, while thirty percent are decorative arts, and the remaining pieces are drawings, sculptures, folk art, Asian art, and antiquities. This paper presents the so-called AOR (Antiquités orientales récupération), 31 objects entrusted to the care of the Département des Antiquités orientales, Musée du Louvre, which at the time included both pre-Islamic and Islamic objects. Research carried out by the Mission Mattéoli (1997-2000) determined that only two, maybe three, artworks are proven to have been looted by the Einsatzstab Reichsleiter Rosenberg during the Nazi occupation of France. The rest of the AOR items were purchases made by German individuals and museums, confirming that the MNR corpus does not equate in its entirety to art plundered from Jewish collections. The study of this portion of the works is an opportunity to shed light on the Near Eastern art and antiquities market in Paris during the war. [ABSTRACT FROM AUTHOR]

The paper provides a brief overview of art export regulations in the Mediterranean region from the 19th century to the laws adopted in the 1920s and 1930s. It then focuses on the German law of 1919 requiring works of art that were predominantly privately owned and of outstanding value to be entered in a register, the so-called List of Nationally Important Artworks. Once the works were listed in this index, they were subject to authorization for export. Despite the high importance the National Socialists attributed to Greek and Roman art as an eternal art, only one percent of the artworks that were classified as nationally valuable were from ancient periods. The instrumentalization of the export regulation through the National Socialist regime is illustrated by the example of Albert Lévy's collection of antiquities in Hamburg. For provenance research, it is essential to determine how laws were extended, applied, bypassed, or overruled during National Socialism and, thus, instrumentalized as a means of state power. [ABSTRACT FROM AUTHOR]

From their beginnings in the mid-nineteenth century, the world's fairs sought to generate a synthesized body of knowledge about the world by gathering an encyclopedic and didactic collection of objects from a wide array of fields: technology, machinery, handicrafts, the visual arts, performance, and ethnography - knowledge made visible and experienced through artifacts sourced from all over the world. This expanded visual experience can also be understood as one that interprets the gaze as a catalyst for a multi-sensory perception and categorization of material culture, of both two- and three-dimensional objects of vision. Thus, these exhibitions not only synthesized 'the world', but they also synthesized arts, handicrafts, architecture, and technology into an imagined Gesamtkunstwerk. The objects and works of art - handcrafted or machine-made - displayed at the world's fairs were conceived as a mass spectacle as they were turned into the signifiers of a narrative - imagined and presented as coherent - of technological progress, colonial expansion, and artistic innovation. The colonized regions were to stand in contrast to this, with ethnographica and handicrafts presented as traditional, 'authentic'. Nevertheless, a complex network of "shared histories" and transnational interconnections became manifest at the world's fairs. [ABSTRACT FROM AUTHOR]

This essay locates a late 19th-century category of objects variously named as 'industrial' or 'decorative arts' within the specifically imperial institutional circuit of the World Exhibitions. Taking up a segment of the World Exhibitions of the 1880s, it traces a history which connects the three cities of Calcutta, London and Glasgow and creates a trail of travelling exhibits and museum collections of this most proliferating category of objects. It follows in particular the career of the Bengali exhibition commissioner and museum curator Trailokya Nath (T.N.) Mukharji and the anthology he compiled on the Art-Manufactures of India for the Glasgow International Exhibition of 1888 to map a specific network of commissioning, collecting, cataloguing and documenting India's 'art-manufactures'. [ABSTRACT FROM AUTHOR]

In June 1854, the second Crystal Palace opened at Sydenham in South London. The media reported keenly on Sydenham's largescale archaeological reconstructions known as the Fine Arts Courts. These exhibits were designed by prominent design reformers as a means to improve public knowledge and public taste. However, the Courts attracted frequently hostile reviews from notable art critics who derided the displays as entertainment spectacles. This essay reevaluates the Courts by examining their deliberate showmanship. I trace the origins of the Sydenham display techniques in the archaeological representations made by the Sydenham Court designers for the London print, performance, and exhibition markets. Following the lead of historians of popular science, this essay emphasises the significance of popular formats and popularisation in Victorian visual culture and knowledge formation. It examines the reconstructions as visualising technologies designed to popularise, stage and communicate Victorian visual knowledge. I argue that both designers and showmen presented a virtual past through shared strategies of showmanship, the staging of expertise, and dramatic, poetic narrative. The Sydenham Fine Arts Courts were complex visual commodities, offering both instruction and diversion. Some Victorian critics found these aims mutually incompatible. [ABSTRACT FROM AUTHOR]

This survey on the history of world's fairs since 1851 starts with the losers of this contest in national profiling and industrial competition: Germany and Austria, both former territories of the Holy Roman Empire and belated nation states. Both had been rather unlucky colonisers. Some of the leading colonial states, instead, organised more than three world's fairs in the time span from 1851 until today: France, Belgium, and Spain, all of them Catholic. Holland, the Calvinist colonial power, renounced on this kind of spectacles at all, Great Britain contented itself with two performances. World's fairs don't pay off. While the USA participated regularly since 1876, two spectacular world's fair events, Osaka 1970 and Shanghai 2010, mark the rise of the Asian powers. The history of world's fairs mirrors global politics, diplomacy and wars against the backdrop of late colonial history. [ABSTRACT FROM AUTHOR]

This article explores the agency of (post)colonial professional self-positioning through globalised forms of representational work. It deepens our understanding of the constraints and duress from the colonial past involved in the making of (post)colonial world's fairs by analysing representational work related to the Moroccan contribution to Expo 2000. It shifts the perspective from the aesthetics of Expo contributions to the process of making aesthetic objects for such a world's fair. Stressing the specific limited and intensified temporality of representational work in the historical context of world's fairs allows for insights into the aspirations of those who are engaged in this mode of project work. Taking an ethnographic perspective onto the working context in the Moroccan Expo office, I will show how the daily practice allowed for a certain 'neverthelessness' when facing the duress of the colonial past, as described by Laura Ann Stoler (2016). Finally, the Moroccan contribution to Expo 2000 will be briefly discussed with respect to later and as yet unrealised pavilions. [ABSTRACT FROM AUTHOR]

Despite the confiscation of many art collections, mainly from Jewish families, the Parisian art market was prosperous during the German occupation of France, from 1940 to 1944. This boom was also driven by the vast number of purchases made by German museums. After the war, most of these acquisitions were returned to France, with postwar investigations focusing on the recovery of paintings. The lack of interest in other types of art may explain, at least in part, why the acquisitions made by the Staatliche Museen zu Berlin during the Occupation have been ignored for so long. Mainly antiquities, they are still part of the collections today. As this case study of the holdings of the Ägyptisches Museum in Berlin shows, these acquisitions can serve as a starting point for learning more about the antiquities dealers active during the Occupation. [ABSTRACT FROM AUTHOR]

For almost a year, from November 1943 to October 1944, the Greek island of Samos was under German occupation. General Friedrich-Wilhelm Müller, who was responsible for Samos, ruthlessly exploited his position of power and attempted to secretly take the Philippe, a female statue of the so-called Geneleos Group, out of the country. Fortunately, this criminal action and the planned transport of the statue to Trier were prevented by the Kunstschutz of the Wehrmacht. Finally, in 1954, the Philippe was returned from the Athens National Museum to Samos, where it is now exhibited in the archaeological museum of Vathi. The adventure of the Philippe statue sheds light on the situation of the antiquities on Samos during the German occupation. Selected sources will also be used to show how the Kunstschutz officers proceeded in their rescue operations and how they themselves defined their role as part of the German Wehrmacht after the war. [ABSTRACT FROM AUTHOR]

In the 19th century, one of the most important national events in Hungary was the 1896 millennial celebration of the Hungarian conquest of the Carpathian Basin. A central act of the festivity's symbolical episodes was the erection of the so-called Millennium Memorial (or Millennial Monument) at Heroes' Square in Budapest. The monument consists of a colonnaded architectural framework that embraces a sculpture gallery featuring Hungarian leaders and rulers. My paper presents the history of the monument from concept to completion. Besides the artistic patterns of the architectural framework designed by Albert Schickedanz, special attention is given to the sculptures of the Hungarian sculptors who worked under the direction of the artist György Zala, as well as to the relations between the sculptors and the artistic scene of Vienna, and to the models they used. In addition to these primarily art historical aspects, my paper discusses the cultural context of the Memorial. It seeks answers to the questions of how the Memorial became a symbol of national identity already at the stage of planning and what ideas about the shaping of the national self-image defined the final form of the Memorial. [ABSTRACT FROM AUTHOR]

In the 19th century, one of the most important national events in Hungary was the 1896 millennial celebration of the Hungarian conquest of the Carpathian Basin. A central act of the festivity’s symbolical episodes was the erection of the so-called Millennium Memorial (or Millennial Monument) at Heroes’ Square in Budapest. The monument consists of a colonnaded architectural framework that embraces a sculpture gallery featuring Hungarian leaders and rulers. My paper presents the history of the monument from concept to completion. Besides the artistic patterns of the architectural framework designed by Albert Schickedanz, special attention is given to the sculptures of the Hungarian sculptors who worked under the direction of the artist György Zala, as well as to the relations between the sculptors and the artistic scene of Vienna, and to the models they used. In addition to these primarily art historical aspects, my paper discusses the cultural context of the Memorial. It seeks answers to the questions of how the Memorial became a symbol of national identity already at the stage of planning and what ideas about the shaping of the national self-image defined the final form of the Memorial. [ABSTRACT FROM AUTHOR]

The Zagreb Green Horseshoe, or Zelena potkova in Croatian, is an original urban evocation of the Ringstraße in Vienna that represents an effort to create a characteristic urban space during the era of Historicism. This distinctive 19th-century urban project provided an appropriate setting for monuments and sculptural decoration. Squares, parks and main streets thus became a stage where contemporaries encountered monuments to personalities whose memory was to be preserved. The evocation of historical figures as a part of the collective memory is one of the fundamental ideas behind erecting monuments in any public place. Zagreb, as a national metropolis, favoured monuments dedicated to persons who recalled the nation's glorious past and to highly regarded individuals, artists and poets. This paper focuses on thirteen monuments that were erected from 1866 to 1914 in this model part of the city and discusses issues related to the clients, the artists and the individuals to whom they were dedicated. The monuments that extend along the Zelena potkova can match the monuments on the Ringstraße, both examples are part of a common heritage from the reign of Franz Joseph I of Austria. [ABSTRACT FROM AUTHOR]

This paper focuses on the analysis of the ways in which the cult of the Habsburg dynasty was promoted through public monuments in Croatia in the so-called Long 19th Century, from the end of the 18th to the early 20th century. Public sculpture in Croatia at this time was under a strong dominance of the national discourse -- it mostly commemorated heroes of the Croatian cultural and sometimes also political history. Compared to the monuments to national heroes, the public monuments dedicated to members of the Habsburg family were smaller in number, and most often more modest in design and size. They can be divided into two basic groups -- monuments com- memorating events (Ereignisdenkmäler) from Croatian history connected with the Habsburgs, and monuments dedicated directly to individual members of the Habsburg family. The latter type of monuments is defined in this article in terms of what they commemorate and is divided into three groups: 1) monuments commemorating the role of the Habsburg emperors in the implementation of infrastructure projects, 2) monuments commemorating important anniversaries in the lives of individual members of the ruling house, and 3) monuments commemorating visits of Habsburgs to Croatia. [ABSTRACT FROM AUTHOR]

This paper focuses on Caspar von Zumbusch, who was one of the leading sculptors of the second half of the 19th century in Vienna. At the initiative of the art historian Rudolf Eitelberger, the German sculptor was appointed to the Academy of Fine Arts (Akademie der bildenden Künste) in Vienna in 1873 and became the founder of the so-called Vienna school of monumental sculpture. By means of a statistical analysis of the matriculation books that serve as reliable documentation of the students enrolled in the Academy, the number and origin of Zumbusch's students can be determined for the first time. The results show that Zumbusch taught numerous students from all over the Austro-Hungarian Empire, which made the Vienna Academy the preeminent centre for sculptors in the Dual Monarchy. Once the students had graduated, Zumbusch recommended them for projects and thereby established a large network of sculptors across the Austro-Hungarian Empire towards the end of the 19th century. [ABSTRACT FROM AUTHOR]

The Zagreb Green Horseshoe, or Zelena potkova in Croatian, is an original urban evocation of the Ringstraße in Vienna that represents an effort to create a characteristic urban space during the era of Historicism. This distinctive 19th-century urban project provided an appropriate setting for monuments and sculptural decoration. Squares, parks and main streets thus became a stage where contemporaries encountered monuments to personalities whose memory was to be preserved. The evocation of historical figures as a part of the collective memory is one of the fundamental ideas behind erecting monuments in any public place. Zagreb, as a national metropolis, favoured monuments dedicated to persons who recalled the nation’s glorious past and to highly regarded individuals, artists and poets. This paper focuses on thirteen monuments that were erected from 1866 to 1914 in this model part of the city and discusses issues related to the clients, the artists and the individuals to whom they were dedicated. The monuments that extend along the Zelena potkova can match the monuments on the Ringstraße, both examples are part of a common heritage from the reign of Franz Joseph I of Austria. [ABSTRACT FROM AUTHOR]

This paper focuses on the analysis of the ways in which the cult of the Habsburg dynasty was promoted through public monuments in Croatia in the so-called Long 19th Century, from the end of the 18th to the early 20th century. Public sculpture in Croatia at this time was under a strong dominance of the national discourse – it mostly commemorated heroes of the Croatian cultural and sometimes also political history. Compared to the monuments to national heroes, the public monuments dedicated to members of the Habsburg family were smaller in number, and most often more modest in design and size. They can be divided into two basic groups – monuments commemorating events (Ereignisdenkmäler) from Croatian history connected with the Habsburgs, and monuments dedicated directly to individual members of the Habsburg family. The latter type of monuments is defined in this article in terms of what they commemorate and is divided into three groups: 1) monuments commemorating the role of the Habsburg emperors in the implementation of infrastructure projects, 2) monuments commemorating important anniversaries in the lives of individual members of the ruling house, and 3) monuments commemorating visits of Habsburgs to Croatia. [ABSTRACT FROM AUTHOR]

This paper focuses on Caspar von Zumbusch, who was one of the leading sculptors of the second half of the 19th century in Vienna. At the initiative of the art historian Rudolf Eitelberger, the German sculptor was appointed to the Academy of Fine Arts (Akademie der bildenden Künste) in Vienna in 1873 and became the founder of the so-called Vienna school of monumental sculpture. By means of a statistical analysis of the matriculation books that serve as reliable documentation of the students enrolled in the Academy, the number and origin of Zumbusch’s students can be determined for the first time. The results show that Zumbusch taught numerous students from all over the Austro-Hungarian Empire, which made the Vienna Academy the preeminent centre for sculptors in the Dual Monarchy. Once the students had graduated, Zumbusch recommended them for projects and thereby established a large network of sculptors across the Austro-Hungarian Empire towards the end of the 19th century. [ABSTRACT FROM AUTHOR]

This paper examines the role of architectural terminology in the medieval understanding of architecture. Existing dictionaries are incomplete for this purpose, ideally a relevant European database would be helpful. A first, brief analysis of the sources with regard to the function and characteristics of architectural terminology (Latin and vernacular building descriptions, poetry, construction documentation) already shows that there are no illustrative descriptions; to a non-specialised populace "architecture" as such obviously remained inaccessible. No differentiated terminology was needed on the building site, the craftsmen had learned what to do. The most important medium for understanding and communicating architecture was obviously not verbal terminology, but the image, as a mental concept and, since the beginning of the Gothic era, as a drawing. [ABSTRACT FROM AUTHOR]

Henri Matisse's images in Jazz, created during the disruption of the German Occupation of France, were embedded with symbols of cultural resistance, while his text, which he composed after the defeat of the Germans, reflected the transition to a post-Liberation France. The wartime symbols and allusions camouflaged within these images are readily revealed when consideration is given to two carefully devised interpretative filters that Matisse created. The first, a circus theme embodied in its original title Cirque, and the second, the intricate captions that Matisse accorded to each image. Enhancing the visual quality of his handwritten text with his richly drawn arabesques, he created a new text-image dynamic which gave primacy to the image. The paper reveals a congruency between the text in Jazz, which he declared had no relationship to the image, and the essay he wrote at the same time, "How I made my books", where he articulated a principle he adopted for his other books, the rapport between the image and the literary character of the text. [ABSTRACT FROM AUTHOR]

The publishing tycoon Rudolf Mosse (1843-1920) donated over 700 objects to the Egyptian Museum in Berlin between 1892 and 1894, among them the Green Head from a royal statue of Amasis (ÄM 11864). Most had been acquired on the antiquities market by Egyptologist Heinrich Brugsch (1827-1894) during his journey to Egypt in 1891-1892, which was financed by Mosse. Leaving aside postcolonial discourse regarding the appropriation of ancient Egyptian artifacts by European travelers and scholars, this case study highlights another important and long-neglected aspect of the early history of German Egyptology: patronage or private support provided by Jewish entrepreneurs. Only recently a wider public was reminded of the engagement of James Simon (1851-1932), the most significant sponsor of the Deutsche Orient-Gesellschaft (German Oriental Society), whose gifts to the Egyptian Museum in Berlin included the painted bust of Queen Nefertiti. This article--which is based on the findings of a multi-author volume published jointly by the Moses Mendelssohn Center for European-Jewish Studies in Potsdam and the Egyptian Museum in Berlin--discusses the prehistory of the seizure and sale of Mosse's private art collection in 1934, including Egyptian antiquities, and the attempted damnatio memoriae of him. The goal is to open a discussion with a broader, more complex approach, employing strategies of provenance research, to document the efforts and achievements of Jewish patrons of the arts and thus avoid their reduction to victims. [ABSTRACT FROM AUTHOR]

The collection of antiquities displayed at Gołuchów castle in Poland by Izabela Działyńska was one of the largest private collections in Europe of ancient works of art from the Middle East, Egypt, Greece, and Rome. Ancient pottery, stelae from Cyprus, fragments of Roman marble sculpture, and a large collection of ancient Egyptian artifacts were exhibited in the Greek Vases Hall, the Antiquities Hall, and the Egyptian Hall. The invasion of Poland by Nazi troops on 1 September 1939 and the attack of Soviet troops on 17 September started a two-front war in Poland. On 28 September 1939, the German-Soviet Frontier and Friendship Treaty was signed, marking the border between the two aggressors on Polish lands along the line of the rivers San-Bug-Narew-Pisa. This division of Poland continued until the German invasion of the USSR in June 1941. As a result of these wartime events, the collection of Izabela Działyńska was dispersed. Many of the objects are now in various museums in Poland, but some, including ancient artefacts and other valuable works of art, are considered lost. It cannot be ruled out that some were destroyed. [ABSTRACT FROM AUTHOR]

In this article I examine the methodology and resources used to trace the provenance of three ancient Greek and Roman sculptures in the collection of the Museum of Fine Arts, Boston (MFA). They belonged to Karol Lanckoroński (1848-1933) of Vienna, were looted during the Nazi era, and were returned to the Lanckoroński family following World War II. In discussing these sculptures, I consider the relative challenges of researching ancient works of art compared to Modern and Early Modern European paintings and sculptures, drawing on other case studies of Nazi-era looting from the collection of the MFA. [ABSTRACT FROM AUTHOR]

This article deals with some ancient objects from the collection of leading National Socialist Hermann Göring that are on loan to the Berlin Antikensammlung from the Bundesrepublik Deutschland. Originally, they were stored or displayed at Carinhall, Göring's estate ca. 60 km from Berlin, where he kept his precious works of art. The antiquities were not the most important part of his collection. However, some interesting questions arise about the provenance of the objects and the reasons why he displayed certain archaeological objects in Carinhall. [ABSTRACT FROM AUTHOR]

Two Roman objects in the J. Paul Getty Museum, a bronze statuette of the moon goddess Luna and a cornelian gem were among the handful of classical antiquities purchased for Adolf Hitler's unrealized "Führermuseum" in Linz. This study presents new provenance research that tracks their itineraries from European private collections to the gallery of Kurt Walter Bachstitz, a prominent Jewish art dealer active in The Hague between the 1920s and the 1940s. His precarious personal and business relationships with German art agents expose how ordinary commerce was entangled with coerced sales in the Nazioccupied Netherlands. Informed by debates over the status of works that had changed hands on wartime art markets, in 2015 the Dutch Restitution Committee recommended that the gem be returned to Bachstitz's heirs but rejected their claim for the statuette. Having passed through various collections following their restitution after World War II, the two objects were reunited at the Getty in 2017. [ABSTRACT FROM AUTHOR]

Classical antiquity was appropriated by the Nazis and held up as the ideal in the rhetoric, propaganda, art, and architecture of National Socialism. In this article the rhetoric and preference for the classical aesthetic are examined against the practice of collecting antiquities among the Nazi elite, especially by Hitler and Göring. It would seem evident that Greek and Roman antiquities would have been much desired by Hitler and the upper echelons of the Nazi party and would have been sought after in the quest for great works of art for museums in the Reich, especially for the "Führermuseum" in Linz. Yet, there is only limited evidence to show that this was, in fact, the case. Insights and explanations for this discrepancy are gleaned from synthesizing the evidence for collecting classical antiquities during the Nazi era. [ABSTRACT FROM AUTHOR]

This introduction presents an overview of the research questions and the challenges involved in studying the fate of Middle Eastern, Egyptian, Greek, Etruscan, and Roman antiquities during the Nazi era. Since the antiquities markets and the methods of trade, disappearance, and confiscation of ancient archaeological objects varied a great deal across Europe and the Middle East during the Nazi period, this article examines the evidence in individual countries, both in source countries where the archaeological objects originated and in market countries where antiquities were collected, traded, or confiscated--including the United States. Finally, some conclusions gleaned from this broader study are presented, including from the articles in this special issue. [ABSTRACT FROM AUTHOR]

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With his series of pilot portraits during the First World War, the Viennese painter Karl Sterrer made a significant contribution to the depiction of a modern heroic figure. It has not yet been analysed in the context of the modern soldier and his masculinity, which came under strain in the brutal trench warfare. At the mercy of an abstract war machine, the common soldiers could hardly find heroic moments to impress. Only a few new types of troops, such as the aviators, succeeded in doing so, which gave them a great deal of public recognition and made them part of modern visual culture. Ultimately, they were seen as New Man, above the horrors of modern warfare. At the same time, they were also role models for a noble habitus that met the phenomena of modernity calmly. This aspiration was evident in their elegant countenance, their extraordinary physiognomy. Unlike previous attempts in art history, however, this article provides a look at the conservative take on the subject - by a traditional, academic artist. This focus underlines the extent to which old and new soldierly values overlapped in modernity and became actualised by different artists regardless of their political orientation. The same applies to the stylistic realisation, which intertwines traditional elements with those of new movements such as New Objectivity. [ABSTRACT FROM AUTHOR]

This article provides information about the early provenance of the Paolo Veronese painting entitled Saint Catherine of Alexandria in Prison in The Metropolitan Museum of Art in New York. The painting can most likely be traced back to sixteenth- and seventeenth- century Augsburg. Descriptions that match the Veronese painting are found in the inventories of works of art of two very wealthy Augsburg merchants: one is in the post mortem inventory of Octavian Secundus Fugger (ca. 1600/1601), the other in a list of works of art from the collection of Hans Steininger (ca. 1641/42). Octavian Secundus Fugger only occasionally bought paintings from Venice, never seeking to amass a systematic collection of art. The deeply religious Catholic merchant, who was a strong supporter of the Jesuits, hung his picture of Saint Catherine, along with other religious paintings, in the antechapel of his house, and it remained at this location until the early 17th century. The painting's later owner, however, the Lutheran textile merchant Hans Steininger, was a highly educated art collector who created one of the most illustrious collections in Augsburg. In his Kunstkammer, Veronese's painting was displayed in the company of mythological female figures, nymphs, and Venus, accompanied by a whole series of paintings by renowned artists such as Hans von Aachen, Christoph Amberger, Paris Bordone, Hans Burgkmair, Joseph Heintz the Elder and Titian. Steininger's collection was dispersed after his death, but many of the paintings he owned can still be identified. Veronese's Saint Catherine of Alexandria may be one of them. [ABSTRACT FROM AUTHOR]

In the 1920s and '30s the fourteenth-century Italian artist Paolo Uccello was appropriated as a precursor of Surrealism in the French surrealist discourse. Pivotal were two texts, a mini-play and an essay, that the playwright Antonin Artaud, then in his surrealist phase, dedicated to Uccello between 1924 and 1926. This article analyses both texts and shows the construction, by Artaud, of Uccello as his potential double, and especially as someone dedicated to mind over matter, a key facet of Uccello's reception as a fellow traveler of Surrealism. It identifies an artwork ascribed to Uccello, discussed by Artaud and thought imaginary, as a panel currently in the Louvre. Finally, it shows that an imagined biography of the artist by the symbolist writer Marcel Schwob forms the key hypotext for Artaud and other surrealists, with strong echoes of Vasari's vita of Uccello, which was in turn Schwob's hypotext. [ABSTRACT FROM AUTHOR]

The church of Ss. Faustino and Giovita in Rome was built by the Brescian confraternity in 1575, after they obtained the necessary papal permit for an intervention within the ruins of an unfinished palace of justice (palazzo dei Tribunali) by Donato Bramante. This space played an important role in Rome's public life, as during the sixteenth century theatrical productions were staged within its walls and one of the first Tiber traghetto dockings was situated nearby. The Brescian community also established a national hospice within the ruins, which was demolished, together with their church, during the late nineteenth-century rebuilding of the Tiber banks. This paper investigates the notion of identity of the Brescian "Nation" (the city of Brescia being ruled by the Republic of Venice, which itself was represented in Rome through different buildings and institutions). It focuses on the activity of Carlo Fontana, the official architect of both the Serenissima and the Brescian confraternity, who designed the new façade of the church of Ss. Faustino and Giovita, as well as many new features of the Venetian embassy in Rome, now known as Palazzo Venezia. Fontana also designed projects in Brescia and neighbouring towns such as Bergamo and Como, as well as different projects in the Veneto, which will be explored here from a comparative perspective. [ABSTRACT FROM AUTHOR]

This paper aims to define the role of the Bolognese 'nation' in sixteenth- and seventeenth-century Rome. The church of Saints John the Evangelist and Petronius, built in 1576 under the Bolognese Pope Gregory XIII, represents the first instance of this congregation's architectural presence in the Eternal City. The community began defining its unique character through a specific figurative language, stimulated by the need to express its own spirituality and local culture as well as to celebrate the role played by a number of famous Bolognese citizens within the congregation and in the Roman Curia. A detailed analysis of the decorative and liturgical programme of this church, as well as archival research in various Bolognese and Roman institutions shed light on the religious, social and artistic practices through which this 'nation' aimed to express its identity. [ABSTRACT FROM AUTHOR]

The title of this article recalls a session of the 2012 CIHA congress in Nuremberg -- 'CIHA as the Object of Art History' -- that analysed the role the Comité International d'Histoire de l'Art in the development of art history as a discipline. Only a few years earlier, Heinrich Dilly had drawn an overview of the International Congresses of Art History, together with specialists of other fields. Dilly explained the lack of interest of art historiography for the import of such conferences with the fact that they were 'too big a matter', as the papers had rapidly multiplied, and also 'very large a matter', in the sense that the debate was difficult to frame and, more often than not, the choice of participants depended on a political agenda rather than scientific reasons. This article thus endeavours to tackle this very large matter as a vantage point on the methodological reflection, in the attempt to trace the continuities and discontinuities of the theoretical discourse insofar as discussed in CIHA meetings, from the Lisbon conference in 1949 to that held in Nuremberg in 2012. [ABSTRACT FROM AUTHOR]

Instead of stabilising the poles of stasis and non-stasis, and narrative and nonnarrative, in the 1970s, Julião Sarmento plays within a concomitant scheme: photography and painting, photography and film, stasis and narrative are merged. What is at stake is the possibility of challenging the modernist tenets of photography canonically defined in opposition to painting and cinema. The perversity is not only in the content of some works but also in the very logic underlying the approach to the medium in Sarmento's oeuvre, whether through a perversion of the boundaries between the media or by the assertion of the medium itself as perversion. This paper presents a case study that reflects upon the replacement of a structural and negative system with an unsystematic difference (in the sense less of expansion than of the medium's deconstruction). New dimensions concerning the issues of contamination and hybridisation in contemporary art are also brought into play. [ABSTRACT FROM AUTHOR]

During the 1880s, Buenos Aires witnessed a boost in the project of founding a national art scene. Interestingly, the founding of such a scene implied, in the first place, the creation of a field of art criticism. Due to the lack of official institutes and public support for the arts, the process of imagining and creating a national art took place both on paper and in the studio. As a result, one specific topos that emerges in this period is the visit to the artist's studio. This new discursive art space is at first sight small and insignificant, yet as the present study shows, its discovery in art criticism was crucial for the elaboration of a new myth, i.e., that of a national art production to come, observable in its actual birth place. The concept of "the visit to the great artist" had a different meaning in Buenos Aires than, for instance, in Paris. Most of the painters or sculptors were not yet viewed as "great artists". They were precursors or national masters to be. The main focus of this article addresses the question of what this means for the representation of artistic practices and what it tells us about the dynamic of the early art scene. [ABSTRACT FROM AUTHOR]

This paper discusses the notion of modernism by relating it to three artistic movements - Modernisme, Noucentisme and the Avant-garde - which developed in Catalonia between the 1880s and the early 1920s. From a common commitment to modernity these three movements produced, nonetheless, widely different aesthetic proposals. Notwithstanding their differences, this paper identifies common features in their artistic practices in order to contribute to the ongoing critical review of modernism. Thus, rather than a self-referential, medium-specific quest with abstraction as a natural endpoint, modernism is presented here as an open, interrogative artistic practice engaged in a debate in pursuit of 'the modern'. This understanding of modernism is then tested against the case of Xavier Nogués, an artist associated with Noucentisme, and his contribution to the artistic debate of his time through the necessarily figurative language of caricature. [ABSTRACT FROM AUTHOR]

This paper discusses the impact of the ideological trends of the Exposition Internationale des Arts et Techniques dans la Vie Moderne which took place in Paris, in 1937, on Greece's national participation in the exhibition. The modern artworks it showcased will serve as a case study to investigate notions of regionalism. The paper considers the conception and realisation of the Greek pavilion in association with the Exposition's affirmed focus on regionalism and examines the relation between nationalism and regionalism at that time. The Greek pavilion and its artists will also be discussed in regard to the local ideologies they expressed or contributed to generate. The aim of this paper is to highlight how, on the occasion of the 1937 exhibition, the Greek quest for a new form of national art - an authentic expression of "Greekness" able to overturn the European perception, which identified the "Greek" with the "classical" - converged or diverged from European regionalist and nationalist discourses as expressed by the exhibition's commissioner, as well as to draw attention to the paradoxes of this connection. [ABSTRACT FROM AUTHOR]

This paper surveys 'representations' of Māori in connection with museums and international exhibitions from 1873-1925, in particular through works of art by painters such as Lindauer and taonga (treasures) made by Māori people themselves. It questions the postmodern analysis of objects and public display in terms of representation, along with the politics of identity that go with it, arguing instead that using a framework of visual culture, actor-network theory and indigenous agency illuminates these objects in a different, and altogether more complex way. In particular it draws on historical Māori accounts of their critical but enthusiastic engagement with western cultures of collection and display, and explores how this evidence might underpin new methods of analysis both in the study of colonial art and its histories and contemporary museum practice. [ABSTRACT FROM AUTHOR]

This article gives an overview of the very early collections of Māori artefacts in Berlin. These encompass the collections assembled by Johann Reinhold and Georg Forster and others on the famous voyages of James Cook to the South Seas at the end of the eighteenth century, but also objects collected by the North American captain Hadlock at the beginning of the nineteenth century. Later a wide range of German visitors reported from their tours through New Zealand and brought back artefacts and photographs. This paper points out the provenances of the core areas of the Māori collection in Berlin and retraces some shifts in the collecting practices as well as in the museum installations. It will be shown how the perception and evaluation of these objects changed and how they became symbols of identity in the course of the nineteenth and twentieth century. [ABSTRACT FROM AUTHOR]

Recent publications on the historiography of modern Spanish architecture have once again made C. Flores' major work, Arquitectura Española Contemporánea (1961), the focus of their scholarly attention. Flores' text is portrayed as an important contribution to the Modern Movement in the context of the Franco regime. However, the significance of W. Gropius and the Bauhaus was not mentioned. This omission becomes all the more peculiar when considering Sigfried Giedion's Space, Time and Architecture (1941), with which Flores was well acquainted through the 1955 Spanish translation. This paper analyzes Flores' genealogy of modern architecture at the textual level. In addition, it addresses the visual level of his book, for the first time uncovering a narration that contradicts a straightforward illustration, yet reveals Flores' stance vis-à-vis modern architecture and the Bauhaus. [ABSTRACT FROM AUTHOR]

This paper examines the ways Mies van der Rohe has dealt with the phenomenon of mechanization of all areas of human life, that ever since the mid-twenties was becoming an increasingly controversial political issue. Building on a number of philosophical essays on the role of modern large-scale technology, especially those by Friedrich Dessauer, Mies advanced a strategy that can be described as the aesthetic transcendence of industrially-produced technical items. By positioning his architecture in this manner, he warded off all accusations of purely economically-motivated rationalism. What Mies considered to be a "spiritual" approach to architecture has also defined the program of the Werkbund that he presided at that time and has laid the foundation for his postwar work. [ABSTRACT FROM AUTHOR]

This special issue compiles papers presented at the 2015 "Gottfried Lindauer -- Painting New Zealand" conference organized by the Technische Universität Darmstadt and the Nationalgalerie Berlin. Both the issue and the conference itself constitute an extension of the acclaimed exhibition "Gottfried Lindauer -- The Māori Portraits", shown between 20 November 2014 and 12 April 2015 in the Alte Nationalgalerie Berlin, and present an array of scholarly and theoretical perspectives. The essays reflect in microcosm current larger research and archival work and are thus able to place the work of the artist, hitherto discussed mostly in an ethnographic context, into an already globalized framework shaped by transcultural contacts. [ABSTRACT FROM AUTHOR]

Over a quarter-century, the Scandinavian artists Jeanna Bauck and Bertha Wegmann painted a series of portraits and interiors in which they commented upon their shared identity as women artists while migrating between the artistic centers of Munich, Paris, and Copenhagen. Drawing from feminist and performance theory, and concentrating on three paintings in which Bauck and Wegmann imagine one another as emerging professional artists by mediated self-representation, the paper discusses the two artists' collaborative practices. The artists' correspondence with their mutual friend and colleague Hildegard Thorell, kept in the archive of Nordiska Museet in Stockholm, is presented here for the first time and provides important insights into their artistic companionship. This case study forms part of an ongoing dissertation project on Nordic women painters' self-representations in the late nineteenth century. [ABSTRACT FROM AUTHOR]

By applying the methods of categorisation, comparison and analysis of written sources, this article aims to reveal how Surrealist artistic ideas may have influenced -- through the intermediary of the Postmodern movement -- architectural trends up to the present time. The paper is organized into three parts, each dedicated to one of the most important Surrealist architectural concepts: the synthesis of the arts, fluidity, and formalistic superficiality and spontaneity. Each section describes how these ideas were underlined in Surrealist art and theoretical texts, compares them to some examples of Postmodern and contemporary architecture, and explains how these ideas were nurtured from the time they emerged until the time they materialized in architectural design. [ABSTRACT FROM AUTHOR]