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Rezension zu: Walter S. Melion / Joanna Woodall / Michael Zell (Hg.), Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500–1700. Leiden / Boston, Brill 2017. 811 S., zahlr. Ill. ISBN 978-90-04-34645-1; ebook DOI: https://doi.org/10.1163/9789004346468., Kunstchronik. Monatsschrift für Kunstwissenschaft, Museumswesen und Denkmalpflege, Bd. 72 Nr. 11 (2019): Kunstchronik. Monatsschrift für Kunstwissenschaft, Museumswesen und Denkmalpflege

kritische berichte - Zeitschrift für Kunst- und Kulturwissenschaften, Bd. 45 Nr. 1 (2017): kritische berichte

kritische berichte - Zeitschrift für Kunst- und Kulturwissenschaften, Bd. 45 Nr. 1 (2017): kritische berichte

Die Salzburger Kunstwissenschaftlerin Hildegard Fraueneder leitete 15 Jahre lang die für die zeitgenössische Kunst und Kulturtheorie bedeutende Galerie 5020 in Salzburg, lehrt an der Universität Mozarteum sowie an der Universität Salzburg und leitet aktuell den Fachbeirat für »Kunst am Bau und Kunst im öffentlichen Raum« des Landes Salzburg. 2019 erhielt sie den Salzburgpreis des Kulturfonds. Der Band versammelt eine Auswahl ihrer Arbeiten und Reden zu Kunst und Kulturtheorie, Körper und feministischer Kunstwissenschaft sowie zu Öffentlichkeit und Erinnerungskultur.Mit künstlerischen Beiträgen von Franz Bergmüller, Inge Dick, Bernhard Gwiggner, Inga Hehn, Didi Neidhart, Ekaterina Obermeier-Shapiro und Heimo Zobernig.

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Romana Sammern, Julia Saviello (Hg.) (VLID)3078509

After a stay in Venice and Rome between 1776 and 1779, the painter Matthew William Peters (1742-1814) rekindled his career in England by painting erotic pictures of women. Immediately after his return from Italy in 1776, Peters painted Woman in Bed for Edward Lloyd Richard Grosvenor, 1st Earl Grosvenor (1731– 1802). This article argues that Lord Grosvenor commissioned Peters' Woman in Bed in response to the adultery trial in order to restore his honour as libertine. Challenging both, a classical and a modern British authority (Titian and Reynolds, respectively), Peters simultaneously developed a pictorial encounter with Italy, a "modern" British response to the Italian tradition and a form of pictorial revenge for the patron.

Alongside Richard Haydocke's translation of Giovanni Paolo Lomazzo's treatise on painting (1598), the article examines concepts of color concerning cosmetics, painting and complexion as they relate to aesthetics, artistic and medical practice in the sixteenth and seventeenth centuries. Beginning with white and red as ideal colors of beauty in Agnolo Firenzuola's Discourse on the beauty of women (1541), the essay places color in relation to major issues in art, medicine and empiricism by discussing beauty as a quality of humoral theory and its colors as visual results of physiological processes. Challenging the relation of art and nature, gender and production, Lomazzo's account of complexion and Haydocke's additions on cosmetic practices and face-painting provide key passages that shed light on the relation of cosmetics colors, art writing and artistic practices at the convergence of the body, art and medicine in the context of the emerging English virtuosi around 1600. Romana Filzmoser

The English verb >to paint< means both, painting with (oil) colors on panel and painting with cosmetics on the human face. Accordingly, English treatises on painting have discussed cosmetics since the late 16th century, like Richard Haydocke in his famous translation of Giovanni Paolo Lomazzos treatise on painting. Likewise, treatises on cosmetics analogized painting panels and painting faces. The paper analyzes how English cosmetic treatises of the 17th century dealt with color. Alongside practical color recipes and treatises on painting and cosmetic, it discusses if these writings talked about colors in terms of artisan production or aesthetic theory. However, the paper focuses on the question of the materials employed, i. e. the pigments described, their local or imported origin and the traditional or industrial nature of their production.

Der Beitrag untersucht die Mechanismen der Sichtbar- und Unsichtbarmachung von Prostitution am Beispiel eines Blatts aus der populären Druckgrafik Berlins im Übergang vom 18. zum 19. Jahrhundert. Die Gestik und Blickregie der Grafik "Bergerscher Tanzsaal zu Berlin, 1799” unterscheiden “unehrbare” Prostituierte von “ehrbaren” Frauen und stellen das Verhältnis von Prostituierten und ihren Freiern dar. Indem es damit ehrbare und unehrbare, private und öffentliche Körper und Räume markiert, bezieht das Blatt Position zur Berliner Prostitutionspolitik um 1800.