In 1992, the Comité International d’Histoire de l’Art (CIHA) held its 28
Congress in re-unified Berlin under the theme
Künstlerischer Austausch – Artistic Exchange. The subject fed a strain of idealism and optimism relating the history of art to the life of our times. Change was palpable to all the participants. A wall that had seemed everlasting had fallen, a cold war that had lasted a lifetime was now history. The shifting borders and a revised sense of periodization inspired new views of the past as well as the present, of art as well as nationhood and society. One generation later, the contributions to
Artistic Innovations and Cultural Zones show how art history has responded to our newly broadened vision of the artistic heritage of Europe. In this volume, the previously unquestioned practice of labelling artists with a period and a place is challenged at an empirical as well as a fundamental level.
Artistic Innovations and Cultural Zones revisits the constellation of questions posed at CIHA 1992 at a moment when European history is again being rewritten. It offers new art-historical insights for our time on what it means to be a European.
Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien, 2014. 296 pp., 63 coloured fig., 19 b/w fig.
Contents: Larry Silver: Leonardo in the Lowlands – Michael W. Kwakkelstein: Leonardo da Vinci’s Recurrent Use of Patterns
of Individual Limbs, Stock Poses and Facial Stereotypes – Jeffrey Chipps Smith: What Dürer Missed in Venice – Giovanni Maria
Fara: Albrecht Dürer and Venice in the Sixteenth Century – Till-Holger Borchert: Memling und Italien – Maria Clelia Galassi:
The Reception of Italian Art in the Paintings of Jan Massys – Ingrid Ciulisová: Rogier van der Weyden and Veit Stoss and Their
Two followers – Mark Evans: Hybrid Styles. The Historiography of Artistic Dialogue between Italy and the North 1440 – 1520
– Thomas DaCosta Kaufmann: What is German about the German Renaissance?