journal: Zeitschrift für Kunstgeschichte

Impact Factor: 0.2

Open Access Published since March 20, 2018

Zeitschrift für Kunstgeschichte

ISSN: 2569-1619

About this journal

About this journal

Starting in 2023, the Zeitschrift für Kunstgeschichte will be transferred to Open Access Gold on a year-by-year basis. All articles will thus immediately appear under the Creative Commons license CC BY-NC-ND. There will be no publication costs for the authors. The Open Access transformation is based on Subscribe-to-Open, an alternative model that enables the full transfer of journals into Open Access through the continuation of existing subscriptions. The prerequisite for successful transformation is that subscriptions are continued to the same extent as before. The editors of the Zeitschrift für Kunstgeschichte and the publisher De Gruyter would therefore like to thank all subscribers for their support, which has made the transformation to Open Access possible.

History and scope

Founded by Wilhelm Waetzold and Ernst Gall in 1932, the Zeitschrift für Kunstgeschichte is published quarterly by Deutscher Kunstverlag. As the leading international German-language journal of art history it is one of the foremost periodicals of the academic discipline world-wide. Scholarly articles undergo a double-blind peer review by two independent experts; contributions are accepted in German as well as in English, French, and Italian.

The Zeitschrift für Kunstgeschichte is a journal covering the whole range of art-historical matters. It offers a space for contributions dealing with all epochs and subjects, and using all methodical approaches. Open to art-historians from all points of the compass, it should at the same time serve to retain the polyglot nature of the discipline.

Organisation

The editorial office of the Zeitschrift für Kunstgeschichte is located at the Zentralinstitut für Kunstgeschichte in Munich. Since January 2020, Gerrit Walczak is Managing Editor.

The publisher delegates editorship to five Editors covering different areas of the discipline. For the sake of openness and plurality, Editors will generally serve for five years. The annual withdrawal of a member of the editorial board, and the subsequent by-election of a new Editor, assures steady change while maintaining continuity.

The Editors are nominated by an advisory committee, whose members are recruited from the institutes of art history at German universities, or operating outside higher education, and from the three German art historical research establishments at Florence, Paris, and Rome. Each institute or research establishment is invited to send a representative. Additionally, the board of directors of Deutscher Verband für Kunstgeschichte, the directorate of the Zentralinstitut für Kunstgeschichte and Deutscher Kunstverlag are represented each by a consultative member. All members serve on the committe for six years unless their term is extended.

Submissions

The Zeitschrift für Kunstgeschichte accepts only contributions that have not been published elsewhere. Submissions are welcome in German, English, French, and Italian. Translations of essays either previously published or about to be published as well as outtakes from books in the making will not be processed. The editorial office assumes that articles and reviews are not parallely submitted to other journals. Articles will first be assessed by the editorial office and the editorial board, then passed on anonymously to two external referees.

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Supplementary Materials

Topics

Volume 87 Issue 1

March 2024

Publicly Available March 4, 2024

Frontmatter

Page range: i-i

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Themenschwerpunkt: Muster Der Renaissance/Renaissance Patterns

Open Access March 4, 2024

Zur Einführung

Andreas Beyer, Susanna Burghartz, Lucas Burkart, Markus Rath

Page range: 1-5

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Open Access March 4, 2024

Arachne: Weaving and the Origin of Technè in the Renaissance

Jérémie Koering

Page range: 6-24

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Abstract

During the Renaissance, the spider, as well as its mythological double Arachne, came to represent a form of technical exemplarity doubled by a form of practical intelligence. Some artists, such as Joris Hoefnagel and Tintoretto, made the spider a figure of artistic subtlety, allowing them to situate art in an intertwining of making and thinking. But how could the activity of an insect become an artistic paradigm? What imaginaries could have favored this assumption? Under what conditions could a figure as vile and disturbing as the spider or as negative as its mythological double Arachne be set up as examples to follow? This essay attempts to answer these questions by bringing together mythological representation, emblematic thought, and natural philosophy.

Open Access March 4, 2024

Reciprocal Design in Italian Renaissance Wood Intarsia: Patterns, Parasites, and Human/More-than-Human Making

Marta Ajmar

Page range: 25-47

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Abstract

This article explores how Italian Renaissance intarsia emerged from making practices sensitive to wood as animate material, and from a design correspondence with its environment. It argues that intarsia reconciled different modes: design-drawing, design in wood, and design with wood. These interconnected practices allow us to reconfigure intarsia as a technology created holistically from the correspondence of different human and more-than-human forces, including parasites – such as woodworm and fungi – and elemental factors – such as heat, water and air – all mobilised in active processes of pattern-making. It shows how this “Wood Age” craft is also an ecologically-rooted response to growing concerns about timber availability and forest sustainability. Finally, it proposes for intarsia the concept of reciprocal design , where patterns emerge from continuous correspondence and co-making between human and more-than-human agents.

Open Access March 4, 2024

“noch vil höher, und subtiler Künsten… an tag zu bringen”: Renaissance Pattern Books and Ornament Prints as Catalysts of the Design Process

Femke Speelberg

Page range: 48-67

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Abstract

In traditional art history, early modern pattern books and the closely related genre of the ornament print are rarely associated with the kind of autonomous invention encapsulated in the concept of disegno . However, by looking through the lens of several fifteenth and sixteenth century printed design resources, including Giovanni Antonio Tagliente’s Esempio di raccammi (1527) and the Kunstbüchlin (1538) of Heinrich Vogtherr the Elder and his son, this essay aims to demonstrate that there is strong foundational overlap between these two divergent products of the Renaissance. Rather than instilling among artists a culture of slavish copying, the production and increased access to (printed) variant designs facilitated the generation of ideas that were suggested by, but lay well beyond the scope of the printed page.

Open Access March 4, 2024

Pomponio Gaurico und die leoninen Krieger: Physiognomik als Paradigma

Hannes Eckstein

Page range: 68-86

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Abstract

This essay examines how Pomponio Gaurico’s treatise De sculptura , published in 1504, attempted to establish a new visual language for sculptors based on physiognomic treatises handed down from antiquity. By including physiognomics among the fundamental elements of disegno , the young writer expanded its potential from a system of interpretation to a means of representation. It will be argued that the most significant pattern to arise from this new approach was the idealised leonine warrior that originated in the typified equestrian statues of Donatello and Verrocchio, and culminated in sculptures executed by Gaurico’s friends Tullio Lombardo and Andrea Riccio – presumably under the impression of his ideas.

Open Access March 4, 2024

Grundmuster: Ausdrucksfunktionen des monochromen Hintergrundes im Renaissanceporträt

Markus Rath

Page range: 87-119

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Abstract

Monochrome backgrounds represent a consistent “pattern” in Renaissance painting. Until now, these backgrounds have mostly been understood as neutral, secondary, or arbitrary. This paper proposes different classification approaches to capture the diverse pictorial potentials and artistic expressive functions. The two-dimensional background forms a visual counterpart to the portrayed person by shaping the immediate surrounding space. It offers a field of appearance in which and with which the individual simultaneously figures and interferes. As a media-reflexive iconic pictorial device, the shapeless ground is based on multi-layered pictorial traditions, conventions, and connotations.

Open Access March 4, 2024

Heinrich Wölfflin’s Classic Patterns of the Renaissance

Christine Tauber

Page range: 120-134

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Abstract

This essay examines Heinrich Wölfflin’s patterns of judgement in his pioneering art-historical study Classic Art , first published in 1899. By using the anti-historicist concept of the “classic”, he systematically withdraws the art of the High Renaissance from historical change in order to erect it as a protective shield against the transience of unclassic modernism and contemporary life. This proto-structuralist act of creating order by means of pattern comparisons in the timeless realm of beauty conceives the art historian as both an intellectual aristocrat with artistic ambitions and a conservator of the eternities of classic art.

Buchbesprechungen

Open Access March 4, 2024

Sakrale Emblematik im Ostseeraum

Ingrid Höpel

Page range: 135-142

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Open Access March 4, 2024

Objektkultur und Körperbewusstsein um 1900

Marta Smolińska

Page range: 143-146

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Open Access March 4, 2024

Glaubwürdigkeit und Geltung

Georg Imdahl

Page range: 147-151

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Volume 87 (2024)

Issue 1

Volume 86 (2023)

Volume 85 (2022)

Volume 84 (2021)

Volume 83 (2020)

Volume 82 (2019)

Volume 81 (2018)

Volume 80 (2017)

Volume 79 (2016)

Journal Impact Factor	0.2	2022, Journal Citation Reports (Clarivate, 2023)
5-year Journal Impact Factor	0.1	2022, Journal Citation Reports (Clarivate, 2023)
Journal Citation Indicator	0.34	2022, Journal Citation Reports (Clarivate, 2023)

More information about journal rankings

Submit

Starting in 2023, the Zeitschrift für Kunstgeschichte will be transferred to Open Access Gold on a year-by-year basis. All articles will immediately be available under the Creative Commons license CC BY-NC-ND. There will be no publication charges for the authors.

For information concerning the submission of manuscripts please contact:

PD Dr. Gerrit Walczak
Managing Editor, Zeitschrift für Kunstgeschichte
Zentralinstitut für Kunstgeschichte
Katharina-von-Bora-Str. 10
D-80333 Munich
Germany
email g.walczak@zikg.eu

Editorial

Editors:

Michael Cole
Burcu Dogramaci
Ann-Sophie Lehmann
Brigitte Sölch
Gregor Wedekind

Advisory board:

Andrea Gottdang, Augsburg
Wolfgang Brassat, Bamberg
Christian Freigang, Berlin
Kathleen Christian, Berlin
Annette Urban, Bochum
Georg Satzinger, Bonn
Elena Zanichelli, Bremen
Sylvia Claus, Cottbus
Barbara Welzel, Dortmund
Kerstin Schankweiler, Dresden
Valeska v. Rosen, Düsseldorf
Christina Strunck, Erlangen
Alessandro Nova, Florenz
Mechthild Fend, Frankfurt am Main
Hans W. Hubert, Freiburg
Claudia Hattendorff, Gießen, Lahn
Manfred Luchterhand, Göttingen
Margit Kern, Hamburg
Juliane von Fircks, Jena
Matthias Bruhn, Karlsruhe
Martina Sitt, Kassel
Klaus Gereon Beukers, Kiel
Ludwig Tavernier, Koblenz
Nadja Horsch, Leipzig
Matthias Müller, Mainz
Hubert Locher, Marburg
Stephan Hoppe, München
Ursula Ströbele, München
Barbara Paul, Oldenburg
Klaus Niehr, Osnabrück
Ulrike Heinrichs, Paderborn
Philippe Cordez, Paris
Christoph Wagner, Regensburg
Susanne Kubersky, Rom
Joachim Rees, Saarbrücken
Joseph Imorde, Siegen
Daniela Bohde, Stuttgart
Anna Pawlak, Tübingen

Managing editor: PD Dr. Gerrit Walczak

Zeitschrift für Kunstgeschichte
Zentralinstitut für Kunstgeschichte
Katharina-von-Bora-Str. 10
D-80333 München

email: g.walczak@zikg.eu

(Deutsch)

Online ISSN: 2569-1619
Print ISSN: 0044-2992
Type: Journal
Language: Multiple languages
Publisher: Deutscher Kunstverlag (DKV)
First published: March 20, 2018
Publication Frequency: 4 Issues per Year