Gerhard Wolf | Kunsthistorisches Institut in Florenz / Max-Planck-Institut (original) (raw)

Papers by Gerhard Wolf

Ghiberti teorico : natura, arte e coscienza storica nel Quattrocento, 2019

Convegno, 30 November - 2 December, 2017, Florence

Mitteilungen Des Kunsthistorischen Institutes in Florenz, 2015

Art and Liturgy at St Catherine’s Monastery in the Sinai, 2010

... Soteriou, Eiêüíåò, pp. 78. 2 The Monastery of St Catherine at Mt Sinai: The Church and Fortr... more ... Soteriou, Eiêüíåò, pp. 78. 2 The Monastery of St Catherine at Mt Sinai: The Church and Fortress of Justinian, ed. by 3 G. Forsyth and K. Weitzmann (Ann Arbor: University of Michigan Press, 1973). ... rediscovered in the 1930s by the expeditions of George and Maria Soteriou, and ...

Dal tardo medioevo all&amp;#39;età barocca. A cura di Christoph L. Frommel e Gerhard Wolf

Art in Translation, 2017

Art, Space, Mobility in Early Ages of Globalization" aims to promote a new history of art that re... more Art, Space, Mobility in Early Ages of Globalization" aims to promote a new history of art that recognizes the complex and diverse connections forged between the Mediterranean region, the Middle East, Central Asia, and the Indian subcontinent from the fourth through the sixteenth centuries. Over the past four years, this project has brought together more than one hundred junior scholars from countries around the world,

Mitteilungen Des Kunsthistorischen Institutes in Florenz, 2014

Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte, 2000

Perspective, 2014

Ces dernières années, la Méditerranée a été régulièrement invoquée par les historiens de l'art à ... more Ces dernières années, la Méditerranée a été régulièrement invoquée par les historiens de l'art à titre de cadre conceptuel-plus que géographiquenous permettant d'appréhender quelques-unes des dynamiques les plus remarquables qui sous-tendent la production, l'usage et la réception des artefacts dans le monde médiéval. De nombreux spécialistes en histoire de l'art ont ressenti le besoin de traverser les frontières séparant les domaines de recherche traditionnels que sont l'Occident médiéval, Byzance et l'art islamique. L'intérêt porté à la Méditerranée comme site liminaire où plusieurs Kunstlandschaften (paysages culturels) se superposent leur a permis d'observer leurs sujets depuis un point de vue élargi et interdisciplinaire. Plusieurs ouvrages majeurs ont décrit la Méditerranée comme un lieu d'échanges interculturels, ainsi qu'un espace dynamique ayant facilité une ample circulation d'objets, d'artefacts, d'artistes, de formes et d'idées : la récurrence de termes tels que « rencontres », « interactions », « transferts », « transmissions », « échanges », « hybridations » ou « convergences » dans les titres de plusieurs ouvrages récents est un indice supplémentaire de cet usage paradigmatique de la Méditerranée en tant que contre-argument d'une lecture traditionnelle de l'art perçu comme un phénomène culturel cohérent, lié à une région spécifique 1. On peut s'attendre à ce que de futurs lecteurs des textes produits en histoire de l'art interprètent cette tendance comme une réaction face à l'héritage nationaliste de la discipline, encore prégnant dans un certain nombre de travaux, ou comme une réponse au débat actuel sur la mondialisation et le multiculturalisme. Il faut admettre néanmoins que, jusqu'à ce jour, les historiens de l'art ont plutôt privilégié une attitude modeste dans leurs discussions sur les perspectives méditerranéennes, souvent présentées sous la forme d'études de cas parues dans des ouvrages collectifs.

Visual Engagements. Image Practices and Falconry, ed. Yannis Hadjinicolaou, 2020

This article discusses various aspects of hunting with avian predators, i.e. hawks and owls, star... more This article discusses various aspects of hunting with avian predators, i.e. hawks and owls, starting with the nature of the birds’ day and night vision and the means by which hunters instrumentalised the avian visual system. In the first part, various texts from Greco-Roman Antiquity to early modern Europe will be read in relation to hawking practices. The study also incorporates treatises on medieval hunting and early modern natural history to underline hawking’s broad impact on the early stages of a discipline that came to be known as ornithology. Frederick II’s and Maximilian I’s passion for falconry are excellent examples to demonstrate the importance of hunting with birds in court culture, which can be traced respectively in its visual as well as material culture. Part II shifts from hawking’s visual culture to its material one, presenting a few objects related to falconry in their material dimension and the intertwining between functional and aesthetic aspects. The last chapter discusses Frederick II’s hawking treatise and Dante’s Comedy regarding the complex world of taming, educating, learning and ennobling in falconry, shifting from practices to metaphors inspired by them – particularly concerned with the interaction between human being (falconer) and animal (hawk). It questions the relationship between eagle and falcon, in political, theological and symbolic terms. A final look into Boccaccio’s falcon novel serves as a counterpoint to the royal and divine sphere.

Art in Translation, 2017

Mitteilungen Des Kunsthistorischen Institutes in Florenz, 2014

Inszenierung von Sichtbarkeit in mittelalterlichen Bildkulturen , 2018

Histories of Ornament: From Global to Local , 2016

Handbuch der Bildtheologie, vol. III: Zwischen Zeichen und Präsenz, 2014

Florenz! (exhibition catalogue Bonn), 2013

Mitteilungen des Kunsthistorischen Institutes in Florenz, 55, 2013

Syrien und seine Nachbarn von der Spätantike bis in die islamische Zeit, 2009

Antiquity and its Interpreters, 2000

Ghiberti teorico : natura, arte e coscienza storica nel Quattrocento, 2019

Convegno, 30 November - 2 December, 2017, Florence

Mitteilungen Des Kunsthistorischen Institutes in Florenz, 2015

Art and Liturgy at St Catherine’s Monastery in the Sinai, 2010

Dal tardo medioevo all&amp;#39;età barocca. A cura di Christoph L. Frommel e Gerhard Wolf

Art in Translation, 2017

Mitteilungen Des Kunsthistorischen Institutes in Florenz, 2014

Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte, 2000

Perspective, 2014

Visual Engagements. Image Practices and Falconry, ed. Yannis Hadjinicolaou, 2020

Art in Translation, 2017

Mitteilungen Des Kunsthistorischen Institutes in Florenz, 2014

Inszenierung von Sichtbarkeit in mittelalterlichen Bildkulturen , 2018

Histories of Ornament: From Global to Local , 2016

Handbuch der Bildtheologie, vol. III: Zwischen Zeichen und Präsenz, 2014

Florenz! (exhibition catalogue Bonn), 2013

Mitteilungen des Kunsthistorischen Institutes in Florenz, 55, 2013

Syrien und seine Nachbarn von der Spätantike bis in die islamische Zeit, 2009

Antiquity and its Interpreters, 2000

L'immagine di Cristo dall'Acheropita alla mano d'artista (Studi e testi, 432), 2007

Dal tardo medioevo all'età barocca. A cura di Christoph L. Frommel e Gerhard Wolf

Villa I Tatti. The Harvard University Center for Italian Renaissance Studies, 28, Milano 2011. ... more Villa I Tatti. The Harvard University Center for Italian Renaissance Studies, 28, Milano 2011.

Acts of a Conference held at Villa I Tatti and the Kunsthistorisches Institut in Florenz - MPI, Florence, 12-13 June 2008

At the beginning of the 14th century, far-reaching political events and social transformations ra... more At the beginning of the 14th century, far-reaching political events and social transformations rapidly changed the set-up of the Mediterranean basin and affected the Ordo universalis through which the material and symbolic space of Christianitas had been previously conceived. The essays collected in this volume discuss this historical transition by adopting the lens of “exile”, a long-lasting and intrinsically polysemic notion that experienced a new actuality in those decades. Far beyond the topos of the Avignon papacy as a new Babylonian Captivity, the volume examines practices and representations of exclusion, self-exclusion, and mobility, in their socio-historical as well as cultural and artistic manifestations, as different and yet intertwined attempts to redefine universal, local, and individual identities.

Contents: E. Brilli - L. Fenelli, Introduzione. L’esilio da categoria storiografica a tema-problema della ricerca interdisciplinare. I. EXCLUSION AND SELF-EXCLUSION FROM THE «CIVITAS»: S. Boesch Gajano, Introduzione - F. Ricciardelli, Confini e bandi. Azione politica a Firenze in età comunale - M. Ferrari, «Avaro, traditore». Pittura d’infamia e tradizione figurativa del tradimento politico tra Lombardia e Toscana (1250-1350) - G. Curzi, La «condanna» dei templari. Tracce materiali e memoria negata tra Francia e Italia - I. Bueno, Come estirpare le cattive piante. L’esclusione degli eretici nell’opera esegetica di Jacques Fournier - F. Massaccesi, Da Avignone a Cesena a Ravenna. Immagini e politica - A. Montefusco, Repenser les «spirituels». L’identité dissidente entre réclusion, répression et auto-exclusion dans la tradition monastique et franciscaine - L. Fenelli, Tre storie bolognesi di Sant’Onofrio. Prime note per la ricostruzione del culto per l’eremita intorno alla metà del Trecento. II. DISPLACED PERSONS: A. Fontes Baratto, Introduction - G. Milani, An Ambiguous Sentence. Dante Confronting His Banishment - E. Brilli, The Interplay Between Political and Prophetic Discourse: a Reflection on Dante’s Authorship in Epistles V-VII - D. Blume, Francesco da Barberino. The Experience of Exile and the Allegory of Love - S. Piron, Les exils d’Opicino de Canistris - M. Gagliano, La polemica antiavignonese di Petrarca e il modello di Dante esule e profeta - L. Marcozzi, Petrarca e l’esilio nel tempo. III. AVIGNON: THE MAKING OF A CAPITAL: A. Paravicini Bagliani, Avignon, une autre Rome? - J. Rollo-Koster, Avignon’s Capitalization and the Legitimation of Transciency - B. Bombi, The «Avignon Captivity» as a Means of Success. The circle of the Frescobaldi - X. Barral i Altet, Manifestare l’esilio all’esterno del palazzo? L’entrata monumentale del Palazzo dei Papi ad Avignone - D. Vingtain, Historiographie des peintures murales du Palais des Papes d’Avignon - F. Manzari, Le opportunità offerte dall’esilio. Componenti multiculturali e libertà di innovazione nella miniatura avignonese del Trecento - M. A. Bilotta, Un inedito manoscritto giuridico miniato dalla bottega del Liber visionis Ezechielis, attiva ad Avignone nella prima metà del XIV secolo: l’Urb. lat. 157. IV. EXCHANGING GLANCES: S. Romano, Introduzione - É. Anheim, Simone Martini à Avignon: une histoire en négatif? - C. Bolgia, Images in the City. Presence, Absence and Legitimacy in Rome in the first half of the 14th century - T. Holler, L’Aldilà della Cappella Strozzi. I domenicani, l’esilio di Dante e il ritorno dell’Inferno - F. Pasquale, La costruzione di una capitale. Roberto d’Angiò e la sua corte tra Napoli e Avignone - V. Lucherini, Il «testamento» di Maria d’Ungheria a Napoli un esempio di acculturazione regale. V. MAPPING AVIGNON’S SPACE: M. Laclotte, Introduction - S. Zanke, Imagined Spaces? The Papal Registers in the Pontificate of John XXII (1316-1334) - G. Kerscher, L’ordre de la cour - la hiérarchie - l’aménagement de l’espace du palais des papes d’Avignon - T. Sabater, Intorno all’influenza della corte di Avignone sull’arte la pittura maiorchina del XIV secolo - R. Alcoy, Avignone e la Catalogna dei Bassa - A. Tomei, Opere e artisti in esilio tra Italia e Provenza (con qualche ritorno). Modelli, stili, iconografie - G. Wolf, Immagini e parole in esilio. Una postfazione. Indexes by E. Brilli and L. Fenelli.

Architectura picta nell'arte italiana da Giotto a Veronese (ed. with Sabine Frommel), 2016

Si ringrazia per la disponibilità la dottoressa Marzia Faietti, direttrice del Gabinetto Disegni ... more Si ringrazia per la disponibilità la dottoressa Marzia Faietti, direttrice del Gabinetto Disegni e Stampe degli Uffizi Traduzione dal tedesco dei testi di Christoph L. Frommel, Sabine Frommel, Philine Helas: NSC S.r.l. Traduzioni -Modena Un ringraziamento al Kunsthistorisches Institut in Florenz (Max-Planck-Institut) per la generosa collaborazione. ISBN: 978-88-570-0778-6

Ecologies, Aesthetics, and Histories of Art is conceived as an intellectual laboratory to address... more Ecologies, Aesthetics, and Histories of Art is conceived as an intellectual laboratory to address the ecological and aesthetic dimensions of human interaction with geographical, geological, botanical, zoological, astronomical, and climatic formations from the micro to a planetary scale. How was the interrelationship between the nonhuman and the human visually configured in geographically distinct, yet often interconnected, terrains in different moments of history? How did striated knowledge-systems, the agentive qualities of matter, and aesthetic practices shape such configurations, topographies, and spatial orders? To what extent were particular aesthetic practices related to the economies of religious systems or social arrangements? What are the conceptual interconnections, or conversely interstices, between theories of nature, ecology, environment, and aesthetics? While literary ecocriticism has become a field of intense debate over the last decades, the ecological turn in visual culture studies is still at its early stage. The conference thus aims to bring art history, a discipline that has for long been concerned with notions of landscape, nature, materiality, and aesthetic processes, into this emerging conversation. The conference aims to act as a crucial interpolation in the conversation between ecological and aesthetic studies, envisaged here in a historical and transcultural perspective from the earliest known human interaction with the natural environment to the present day.

2015, ed. by Marzia Faietti, Alessandro Nova and Gerhard Wolf, (Mitteilungen des Kunsthistorischen Institutes in Florenz, LVII (2015), Heft 2)

Mitteilungen des Kunsthistorischen Institutes in Florenz LVII (2015), Heft 2 Jacopo Ligozzi 2015... more Mitteilungen des Kunsthistorischen Institutes in Florenz
LVII (2015), Heft 2

Jacopo Ligozzi 2015
a cura di Marzia Faietti, Alessandro Nova e Gerhard Wolf

Marzia Faietti – Alessandro Nova – Gerhard Wolf
Introduzione (pp. 147–157)

Elena Fumagalli
Jacopo Ligozzi al servizio dei Medici. Le trasformazioni del ruolo di pittore di corte (pp. 159–175)

Massimiliano Rossi
Pietosi affetti e arte grafica nei madrigali dipinti per le storie francescane di Ognissanti (pp. 177–189)

Fabrizio Biferali – Massimo Firpo
Vincenzo Berdini, Jacopo Ligozzi e una stampa del 1606: teologia politica e pedagogia cattolica (pp. 191–211)

Corinna Tania Gallori – Gerhard Wolf
Tre serpi, tre vedove e alcune piante. I disegni 'inimitabili' di Jacopo Ligozzi e le loro copie o traduzioni tra i progetti di Ulisse Aldrovandi e le pietre dure (pp. 213–251)

(A two-months workshop at the Kunsthistorisches Institut in Florenz-Max-Planck-Institut) Carmen ... more (A two-months workshop at the Kunsthistorisches Institut in Florenz-Max-Planck-Institut)
Carmen Belmonte, Elisabetta Scirocco and Gerhard Wolf
with Giovanna Ceniccola, Antonio Di Cecco, Piero Gilento, Pavla Langer, Luca Pezzuto, Jamie Sanecki, Beth Saunders, Daniel Screpanti

According to the catastrophe theories, a catastrophe occurs when a sudden and brief phenomenon results in a definitive change to a system that is unable to absorb its effects in a relatively short period of time. The earthquake that struck L'Aquila on April 6, 2009, registering 6.3 on the Richter scale, was a catastrophic event that created a rupture in the life of the city and its territory. Six years later, it is possible to observe the effects the disaster had on L'Aquila's monumental and art historical heritage, on the social dynamics, and on the relationships between places and community.

The study of L'Aquila as a post-catastrophic city raises a number of questions that go beyond interventions in specific fields – (re)construction, historic preservation, economic activity, social policy – and provoke a more general reflection on the impact of natural disasters on both the material structures of the city and its inhabitants: In what ways do they change the life and image of the city, as well as citizens' perception of it? Is it still possible to define cultural identities on a geographical basis in a globalized world, or does the catastrophe itself generate the need to recognize a local identity a posteriori? What roles do cultural, art historical, and monumental heritage play in all this? And what is the contribution of art history? What tools can art historians adopt to interpret the event in an interdisciplinary dialogue and to develop a methodology and models for interventions applicable in the present and the future?

These questions are at the center of the investigation conducted by the junior research group, "L'Aquila as a Post-Catastrophic City", established at the KHI from January-March 2015, composed of four art historians with diverse specializations, two architects (one specializing in restoration and the other in urban planning), an archaeologist, and a photographer whose work deals with the urban landscape. Starting from the methods of analysis particular to his or her own discipline, the participants created three sub-groups, which focus (1) on the reconstruction and reconfiguration of urban space, (2) on the politics of the dislocation and management of cultural heritage, and (3) on the representation(s) of the catastrophe's effects on the population and the territory. The issues that cut across these lines of investigation include: relations among territorial scales, different temporalities, and the possible interconnections between scholarly research and civic engagement. The goal of this two months' laboratory is a shared discussion of open questions, involving archaeology, art history, architecture, urban planning, and photography, in order to build models for the management of cultural heritage in a post-catastrophic phase conscious of citizens' needs.

Convegno, 30 November - 2 December, 2017, Florence