Julia Trinkert | Heinrich Heine University Düsseldorf (original) (raw)
Institut für Kunstgeschichte
Heinrich-Heine-Universität Düsseldorf
Gebäude 23.32.00.31/33
Universitätsstraße 1
40225 Düsseldorf
Tel: 0211/81-15182
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Saint-Petersburg Stieglitz State Academy of Art and Design
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Papers by Julia Trinkert
De Gruyter eBooks, Jun 5, 2023
![Research paper thumbnail of To be [titled] or not to be [titled]? Art history and its 'well-(un)known' masters. Introductory remarks](https://attachments.academia-assets.com/83359283/thumbnails/1.jpg)
](It seems to be impossible to imagine an art history without names. In scientific practice the att... more It seems to be impossible to imagine an art history without names. In scientific practice the attribution to a "name" can significantly influence the perception and assessment of traditional works of art. Since the beginning of the 20th century art historians often used to handle art works – especially medieval objects – by their mostly unknown masters. Based on this art historical tradition to evoke speculative names this introduction (together with the following essays) aims on how art history has developed this method. Even if strong doubts have arisen within our discipline, recent exhibition projects, for example, show that this approach is still being used (like a "Künstlerkunstgeschichte"). From a North-Eastern European point of view, the participating authors suggest how this method could be made fruitful in the future (e. g. databases, digital mapping etc.), by concentrating on the gap between art works and archival records and medieval sculptures. https:...
Zeitschrift für Ostmitteleuropa-Forschung, 2014
Die im Zweiten Weltkrieg zerstörte Trinitatiskirche der herzoglichen Residenzstadt Mitau (Jelgava... more Die im Zweiten Weltkrieg zerstörte Trinitatiskirche der herzoglichen Residenzstadt Mitau (Jelgava) nimmt als einer der ersten protestantischen Kirchenneubauten, die Ende des 16. Jahrhunderts im Baltikum entstanden sind, nicht nur aufgrund ihrer Ausstattung aus der Bauzeit eine besondere Stellung in der nordeuropäischen Sakralarchitektur ein. Die bei ihr verwendete Ornamentik stellt darüber hinaus auch ein Beispiel des damaligen Kulturund Wissenstransfers dar, der sich beispielhaft an ihrer Emporenbrüstung nachvollziehen lässt. Diese war laut Inschrift 1616 gestiftet worden und gehörte bis zu der Zerstörung der Kirche 1944 zu ihrem ältesten Inventar. Daneben existierte bis 1944 ein zweites, nur fragmentarisch erhaltenes Ausstattungsstück aus der Bauzeit, bei dem es sich einst um eine Bank oder eine weitere Brüstung gehandelt haben muss. Beiden Werken ist eine bemerkenswerte Ornamentik gemeinsam, die ihren Ursprung im süddeutschen Raum hatte und daher Fragen nach der Vermittlung in da...
The Journal of Art Historiography, 2020
The medieval wooden sculptures in the Lower Rhine and the Maasland region have been the focus of ... more The medieval wooden sculptures in the Lower Rhine and the Maasland region have been the focus of much art historical interest. Various inventory and exhibition projects in the twentieth century comprehensively recorded and arranged the numerous works available in the region and assigned them to different known or unknown artists or art landscape groups of works, according to the status of the respective research claim. Important here are such renowned names as Master Arnt Beeldesnider, Dries Holthuys, the Master of Elsloo, Jan van Steffeswert and Hendrick Douwermann, who afforded a hierarchical systematisation, including possible students and successors. However, numerous fragments and sculptures cannot be integrated into previously ordered systems and so receive less attention. The basis for a revision of the Lower Rhine and Maasland medieval wooden sculptures lies in the application of large-scale research efforts toward medieval wooden sculpture and panel painting in the Mecklenb...
Zeitschrift für Ostmitteleuropa-Forschung, 2017
Journal of Art Historiography, 2020
The medieval wooden sculptures in the Lower Rhine and the Maasland region have been the focus of ... more The medieval wooden sculptures in the Lower Rhine and the Maasland region have been the focus of much art historical interest. Various inventory and exhibition projects in the twentieth century comprehensively recorded and arranged the numerous works available in the region and assigned them to different known or unknown artists or art landscape groups of works, according to the status of the respective research claim.
The basis for a revision of the Lower Rhine and Maasland medieval wooden sculptures lies in the application of large-scale research efforts toward medieval wooden sculpture and panel painting in the Mecklenburg and Nordschleswig/Sønderjylland regions. The concept is to apply comprehensive digital mapping of wooden sculptures in the Lower Rhine region. This could help to identify small, peripheral art centres and make the distribution channels of art transfer comprehensible.
![Research paper thumbnail of To be [titled] or not to be [titled]? Art history and its 'well-(un-)known' masters: introductory remarks](https://attachments.academia-assets.com/64201929/thumbnails/1.jpg)
](Journal of Art Historiography, 2020
De Gruyter eBooks, Jun 5, 2023
It seems to be impossible to imagine an art history without names. In scientific practice the att... more It seems to be impossible to imagine an art history without names. In scientific practice the attribution to a "name" can significantly influence the perception and assessment of traditional works of art. Since the beginning of the 20th century art historians often used to handle art works – especially medieval objects – by their mostly unknown masters. Based on this art historical tradition to evoke speculative names this introduction (together with the following essays) aims on how art history has developed this method. Even if strong doubts have arisen within our discipline, recent exhibition projects, for example, show that this approach is still being used (like a "Künstlerkunstgeschichte"). From a North-Eastern European point of view, the participating authors suggest how this method could be made fruitful in the future (e. g. databases, digital mapping etc.), by concentrating on the gap between art works and archival records and medieval sculptures. https:...
Zeitschrift für Ostmitteleuropa-Forschung, 2014
Die im Zweiten Weltkrieg zerstörte Trinitatiskirche der herzoglichen Residenzstadt Mitau (Jelgava... more Die im Zweiten Weltkrieg zerstörte Trinitatiskirche der herzoglichen Residenzstadt Mitau (Jelgava) nimmt als einer der ersten protestantischen Kirchenneubauten, die Ende des 16. Jahrhunderts im Baltikum entstanden sind, nicht nur aufgrund ihrer Ausstattung aus der Bauzeit eine besondere Stellung in der nordeuropäischen Sakralarchitektur ein. Die bei ihr verwendete Ornamentik stellt darüber hinaus auch ein Beispiel des damaligen Kulturund Wissenstransfers dar, der sich beispielhaft an ihrer Emporenbrüstung nachvollziehen lässt. Diese war laut Inschrift 1616 gestiftet worden und gehörte bis zu der Zerstörung der Kirche 1944 zu ihrem ältesten Inventar. Daneben existierte bis 1944 ein zweites, nur fragmentarisch erhaltenes Ausstattungsstück aus der Bauzeit, bei dem es sich einst um eine Bank oder eine weitere Brüstung gehandelt haben muss. Beiden Werken ist eine bemerkenswerte Ornamentik gemeinsam, die ihren Ursprung im süddeutschen Raum hatte und daher Fragen nach der Vermittlung in da...
The Journal of Art Historiography, 2020
The medieval wooden sculptures in the Lower Rhine and the Maasland region have been the focus of ... more The medieval wooden sculptures in the Lower Rhine and the Maasland region have been the focus of much art historical interest. Various inventory and exhibition projects in the twentieth century comprehensively recorded and arranged the numerous works available in the region and assigned them to different known or unknown artists or art landscape groups of works, according to the status of the respective research claim. Important here are such renowned names as Master Arnt Beeldesnider, Dries Holthuys, the Master of Elsloo, Jan van Steffeswert and Hendrick Douwermann, who afforded a hierarchical systematisation, including possible students and successors. However, numerous fragments and sculptures cannot be integrated into previously ordered systems and so receive less attention. The basis for a revision of the Lower Rhine and Maasland medieval wooden sculptures lies in the application of large-scale research efforts toward medieval wooden sculpture and panel painting in the Mecklenb...
Zeitschrift für Ostmitteleuropa-Forschung, 2017
Journal of Art Historiography, 2020
The medieval wooden sculptures in the Lower Rhine and the Maasland region have been the focus of ... more The medieval wooden sculptures in the Lower Rhine and the Maasland region have been the focus of much art historical interest. Various inventory and exhibition projects in the twentieth century comprehensively recorded and arranged the numerous works available in the region and assigned them to different known or unknown artists or art landscape groups of works, according to the status of the respective research claim.
The basis for a revision of the Lower Rhine and Maasland medieval wooden sculptures lies in the application of large-scale research efforts toward medieval wooden sculpture and panel painting in the Mecklenburg and Nordschleswig/Sønderjylland regions. The concept is to apply comprehensive digital mapping of wooden sculptures in the Lower Rhine region. This could help to identify small, peripheral art centres and make the distribution channels of art transfer comprehensible.
Journal of Art Historiography, 2020