Crossing Borders and Period Boundaries in Central European Art
: The Work of Anna Lesznai (ca. 1910–1930)

C 2022

Crossing Borders and Period Boundaries in Central European Art : The Work of Anna Lesznai (ca. 1910–1930)

SECKLEHNER, Julia

Základní údaje

Originální název

Crossing Borders and Period Boundaries in Central European Art : The Work of Anna Lesznai (ca. 1910–1930)

Autoři

SECKLEHNER, Julia

Vydání

Oldenbourg, Rethinking Period Boundaries : New Approaches to Continuity and Discontinuity in Modern European History and Culture, od s. 119-148, 30 s. 2022

Nakladatel

De Gruyter

Další údaje

Jazyk

angličtina

Typ výsledku

Kapitola resp. kapitoly v odborné knize

Obor

60401 Arts, Art history

Stát vydavatele

Německo

Utajení

není předmětem státního či obchodního tajemství

Forma vydání

tištěná verze "print"

Odkazy

URL

Označené pro přenos do RIV

Ano

Kód RIV

RIV/00216224:14210/22:00125897

Organizační jednotka

Filozofická fakulta

ISBN

978-3-11-063206-4

DOI

https://doi.org/10.1515/9783110636000-005

EID Scopus

2-s2.0-85141651744

Klíčová slova anglicky

Anna Lesznai; vernacular modernism; periodization; boundaries

Štítky

rivok, topvydavatel

Příznaky

Mezinárodní význam, Recenzováno

Změněno: 5. 4. 2023 09:11, Mgr. et Mgr. Stanislav Hasil, Ph.D.

Anotace

V originále

The normativisation of art history has a long tradition. From what is widely considered the discipline’s foundational text, Giorgio Vasari’s Lives of the Artists (1550), the history of art has long viewed its subject matter as a lineage in which different stages of development follow each other in a logical succession, according to principles of progress and formal innovation. Key to the establishment of the discipline, this way of periodizing forges categories which, besides referring to particular places in time and space (e.g. Vasari’s ‘Italian Renaissance’), help foreground what makes a given stage of development ‘innovative’ or ‘progressive’ and, thus, worthy of the scholar’s attention. While providing one of the most essential structuring devices for the history of art as a discipline and connecting its internal developments to broader events in social and political history, this system of periodization nonetheless comes with notable flaws. Even though Vasari’s account was recognised as the standard text for studies of the Italian Renaissance for centuries, it was predicated on a clear political-artistic bias: because of the support he received from the Florence-based Medici family, Vasari favoured Florentine painters, most notably Michelangelo, to their non-Florentine counterparts. As is well known, this had far-reaching consequences: while Florence gained a reputation as the cradle of the Renaissance, its rival city Siena was long relegated to secondary status and its artistic production presented as ‘lagging behind’ that of Florence.

Návaznosti

786314, interní kód MU

Název: Continuity and Rupture in Central European Art and Architecture, 1918-1939 — CRAACE (Akronym: CRAACE)

Investor: Evropská unie, Continuity and Rupture in Central European Art and Architecture, 1918-1939 — CRAACE, ERC (Excellent Science)

Přiložené soubory

PDF_Chapter_4.pdf

Citovat

SECKLEHNER, Julia. Crossing Borders and Period Boundaries in Central European Art : The Work of Anna Lesznai (ca. 1910–1930). In George, Lucian; McGlynn, Jade. Rethinking Period Boundaries : New Approaches to Continuity and Discontinuity in Modern European History and Culture. Oldenbourg: De Gruyter, 2022, s. 119-148. ISBN 978-3-11-063206-4. Dostupné z: https://doi.org/10.1515/9783110636000-005.

@inbook{1856499,
   author = {Secklehner, Julia},
   address = {Oldenbourg},
   booktitle = {Rethinking Period Boundaries : New Approaches to Continuity and Discontinuity in Modern European History and Culture},
   doi = {https://doi.org/10.1515/9783110636000-005},
   editor = {George, Lucian; McGlynn, Jade},
   keywords = {Anna Lesznai; vernacular modernism; periodization; boundaries},
   howpublished = {tištěná verze "print"},
   language = {eng},
   location = {Oldenbourg},
   isbn = {978-3-11-063206-4},
   pages = {119-148},
   publisher = {De Gruyter},
   title = {Crossing Borders and Period Boundaries in Central European Art : The Work of Anna Lesznai (ca. 1910–1930)},
   url = {https://www.degruyter.com/document/doi/10.1515/9783110636000-005/html},
   year = {2022}
}

TY  - CHAP
ID  - 1856499
AU  - Secklehner, Julia
PY  - 2022
TI  - Crossing Borders and Period Boundaries in Central European Art : The Work of Anna Lesznai (ca. 1910–1930)
VL  - neuveden
PB  - De Gruyter
CY  - Oldenbourg
SN  - 9783110632064
KW  - Anna Lesznai
KW  - vernacular modernism
KW  - periodization
KW  - boundaries
UR  - https://www.degruyter.com/document/doi/10.1515/9783110636000-005/html
N2  - The normativisation of art history has a long tradition. From what is widely considered the discipline’s foundational text, Giorgio Vasari’s Lives of the Artists (1550), the history of art has long viewed its subject matter as a lineage in which different stages of development follow each other in a logical succession, according to principles of progress and formal innovation. Key to the establishment of the discipline, this way of periodizing forges categories which, besides referring to particular places in time and space (e.g. Vasari’s ‘Italian Renaissance’), help foreground what makes a given stage of development ‘innovative’ or ‘progressive’ and, thus, worthy of the scholar’s attention. While providing one of the most essential structuring devices for the history of art as a discipline and connecting its internal developments to broader events in social and political history, this system of periodization nonetheless comes with notable flaws. Even though Vasari’s account was recognised as the standard text for studies of the Italian Renaissance for centuries, it was predicated on a clear political-artistic bias: because of the support he received from the Florence-based Medici family, Vasari favoured Florentine painters, most notably Michelangelo, to their non-Florentine counterparts. As is well known, this had far-reaching consequences: while Florence gained a reputation as the cradle of the Renaissance, its rival city Siena was long relegated to secondary status and its artistic production presented as ‘lagging behind’ that of Florence.
ER  -

SECKLEHNER, Julia. Crossing Borders and Period Boundaries in Central European Art : The Work of Anna Lesznai (ca. 1910–1930). In George, Lucian; McGlynn, Jade. \textit{Rethinking Period Boundaries : New Approaches to Continuity and Discontinuity in Modern European History and Culture}. Oldenbourg: De Gruyter, 2022, s.~119-148. ISBN~978-3-11-063206-4. Dostupné z: https://doi.org/10.1515/9783110636000-005.

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