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DOI Artikel:Bakoš, Ján: Paths and strategies in the historiography of art in Central Europe
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31178#0091
ŠTÚDIE / ARTICLES
II.
ARS 43, 2010, 1
Paths and Strategies in the Historiography
of Art in Central Europe^
Ján BAKOŠ
From the Local to the Universal
The thematization of the topic of the history
of art in Central Europe as a specific art historical
phenomenon is a fascinating and at the same time
quite dramatic story, and as such it merits serious
studyd This essay, however, does not have the
slightest ambition to be a history of the historiog-
raphy/historiographies of Central European art.
It is rather an attempt to outline the main trends,
The present essay is an output of my research carried out at
the Geisteswissenschaftliches Zentrum Geschichte und Kul-
tur Ostmitteleuropas in Leipzig (GWZO) in 2008 and 2009
that was partially supported also by the VEGA Grant of the
Slovák Academy of Sciences in Bratislava (No. 2/0028/10).
I wish to thank Jiří Fajt for the invitation to GWZO and
Matthew Rampley for valuable suggestions and generous
assistance in complettng the hnal version of the paper.
' The Statement of Heinrich Klotz and Martin Warnke concern-
ing the history of German art applies also to this process. "DZg
GgrdAAg Ar H?rtaAgryVZg bi ?a?a?gr aaA g?'ag GgrdAAg ÁaA/?gg-
rrArAAbgrAíagAaaipAgA aA g?'ag GgrrArAg yaXargArPrřpagaaA."
- KLOTZ, H.: GgrgA'rbZg ArDg??ZfgAa X??arZ. Vol. 1. München
1998, p. 9. In other words, the history of the historiography of
art, at least in Centrai Europe, can be regarded as a symbolic
struggle over territory. Moreover, as Warnke expressed it: "MA
gaZsprggAaA I TrtarA rg?'ga ygZzAAagZg XaarZraX/g." - WARNKE,
M.: GgrrA'gAg Ar DgaZrrAa XaarZ. Vol. 2. München 1999, p. 10.
What is called "constructs" today in order to express arbitrary
and ideological nature of our interprétation of tire past had been
named "conceptions" in the 1980s or "models" in the 1990s.
' KOSELLECK, R.: Geschichte. In: GgrrbZrbzAbg GraaAggEyg.
XřzrZcrZrgbgr LgMXga yarpaXzZrgb-rgyZa/ga dprarA Za DgaZrgb/haZ
Eds. O. BRUNNER - W. CONZE - R. KOSELLECK.
Stuttgart 1998 (U ed. 1975), Vol. 2, pp. 593-770, particularly
p. 647 ff; KOSELLECK, R.: Historia Magistra Vitae. Über
which shaped research into the history of art m
the region.
In the 18* Century, the plurality of local historiés
cultivated by local patriotic chroniclers was replaced
by the conception of one universal historyb At the
same time, Johann Joachim Winckelmann conceived
the idea of art as having a single true essence. In this
way, the previous history of a plurality of artefacts
and artists was transformed into a universal history
of art with a capital Ad Many local historiés were
die Auflösung des Topos im Horizont neuzeitlich bewegter
Geschichte. In: KOSELLECK, R.: UgTgaaggag Z?Aaa/7. Zar
Jga?aaZZÁygrrE'gAAArZgZtga. Frankfurt a. M. 1989 (Ded. 1979),
pp. 38-66. See also LOCHER, H.: XaarZggrAZgAg aX ArZahrrA
TAwA Ar XaarZ. München 2001, pp. 203-204.
In Bickendorf's words: "... Za Ar ywZZga Xfa/Xg Ar /aAAaa
ArZr... /avirXü aar Ar lA'g/yab/ Ar XaarZg aaX Ar XaarZXr Ag gZag
XaarZ) Ag aarb A'g XgAä^ga GgrrA'gAga abggXrZa?arAa wa Ar I br-
rZg/Aag Ar 'gZaga GgrrAAZg) A'g rZrb aaa Xagar aa^ XcaZZaaZgrXrb Za?
L7?A?A ArZgZZgaZAXgZbaAaroAg... ErrZaar ArZaraa?a?gargZyaag
Ar AZAa Xg AÁZZrrZagaArg gaZrZaaX A'g 7Ag Ar ü'aga XaarZgyrfX Atg '
Za Ar rZrb Ar MAZraCZ?/a? Xa??rZ' Z?a Ea?yg Ar ZgZZ r^raaArZ aaX
gZag gZggag GgrgArbZg grbaX." — BICKENDORF, G: Die ersten
Überblickswerke zur "Kunstgeschichte". In: XXrrZAr ArKaarZ-
ygrAZAZg 7. IAa lEZarXgXaaaa Ar ITarba?y. Ed. U. PFISTERER.
München 2007, pp. 32-33.
^ "ErrZ aar Ar Z??raa??agargZyaag Ar AZAa Xc AXzZrrZ??gaArg gaZrZaaX
Ag 7Ag Ar A'aga Xa??rZgřrA?'AZi?) Za Ar aarMAZraXZaa? XaarZ' Za?
Eaa/g ArZgZZrgraaArZaaXgZag g^gag GgrcArAg gryaZA. /../ .. .rg?ag
pragaaaZgrZg Ea*a?aXgra??gyäaX ArBggrZ// Ar 'Xa??r^grrA7bZg' 7gZ
Jgbaaa JgaAZa? IKZarXgXaaaa. DZg^g?ag?Z?ra?ag Graaa'Aggrgiray/
Ar aga grnAZgZga <?Ar aga_ggcrXagZga Taa??aAagga aX aaA Ar UAr-
MrÁnagrÁg yarXaarZggrrA'rbZg ?rar Xar Xcay^Z Ar üaga GgrrArbZg'
Ar 'gZaga XaarZ) Xar Ag aXgrga E3ra?ga Ar Xa??rZArZg??/gr^A'g ?a?'Z
Zbrgr UZg/yaA wa UgrrA'gbZga ' gZagr FX'g/yaA wa Xa'rZXra aAörZg."
- BICKENDORF 2007 (see in note 2), pp. 29-30, 33. See
also LOCHER 2001 (see in note 2), p. 204.
85
II.
ARS 43, 2010, 1
Paths and Strategies in the Historiography
of Art in Central Europe^
Ján BAKOŠ
From the Local to the Universal
The thematization of the topic of the history
of art in Central Europe as a specific art historical
phenomenon is a fascinating and at the same time
quite dramatic story, and as such it merits serious
studyd This essay, however, does not have the
slightest ambition to be a history of the historiog-
raphy/historiographies of Central European art.
It is rather an attempt to outline the main trends,
The present essay is an output of my research carried out at
the Geisteswissenschaftliches Zentrum Geschichte und Kul-
tur Ostmitteleuropas in Leipzig (GWZO) in 2008 and 2009
that was partially supported also by the VEGA Grant of the
Slovák Academy of Sciences in Bratislava (No. 2/0028/10).
I wish to thank Jiří Fajt for the invitation to GWZO and
Matthew Rampley for valuable suggestions and generous
assistance in complettng the hnal version of the paper.
' The Statement of Heinrich Klotz and Martin Warnke concern-
ing the history of German art applies also to this process. "DZg
GgrdAAg Ar H?rtaAgryVZg bi ?a?a?gr aaA g?'ag GgrdAAg ÁaA/?gg-
rrArAAbgrAíagAaaipAgA aA g?'ag GgrrArAg yaXargArPrřpagaaA."
- KLOTZ, H.: GgrgA'rbZg ArDg??ZfgAa X??arZ. Vol. 1. München
1998, p. 9. In other words, the history of the historiography of
art, at least in Centrai Europe, can be regarded as a symbolic
struggle over territory. Moreover, as Warnke expressed it: "MA
gaZsprggAaA I TrtarA rg?'ga ygZzAAagZg XaarZraX/g." - WARNKE,
M.: GgrrA'gAg Ar DgaZrrAa XaarZ. Vol. 2. München 1999, p. 10.
What is called "constructs" today in order to express arbitrary
and ideological nature of our interprétation of tire past had been
named "conceptions" in the 1980s or "models" in the 1990s.
' KOSELLECK, R.: Geschichte. In: GgrrbZrbzAbg GraaAggEyg.
XřzrZcrZrgbgr LgMXga yarpaXzZrgb-rgyZa/ga dprarA Za DgaZrgb/haZ
Eds. O. BRUNNER - W. CONZE - R. KOSELLECK.
Stuttgart 1998 (U ed. 1975), Vol. 2, pp. 593-770, particularly
p. 647 ff; KOSELLECK, R.: Historia Magistra Vitae. Über
which shaped research into the history of art m
the region.
In the 18* Century, the plurality of local historiés
cultivated by local patriotic chroniclers was replaced
by the conception of one universal historyb At the
same time, Johann Joachim Winckelmann conceived
the idea of art as having a single true essence. In this
way, the previous history of a plurality of artefacts
and artists was transformed into a universal history
of art with a capital Ad Many local historiés were
die Auflösung des Topos im Horizont neuzeitlich bewegter
Geschichte. In: KOSELLECK, R.: UgTgaaggag Z?Aaa/7. Zar
Jga?aaZZÁygrrE'gAAArZgZtga. Frankfurt a. M. 1989 (Ded. 1979),
pp. 38-66. See also LOCHER, H.: XaarZggrAZgAg aX ArZahrrA
TAwA Ar XaarZ. München 2001, pp. 203-204.
In Bickendorf's words: "... Za Ar ywZZga Xfa/Xg Ar /aAAaa
ArZr... /avirXü aar Ar lA'g/yab/ Ar XaarZg aaX Ar XaarZXr Ag gZag
XaarZ) Ag aarb A'g XgAä^ga GgrrA'gAga abggXrZa?arAa wa Ar I br-
rZg/Aag Ar 'gZaga GgrrAAZg) A'g rZrb aaa Xagar aa^ XcaZZaaZgrXrb Za?
L7?A?A ArZgZZgaZAXgZbaAaroAg... ErrZaar ArZaraa?a?gargZyaag
Ar AZAa Xg AÁZZrrZagaArg gaZrZaaX A'g 7Ag Ar ü'aga XaarZgyrfX Atg '
Za Ar rZrb Ar MAZraCZ?/a? Xa??rZ' Z?a Ea?yg Ar ZgZZ r^raaArZ aaX
gZag gZggag GgrgArbZg grbaX." — BICKENDORF, G: Die ersten
Überblickswerke zur "Kunstgeschichte". In: XXrrZAr ArKaarZ-
ygrAZAZg 7. IAa lEZarXgXaaaa Ar ITarba?y. Ed. U. PFISTERER.
München 2007, pp. 32-33.
^ "ErrZ aar Ar Z??raa??agargZyaag Ar AZAa Xc AXzZrrZ??gaArg gaZrZaaX
Ag 7Ag Ar A'aga Xa??rZgřrA?'AZi?) Za Ar aarMAZraXZaa? XaarZ' Za?
Eaa/g ArZgZZrgraaArZaaXgZag g^gag GgrcArAg gryaZA. /../ .. .rg?ag
pragaaaZgrZg Ea*a?aXgra??gyäaX ArBggrZ// Ar 'Xa??r^grrA7bZg' 7gZ
Jgbaaa JgaAZa? IKZarXgXaaaa. DZg^g?ag?Z?ra?ag Graaa'Aggrgiray/
Ar aga grnAZgZga <?Ar aga_ggcrXagZga Taa??aAagga aX aaA Ar UAr-
MrÁnagrÁg yarXaarZggrrA'rbZg ?rar Xar Xcay^Z Ar üaga GgrrArbZg'
Ar 'gZaga XaarZ) Xar Ag aXgrga E3ra?ga Ar Xa??rZArZg??/gr^A'g ?a?'Z
Zbrgr UZg/yaA wa UgrrA'gbZga ' gZagr FX'g/yaA wa Xa'rZXra aAörZg."
- BICKENDORF 2007 (see in note 2), pp. 29-30, 33. See
also LOCHER 2001 (see in note 2), p. 204.
85