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Memory & Oblivion
Antal and his Critics: A Forgotten Chapter in the Historiography of the Italian Renaissance in the Twentieth Century
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Author(s):
Deborah L. Krohn
Publication date
(Print):
1999
Publisher:
Springer Netherlands
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19: Interdisciplinary Studies in the Long Nineteenth Century
Author and book information
Book Chapter
Publication date (Print):
1999
Pages
: 95-99
DOI:
10.1007/978-94-011-4006-5_12
SO-VID:
ff4166dc-c854-4ca0-959f-01265181dc10
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Book chapters
pp. 1
Address by Aad Nuis, State Secretary for Education, Culture and Science at the opening of the Congress on Sunday 1 September 1996 in Amsterdam
pp. 5
Opening Address
pp. 11
The Play of Memory between Words and Images
pp. 19
Concluding Remarks: Some Reflections on Tribal Gossip and other Metaphors
pp. 25
Art History for the Millennium: The Theme of “Time” and the London Conference in the Year 2000
pp. 35
Eurocentrism and Art History? Universal History and the Historiography of the Arts before Winckelmann
pp. 43
The Fondo Cicognara in the Vatican Library: Inventing the Art Library of the Future
pp. 57
The Art Historian as Simonides: The Importance of Antique Memory in the Art Library, from Warburg to the Present
pp. 63
The Memory of the Painter: Delacroix’s Journal
pp. 69
Das „Handbuch der Kunstgeschichte“: Die Vermittlung kunsthistorischen Wissens als Anleitung zum ästhetischen Urteil
pp. 89
The Archive’s Silent Record: Anti-Semitism and the Formation of Aby Warburg’s “Cultural Science”
pp. 95
Antal and his Critics: A Forgotten Chapter in the Historiography of the Italian Renaissance in the Twentieth Century
pp. 101
The Private World of Malinche: New Issues in Mexican Art History
pp. 111
Art History in South Africa: Past and Present
pp. 123
The History of Art Shaping Art?
pp. 131
Technische und rechtliche Aspekte der Verwaltung von Text- und Bildrechten
pp. 137
Video, ergo sum? Die Kunstgeschichte der virtuellen Bilder zwischen Erinnerungs- und Projektionstechnik
pp. 151
The Military Gallery in the Winter Palace (The Hermitage): International Aspects of the National Memorial
pp. 159
Die profane Wallfahrtsstätte: Gabriele D’Annunzios Vittoriale degli Italiani
pp. 167
Le mythe de la «Collection Desjardins» et la constitution d’une tradition artistique au Québec
pp. 173
Between the Enlightenment and the Know-Nothings: William Poyntell (1756–1811), Early American Collector of Medieval Art
pp. 183
Ordnung im Gedächtnis: Alternative Überlegungen zum funktionalen und theoretischen Kontext des frühneuzeitlichen Sammlungswesens im deutschsprachigen Raum
pp. 191
Collecting as Canon Formation: Art History and the Collection of Drawings in Early Modern Italy
pp. 205
The Places of Painting: The Survival of Mnemotechnics in Christian von Mechel’s Gallery Arrangement in Vienna (1778–1781)
pp. 213
Linked or Merged? Collecting and the Enduring Problem of Arranging Visual Information
pp. 217
Collection as Creation: Isabella Stewart Gardner’s Fenway Court
pp. 223
Collecting, Connoisseurship, and the Vernacular
pp. 231
The Retrieval of Classical Architecture in the Quattrocento: The Role of Rhetoric in the Formulation of Alberti’s Theory of Architecture
pp. 239
Bildkonzepte der Verleumdung des Apelles
pp. 255
Out of Oblivion: The Later Fortuna Critica of Titian’s “St. Peter Martyr Altarpiece”
pp. 265
Correggios „Leda“: ein verdrängtes Bild
pp. 275
A Question of Mentality: The Changed Appreciation of Thomas Murner’s Logical Card Game (c. 1500)
pp. 295
Ekphrasis, Oubli et Mémoire. Restitution du cycle pictural de la Chapelle Royale de Lisbonne
pp. 301
A Lost Work by a Forgotten Artist: Gerard de Lairesse’s Stage Set “De Hofgallery”
pp. 307
Obsequies in Rome for Ferdinand VI of Spain, 1759
pp. 317
Giovan Pietro Bellori and the Loss and Restoration of (Ancient) Painting in Rome
pp. 325
Kenotaphien auf dem Papier: Gedächtnislandschaften um 1800 von Jean Koch, Jacob Wilhelm Mechau und Janus Genelli
pp. 335
Das Grabmal des Porsenna: Rekonstruktionen eines Mythos vom 16. bis 19. Jahrhundert
pp. 349
Cults of the Past
pp. 353
Rhodos zur Zeit der italienischen Besetzung (1912–1943): Die selektive Erinnerung und das manipulierte Denkmal
pp. 363
From Oblivion to Eternity: The Château de Versailles and the Politics of Commemoration in the 1920s
pp. 369
Monuments, Politics and Society: Polish Experiences (1945–1995)
pp. 373
Cities as Texts: Urban Practices Represented or Forgotten in Art History
pp. 379
„Gothique“-„Moderne“: Der Diskurs um die Wiederherstellung des Domes zu Speyer nach der Mitte des 18. Jahrhunderts
pp. 393
The Gothic Revival in France, 1830–1845: Victor Hugo’s Notre-Dame de Paris, Popular Imagery, and a National Patrimony Discovered
pp. 401
The Medieval Revival in Religious Building in Rome after the Unification of Italy
pp. 411
Eine vergessene Restaurierung: die Hagia Sophia in Istanbul
pp. 419
Transforming Ethics in Conservation: Change in the Care of Contemporary Art
pp. 427
Über den Umgang mit Werken der Kunst
pp. 433
Die Berliner Mauer: Ein verschwindendes Denkmal
pp. 439
An Object Manufactured for Exhibition at the Bottom of the Sea
pp. 447
Roman Commemorative Portraits: Women with the Attributes of Venus
pp. 455
The Early Medieval Monastery as a Site of Commemoration and Place of Oblivion
pp. 467
Une nouvelle approche des tombeaux royaux de Santes Creus
pp. 475
Private Tomb and Public Altar: The Origins of the Mausoleum Choir in Rome
pp. 483
Weltliches Bestattungsbrauchtum zwischen Mittelalter und Renaissance
pp. 491
Les tombeaux de Pedro et Inês: La mémoire sacralisée d’un amour clandestin
pp. 499
The Area of St Dominic at Bologna
pp. 515
The Bishop, the Young Lion and the Two-headed Dragon: The Burghersh Memorial in Lincoln Cathedral
pp. 527
Public Fame or Private Remembrance? The Portrait Bust and Modes of Commemoration in Eighteenth-Century England
pp. 537
Manipulating Memories: Postponed Tombs for Galileo and Machiavelli
pp. 545
Laugier’s Plans for Saint-Denis: A Forerunner to Lenoir’s Musée des Monuments Français?
pp. 553
Cemetery Politics in 19th-Century Paris: The Manipulation of Memorials, Memory and Mourning
pp. 561
The “Monumentomania” of the Nineteenth Century: Causes, Effects, and Problems of Study
pp. 567
The Hamburg Bismarck Monument as “Lighthouse of National Thought”
pp. 581
Commemoration and the Politics of Iconoclasm: The Battle over “Les Statues Dreyfusardes”, 1908–1910
pp. 587
Indian Ironies, or British Commemorative Sculpture and (Re)shaped Memory
pp. 595
Regeneration and the Legacy of Venus: Towards an Interpretation of Memory at Early Christian Golgotha
pp. 603
Memory, Place, and Mission in Hieronymus Natalis’ Evangelicae historiae imagines
pp. 609
La constitution d’un système dévotionnel: Le maître-autel de l’église de la maison professe des Jésuites de Paris au XVIIe siècle
pp. 619
“The Empty Throne” in Early Buddhist Art and its Sacred Memory Left Behind after the Emergence of the Buddha Image
pp. 625
Memory and Wonder: Our Lady Mary in Ethiopian Painting (15th–18th Centuries)
pp. 635
Petrus Christus’ “Our Lady of the Dry Tree”. A Note on the Influence of the Veneration of Images on Early Netherlandish Painting
pp. 637
Veneration via Art: Images of Divine Kingship in the Chapel at Versailles
pp. 643
A Christian Romance: The Frescoes of San Galgano at Montesiepi
pp. 653
The Fabrication of Sacred Memory: The Decoration of the Duomo and S. Maria Maggiore in Sixteenth-Century Bergamo
pp. 663
The Escorial as an Example of the “New Architecture of the New Christian Antiquity”: A Study in the Problem of Legitimation During the Spanish Renaissance
pp. 671
Ornament as Veneration in Ancient Pueblo Art
pp. 685
Saint Luis Beltrán in Valencian Art and Pageantry
pp. 693
The Memory Palace of Constantine Porphyrogenitus
pp. 701
Cults Disrupted and Memories Recaptured: Events in the Life of the Icon of the Virgin Hodegetria in Constantinople
pp. 709
La récupération «dell’antico» dans la Bible de Charles V
pp. 719
Sculpture Aloft: The Forgotten Meanings of Memorial Sculpture on Church Roofs and Towers
pp. 727
Auftraggeber und Nachbesitzer: Handänderungen mittelalterlicher Bilderhandschriften und deren Folgen für die Stifterbilder
pp. 735
Trying to Forget: The Lost Angevin Past of Italy
pp. 745
Graffiti as a Medium for Memoria in the Early and High Middle Ages
pp. 753
Damnatio Memoriae in the Medieval Sculpture of Southern Croatia
pp. 759
Remembering or Forgetting the Meaning of an Ornament? Trails of Antiquity in Early Byzantine Ornamentation
pp. 765
The Manipulated Memory: Thomas Becket in Legend and Art
pp. 773
Forging Monumental Memories in the Early Twelfth Century
pp. 785
Memories at Work, 1500–1900: An Introduction
pp. 787
La mémoire de Raphaël
pp. 795
Out of Time: Ruins as Places of Remembering in Italian Painting ca. 1500
pp. 803
Memorizing the New: Using Recent Works as Models in Italian Renaissance Commissions
pp. 811
Remembered Lines
pp. 817
Drawing up Plans in the Mental Studio: A Mannerist Scenario for the Invention of Compositions
pp. 827
Farcical Jan, Pier the Droll: Steen and the Memory of Bruegel
pp. 837
Hogarth’s Visual Mnemotechnics: Notes on Abstraction as an aide-mémoire for Figurative Painters
pp. 847
The Pedagogy of Emancipation: Teachers and Students in Nineteenth-Century France
pp. 855
Italia and Hollandia: Conflicting Memories at Work in the Dutch Prix de Rome (1817–1851)
pp. 861
Nothing Overlooked: The Studio of Eugene von Guerard
pp. 875
Oblivious to History: Géricault’s Subversive Intent(sity)
pp. 881
From Memory to Oblivion: Manet and the Origins of Modernist Painting
pp. 893
Modern Art and Oblivion: An Introduction
pp. 897
Destruction, oubli et mémoire
pp. 905
Curator’s Memory: The Case of the Missing “Man of Marble”, or the Rise and Fall of Socialist Realism in Poland
pp. 913
Deadly Historians: Boltanski’s Intervention in Holocaust Historiography
pp. 919
Archaeology of the Apocalypse: Cinema and Authoritarian Regimes in Argentina
pp. 925
Memory, Oblivion, and the “Invisibility” of Monuments
pp. 929
Paul Klee’s Memory in Exile
pp. 937
Robert Smithson’s Suppressed “Pre-conscious” Works: Intentionality and Art Historical (Re)construction
pp. 949
The Ambiguous Duality between Hero and Devil: Max Beckmann Reinvents Goethe’s Faust in his Amsterdam Exile
pp. 961
Qui a peur des peaux rouges, du péril jaune et de la négritude?
pp. 965
Recycling Memory in Urban Senegal
pp. 975
The Case of Latvian Art between 1940–1990 and After
pp. 981
Les Groupes «in» et les artistes ‹outsiders› de l’art brut
pp. 989
Pop Art and the Forgotten Codes of Camp
pp. 997
Le paradis artificiel: the Imagination of the Surrealist and “Schizophrenic” Author and Artist Unica Zürn (1916–1970)
pp. 1007
Les démarches «appropriationnistes» de Sherrie Levine et d’André Raffray: Deux pratiques critiques de la construction de l’histoire de l’art «moderniste» et de ses oublis
pp. 1013
History and Memory in the Art of Gordon Bennett
pp. 1019
Violence and the Aesthetics of Redemption
pp. 1025
Die Pendelbewegung des Künstlergedächtnisses: Selbst und Werkreflexion in den Bildertafelkompendien von Beuys, Broodthaers und Richter
pp. 1039
Memory and Oblivion in Contemporary American Art: The Lesson of Artforum
pp. 1043
Strategic Oblivion: 1970s Feminist Art in 1980s Art History
pp. 1051
Memories of a Monument: The Competition for a Monument to the Unknown Political Prisoner, London 1953 — a Discussion of the Powers of Sculpture that Never Existed
pp. 1059
Picassos Massaker in Korea: Geschichte und Erinnerung in der Moderne
pp. 1067
Lenin in the Age of Mechanical Reproduction
pp. 1075
The Vietnam Veterans Memorial and the Tomb of the Unknown Soldier: Memory, Mourning and National Memorials
pp. 1085
Objects Left, Individuals Remembered: “Making Memory Real” at the Vietnam Veterans Memorial
pp. 1091
Building the Unbuildable: The U.S. Holocaust Memorial Museum
pp. 1103
Nothing to See: Private Mourning in Public Space
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