Quelle und Objekt:
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Elektronisch Paper |
| Sprache: | Deutsch |
| Veröffentlicht: |
[2024]
|
| Links: | http://digital.bib-bvb.de/webclient/DeliveryManager?pid=21911557&custom_att_2=simple_viewer |
| Abstract: | When editing the art trade sources of the Kunsthandlung Julius Böhler, the focus is less on the specific provenance of an object and more on the fundamental hermeneutical challenge of determining the significance of the source material as precisely as possible. What change of perspective is triggered by this approach, whose starting point is not the object but the source itself? What does the art trade source contribute to our under standing of the object or its history? Using the example of the painting Damen bei der Toilette – today known as Vor dem ersten Ball (Bildnis zweier unbekannter Damen) by Alexander Roslin –, which was traded several times via the Kunsthandlung Julius Böhler, the challenges of interpreting source material and its reliability will be demonstrated. Finally, the question arises as to when and on the basis of what density of information a provenance sequence can be considered "complete". |
| Umfang: | Illustrationen |
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| 520 | 3 | |a When editing the art trade sources of the Kunsthandlung Julius Böhler, the focus is less on the specific provenance of an object and more on the fundamental hermeneutical challenge of determining the significance of the source material as precisely as possible. What change of perspective is triggered by this approach, whose starting point is not the object but the source itself? What does the art trade source contribute to our under standing of the object or its history? Using the example of the painting Damen bei der Toilette – today known as Vor dem ersten Ball (Bildnis zweier unbekannter Damen) by Alexander Roslin –, which was traded several times via the Kunsthandlung Julius Böhler, the challenges of interpreting source material and its reliability will be demonstrated. Finally, the question arises as to when and on the basis of what density of information a provenance sequence can be considered "complete". | |
| 773 | 1 | 8 | |g pages:474-483 |
| 773 | 0 | 8 | |t Quelle und Kontext / herausgegeben von Cosima Dollansky, Christian Fuhrmeister, Birgit Jooss, Stephan Klingen, Anna-Lena Schneider |d München, 2024 |g Seite 474-483 |w (DE-604)BV050097471 |
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| spelling | Schneider, Anna-Lena Verfasser aut Quelle und Objekt Anna-Lena Schneider [2024] Illustrationen txt rdacontent c rdamedia cr rdacarrier When editing the art trade sources of the Kunsthandlung Julius Böhler, the focus is less on the specific provenance of an object and more on the fundamental hermeneutical challenge of determining the significance of the source material as precisely as possible. What change of perspective is triggered by this approach, whose starting point is not the object but the source itself? What does the art trade source contribute to our under standing of the object or its history? Using the example of the painting Damen bei der Toilette – today known as Vor dem ersten Ball (Bildnis zweier unbekannter Damen) by Alexander Roslin –, which was traded several times via the Kunsthandlung Julius Böhler, the challenges of interpreting source material and its reliability will be demonstrated. Finally, the question arises as to when and on the basis of what density of information a provenance sequence can be considered "complete". pages:474-483 Quelle und Kontext / herausgegeben von Cosima Dollansky, Christian Fuhrmeister, Birgit Jooss, Stephan Klingen, Anna-Lena Schneider München, 2024 Seite 474-483 (DE-604)BV050097471 http://digital.bib-bvb.de/webclient/DeliveryManager?pid=21911557&custom_att_2=simple_viewer Volltext |
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| title_full_unstemmed | Quelle und Objekt Anna-Lena Schneider |
| title_short | Quelle und Objekt |
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