What is my dissertation about?

The Elector of Saxony’s wire drawing bench (1565) is an extremely complicated piece of art and technology which remains relatively unknown outside France and Germany. It deserves to be more widely known not only amongst the general public, but also art and cultural historians too, due to its unique straddling of the Renaissance art and scientific world.

Introduction 2: This time it's kunstgeographie

Not distracted by the view. Oh no.

When looking at art, the viewer should be encouraged to consider geographic issues, to enquire how far environmental factors impact on the society, economy, psychology which produced the piece of art or architecture. In my view, the place of art is as important as the history of that same art; after all, both have informed it equally. For example, in the heart of royal Dresden, along the Augustusstrasse, attached to the back of the Royal Mews, a 102 metre long ceramic mural dominates the street. Known as the Procession of Princes or Fürstenzug, Saxony’s rulers from the first, Konrad the Great (1127-1156) to the last, Friedrich August III (1904-1918) are shown. Originally painted between 1870 and 1876 by artist Wilhelm Walther to celebrate the 800 year anniversary of the Wettin dynasty, they were originally presented in lime wash and stucco but were made permanent in Meissen porcelain in 1906-07.[1]

Kunstgeographie: A brief guide for the perplexed

What is Kunstgeographie?

Literally translated, kunstgegraphie means the geography of art. Whereas the history of art looks at art in its historical and time-related context, the geography of art looks specifically at place. DaCosta Kaufmann sets it out clearly, 'if art has a history, it also at least implicitly had, and has, a geography; for if the history of art conceives of art as being made in a particular time, it also put it in a place'. (Towards a Geography of Art, p1)

Therefore when looking at art, you should think about geographic issues, in addition to everything else. Ask yourself what are the antecedents to a change in style? What are the particular environmental factors, societal, economic, personal, psychological, climate, materials that have encouraged this change? And why should the place of art not be as important as the history of that same art; after all, both have informed it equally, in my view.

Sie sind hier, oder ... : A Dissertation Update

'Germania florescens' 1586

It's about time I did a dissertation update, even if to just place myself on the map; probably right in the middle of 'there be dragons'.  As part of the dissertation process we have to tell our fellow students where we are and what we've been up to so this partly arises out of that presentation.

As an aside I've been blown away by the sheer spread of topics that our little group have chosen, and given that this process is being replicated all over the country by History of Art students, the prospect of intellectual endeavour is dizzying. For instance, we have the relationship of Joshua Reynolds and Admiral Keppel, Holography, 'objects as ruins in the work of the British moderns', Imogen Cunningham and modernism in flowers, the Berwick Church murals and, finally, an exploration of temporality in a Niagra Falls inspired installation. And that is just a handful of the ideas flying around.

Death, Romance and the Landscape

Time Passing

This piece is a rather odd collection of thoughts. As a jigsaw of unintended connections, it works as a semi coherent whole; from chance encounters with Tower Hamlets cemetery, various books on forests and a romantic landscape exhibition at the weekend. Wild wooded nature is the theme of all these and I've been thinking about how woodlands have been perceived by people at different times. There is a large physical difference between a dilapidated Victorian cemetery, South German primeval native forest, and sketches of pastoral fantasies. However they in turn have provided us, and continue to provide us, with pleasure, escape and a way of passing the time.