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0097 Roger Fayet, Georg Schmidt und die Frage der künstlerischen Werte
As a theorist and curator, the Swiss art historian Georg Schmidt (1896-1965), director of the Kunstmuseum Basel from 1939 to 1961, developed a decidedly normative approach to art history, based on a philosophy which [...]
0096 Maria Chernysheva, "The Russian Gérôme"? Vereshchagin as a Painter of Turkestan
"The Russian Gérôme" – thus was Vereshchagin dubbed by English critics in 1872 and the comparison was repeatedly to be made by contemporaries. This article looks at where the two artists [...]
0095 James W. Nelson Novoa, Legitimacy through Art in the Rome of Gregory XIII: The Commission to Baldassarre Croce in the Fonseca Chapel of San Giacomo degli Spagnoli
The article deals with the commission made out by the Portuguese merchant-banker António da Fonseca to Baldassarre Croce to decorate his family chapel in the church of San Giacomo degli Spagnoli in Rome, the national church of Castille [...]
0094 Volker Heenes, On sixteenth-century copies of the reliefs from the Column of Trajan – Two new drawings from an unknown rotulus
This article presents two recently discovered drawings of the reliefs on the Trajan's column. To put them in their proper artistic context, the drawings are compared to known examples of [...]
0093 Volodymyr Hucul, The Battle of Orsha – court propaganda or chivalric epic? (English version)
The Battle of Orsha, part of the collection of the National Museum in Warsaw, an example of panel painting (1525–1535), is of paramount importance for the study of the military, as well as for the research in art history, material history, and the history of [...]
0092 Volodymyr Hucul, Obraz Bitwa pod Orszą – propaganda dworska czy epos rycerski? (Polish version)
Bitwa pod Orszą, znajdująca się w zbiorach Muzeum Narodowego w Warszawie, jest zabytkiem malarstwa tablicowego (1525–1535) i ma ogromne znaczenie dla [...]
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