BE -- Fine Arts

International Directory of Arts and Museums of the World 1998/99. 1 CD-ROM + guide. Munich: Saur, 1999. ISBN 3-598-40377-1: DM 740.00 [00-1/4-219]

This CD-ROM incorporates two print publications, the International Directory of Arts (see RREA 3:170 for a review of the1996/97edition) and Museums of the World (see IFB 97-3/4-299 for a review of the 1997 edition). The database covers 33,000 museums and public galleries; 2,700 universities; 1,950 associations; 36,000 art, antiquities, and numismatic dealers; 2,000 auction houses; 7,200 restorers; 2,600 art publishers; 700 art journals; and 5,700 antiquarian and art-book dealers. One can refine one's search of the museum group by any of 24 English-language subheadings, such as department, personal name, area of specialization, and year of founding.

The other groups can be searched by name, place, address, country, and keyword in context. As the entries are in many languages, an English-language search may not retrieve all relevant hits. Boolean searching, with truncation options, is available in the "expert" mode, but in contrast to other databases, there is no programmed work-form on screen; one must add field tags and operators within the search string.

Search results (in brief-record or full-entry form) can be sorted by number, group category, name, and city. Direct printing of records is possible, but there is no direct downloading function. Further electronic manipulation of results can only be done by first transferring the texts to a word processing program.

It would be helpful to have a thesaurus behind the search process, so that the entries in the many languages might be unified for search efficiency. [sah/ga]

Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs de tous les temps et de tous les pays [Critical and Documentary Dictionary of Painters, Sculptors, Designers, and Engravers of All Times and All Countries]. E. Bénézit. 4th ed., completely rev. under the direction of Jacques Busse. 14 vols. Paris: Gründ, 1999. 13,411 p. 25 cm. ISBN 2-7000-3010-9: FF 4,830.00 [00-1/4-220]

This dictionary of artists is one of the standard works that continue to bear the names of their original compilers-- although they died long ago--on the title page and are cited thus. The first edition of the dictionary started by Emmanuel Bénézit (1854-1920) appeared in three volumes (1911-1923); the second, published by Gründ, in eight volumes (1948-1955, reprinted several times); the third in 10 volumes in 1976. Along with Thieme/Becker it was the international dictionary of artists with the most names for all periods. The 1999 fourth edition retains this function and becomes even more valuable, because its current competition is Allgemeines Künstlerlexikon (AKL), which will not be finished for years (it was up to "Dewagut," in volume 26, by 2000).

The foreword to the new edition is shorter than warranted--only one page. It notes that the data are now in digital form, but no plans for a digital offering have been announced. Concerning the relationship between the third and fourth editions, we learn only that the text was completely revised and updated and that new entries have been added (but not how many). There are also entries for individual anonymous works of art, such as the Bayeux tapestry.

A sampling of artists whose names begin with "Af" showed that many articles have been taken over unchanged, even though additional information, such as a death date, would have been easy to find in new lexica. The information at the head of the articles has been standardized. Instead of the classification, common in French art history, by national "schools," the artist's nationality is given, and genre and type have been formalized, often made more precise, and set off from the text (thus, "Afro" is identified as "Peintre, peintre de compositions murales. Abstrait" instead of just "Peintre"). The 4th edition has 35 names in this part of the alphabet, of which 9 are new, all 20th-century artists. Twenty-one articles (60 percent) were taken over unchanged.

While Bénézit cites secondary literature seemingly by chance, and much less frequently than AKL, it has two characteristics that distinguish it from the latter: it illustrates artists' signatures and collectors' marks, and it cites auction prices (with tables in volume 1 for the changes in buying power and currency conversions). The scholar will go to the AKL first for bibliographical information, but Bénézit will be the preferred reference work for collectors and dealers, because it lists more contemporary artists and gives auction prices. [sh/gh]

Romanik in Westfalen [Romanesque Art in Westphalia]. Uwe Lobbedey. Würzburg: Zodiaque-Echter, 1999. 507 p. ill. 22 cm. Subsequent publication by Schnell & Steiner, Regensburg. (Romanik in Deutschland). ISBN 3-429-02093-X (Echter); ISBN 3-7954-1294-3 (Schnell & Steiner): DM 98.00 [00-1/4-224]

The Würzburg publishing house Echter has turned over most of its stock from its unnumbered series Romanik in Deutschland to remainderers. A few of the more successful volumes have been sold to the Schnell & Steiner publishing company (Romanisches Elsaß and Romanisches Burgund, as well as Romanische Schweiz and Die Kaiserdome Speyer, Mainz, Worms...). This applies to the present volume, which was produced by Echter and bears its name and ISBN, but is now being sold by Schnell & Steiner with its own ISBN. This publishing house intends to continue the series with a volume on Romanik an Mosel und Mittelrhein. The previous titles were reviewed in RRE 2:180-182.

The author, who works in historic preservation in Westphalia and knows the area well, divides his material, which ranges from Carolingian times (pre-Romanesque) to the late Romanesque, by bishoprics: Münster, Osnabrück, Minden, Paderborn, and southern Westphalia, which formerly belonged to the archbishopric of Cologne. The general introduction includes a historical summary, then treats the typical structural forms, as well as sculpture, sculptural details, murals, and glass painting. Following this are a general bibliography and a map, typical for this series, highlighting the places discussed. Each article contains a section about the history of the bishopric's main city and cathedral; a tour section, covering both the exteriors and interiors of buildings; and a selective bibliography that includes recent publications. Briefer entries about other churches in the bishopric follow, along with a section of illustrations. New in contrast to the previous volumes is a glossary of art history terms. The index of places should give the main article in bold type; references to the illustrations are already in italics. [sh/gh]

Special Report: Monuments of Jewish Art and Culture in Germany

Tradition and memory determine one another. The forms of tradition are instrumental in shaping later forms and possibilities of memory; they mark and influence memory values. Scholarly documentation and inventorying have a particular importance in this regard, as they are cornerstones of the culture of remembrance. German historic preservation has recognized during the last 10 or 20 years that there can be an obligation, beyond the usual forms of defining, registering, and listing monuments and cultural assets, to bear witness and safeguard memory. This especially applies to the remains of Jewish culture and Jewish life in Germany after the destruction and pillage of the Nazi period. Here it is clear that the usual criteria of definition, registration, and evaluation of relics of the past are only partly sufficient to foster appropriate forms of memory in the long term. The task is not to allow the loss of outstanding monuments of Jewish culture and the resulting (partial) non-appearance in present-day documentation and inventorying to be followed by a fading of memory of past Jewish culture in Germany. Therefore it is not enough just to keep the prominent destroyed monuments in the collective consciousness, as has been done since the 1970s in surveys and illustrated volumes. Given the far-reaching destruction of prominent buildings and art monuments, it is necessary to rethink and reposition the future criteria of tradition and the functions of memory, to widen the concept of monument, and to research, document, and make known all remaining cultural objects more purposively. Corresponding to the special obligation of historic preservation in this area, the first results of this deepened and changed attention have been available for the past few years as special inventories that offer a safeguard for memory. [ak/gh]

Die Inventarisation jüdischer Kunst- und Kulturdenkmäler in Bayern [Inventorying Monuments of Jewish Art and Culture in Bavaria]. Theodor Harburger. Ed. Central Archives for the History of the Jewish People, Jerusalem; and the Jüdisches Museum Franken, Fürth & Schnaittach. 3 vols. Fürth: Jüdisches Museum Franken, 1998. 17 x 24 cm. ISBN 3-9805388-5-0: DM 158.00 (Jüdisches Museum Franken, Nürnberger Str. 3, D-90762 Fürth, fax [49 911] 741 7896, e-mail: jued@museum.franken1.de) [00-1/4-227]

Vol. 1. With English Summaries. 1998. 144 p. ill.

Vol. 2. Adelsdorf-Leutershausen. 1998. 379 p. all ill.

Vol. 3. Markt Berolzheim-Zeckendorf. 1998. p. 380-799, all ill.

Although the initiative of documenting monuments of Jewish art and culture in Germany in their own right is not new, the groundwork that has gone into this historic process is itself worth documenting. Faced with the threat of dissolution of Jewish rural communities in Bavaria, because their members were migrating to the cities, the Association of Jewish Congregations of Bavaria decided in 1926 to form a "Historical Commission." Part of its task was to register the Jewish art monuments of Bavaria. Theodor Harburger was given the charge of art-historical and photographic documentation. He worked out the principles for the inventory. From 1926 to 1932 he visited about 130 communities; his photographic and textual documentation included synagogues, cemeteries, and ritual objects. The material could not be published. Harburger fled to Palestine in 1933 and took the documents and notes with him. After his death in 1949, his papers went to the Central Archives of the Jewish People in Jerusalem. In 1996, the Franconian Jewish Museum contracted with the Central Archives to publish the material (850 photographs with the corresponding entries and notes, as well as the principles for the inventory from Harburger's manuscript). Information about Harburger's life and work complete the present edition. The three-volume publication represents a unique source for the history of Jews in Bavaria. It is a legacy in a double sense: originally commissioned to preserve the threatened world of the rural Jewish communities at least in documentary form, it is now, after the Nazi pogroms, also a last testimony to a world that has been completely destroyed. [ak/gh]

Denkmäler jüdischer Kultur in Bayern [Monuments of Jewish Culture in Bavaria]. Hubert Bauch et al. München: Bayerisches Landesamt für Denkmalpflege; Lipp-Verlag, 1994. 148 p. ill. 30 cm. (Arbeitsheft: Bayerisches Landesamt für Denkmalpflege, 43). ISBN 3-87490-911-5 (Lipp) [00-1/4-228]

Jewish cultural monuments in Bavaria are accessible not only through Harburger's work. Present-day Bavarian historic preservationists have been working on this special task. During the 1980s, lists of all Bavarian monuments classified as historical were compiled in the series Denkmaltopographie Bundesrepublik Deutschland [Topography of Monuments in the Federal Republic of Germany] and published as Denkmäler in Bayern [Monuments in Bavaria]. (For a review of inventories of monuments in Germany see IFB 95-3-403-412.) In the beginning of the 1990s, more differentiated projects were taken up. One of these was the listing and preservation of the remaining objects of Jewish culture. Denkmäler jüdischer Kultur in Bayern reflects this approach. In separate chapters, synagogues in Bavaria, including village synagogues, are documented, and, where possible, aspects of restoration and present-day use are discussed. Included in the volume is a thematic excerpt from the earlier lists of monuments of the seven Bavarian administrative districts. As is characteristic for these lists, it gives only brief information about traces of Jewish cultural history in Bavaria. The foregoing chapters exemplify the completion and deepening of the older brief form of memory support. [ak/gh]

Jüdisches Kulturerbe in Nordrhein-Westfalen [Jewish Cultural Heritage in North Rhine-Westphalia]. Elfi Pracht. Köln: Bachem. 26 cm. [00-1/4-229]

Part 1. Regierungsbezirk Köln [Administrative District Cologne]. 1997. 650 p. ill. (Beiträge zu den Bau- und Kunstdenkmälern im Rheinland, 34:1). ISBN 3-7616-1322-9: DM 98.00

Part 3. Regierungsbezirk Detmold [Administrative District Detmold]. 1998. 543 p. ill. (Beiträge zu den Bau- und Kunstdenkmälern von Westfalen, 1:1). ISBN 3-7616-1397-0: DM 98.00

When the Standing Conference of Ministers for Culture of the German Federal States made the decision in 1996 to register Jewish cultural monuments systematically, North Rhine-Westphalia at least was not unprepared. There was already a plan in place for a comprehensive inventory, a unique project in Germany at that time. Several books had already been published--for example, Wegweiser durch das jüdische Rheinland [Guide to the Jewish Rheinland] (Berlin, 1992) and Handbuch jüdischer Kultur und Geschichte in Nordrhein-Westfalen [Handbook of Jewish Culture and History in North Rhein-Westphalia] (Essen, 1993). Within a period of three years, not only the synagogues, Jewish houses of prayer, and cemeteries were to be located and described, but also the whole spectrum of Jewish culture. The result was to be published in five volumes, corresponding to the state's administrative districts. Elfi Pracht, the compiler, could not keep entirely to the schedule, but the two volumes that have already been published illustrate the scope of the project (the volumes in preparation cover the Düsseldorf, Münster, and Arnsberg administrative districts). They offer an introduction that discusses the preservation of Jewish culture for posterity, the sources used, and the photographic documentation (new photographs were used as much as possible), and summarizes remarks on the investigation, protection, and preservation of Jewish monuments in North Rhine-Westphalia. Specific sections cover the various types of monuments: synagogues and prayer houses, ritual baths, schools and social institutions, homes and businesses of Jewish families, and cemeteries. The actual documentation is divided by counties, then alphabetically by localities. The local entries give a survey of Jewish history in the community, and descriptions of individual monuments by type. A collection of photographs concludes the section for each county. The information offered in this exemplary documentation is not only interesting, but extraordinarily useful for a wide variety of scholarly disciplines. [ak/gh]

Feuer an Dein Heiligtum gelegt: zerstörte Synagogen 1938, Nordrhein-Westfalen [Thy Sanctuary Set Afire: Destroyed Synagogues, 1938, North Rhine-Westphalia]. Ed. Michael Brocke for the Salomon-Ludwig-Steinheim-Institut für Deutsch-Jüdische Geschichte. Bochum: Kamp, 1999. xxvii, 674 p. ill. 31 cm. (Gedenkbuch der Synagogen Deutschland 1938). ISBN 3-89709-200-X: DM 88.00 [00-1/4-230]

This publication pursues a somewhat different goal. Its focus is a documentation of the destruction of synagogues in North Rhine-Westphalia in 1938, although it is not an encyclopedic "memory book" of all buildings. The sheer number of synagogues listed here, and a map showing the locations of destroyed synagogues and houses of prayer, gives shattering testimony to the extent of the pillage of 1938. Arranged alphabetically by place, the entries give information on the history of the congregation and the place(s) of worship, followed by a careful description of the buildings; historic photos are added. In the second part of the work, scholarly material with data and citations forms in effect a brief inventory. An appendix adds information about synagogues closed before 1938 and the few synagogues that remained undestroyed. The publication aims to reduce "sobering gaps in knowledge" about the pogroms of 1938, and to impart information and serve as a memorial volume at the same time (p. xxvii of the preface). The publication fulfills both goals. By concentrating on synagogues, it also has value as an inventory. Scholars concerned with Jewish culture and its monuments in North Rhine-Westphalia will need to consult both publications discussed here. [ak/gh]

Synagogen in Sachsen-Anhalt [Synagogues in Saxony-Anhalt]. Holger Brülls for the Landesamt für Denkmalpflege Sachsen-Anhalt. Berlin: Verlag für Bauwesen, 1998. 276 p. ill. (Arbeitsberichte des Landesamtes für Denkmalpflege Sachsen-Anhalt, 3). ISBN 3-345-00653-7: DM 38.00 [00-1/4-231]

There are also publications about Jewish cultural monuments in other German federal states. Denkmale jüdischer Kultur in Thüringen [Monuments of Jewish culture in Thuringia] (Bad Homburg; Leipzig, 1997) was discussed in IFB 98-1/2-106.

The Office for Historic Preservation in Saxony-Anhalt has devoted a volume of its Arbeitsberichte [Work Reports] to the synagogues of this state. The introduction asks "Memorial or monument?" and discusses aspects of the use of monuments still standing, their value as source material, and their basic function. The chapters after that are devoted to individual synagogues (preserved and destroyed) and treat in particular questions of structural history, offering a very useful supplement to the accompanying photographs and drawings. The volume ends with a directory of Jewish cultural and historical objects in Saxony-Anhalt, current as of 1997, which is not limited to synagogues, but also includes buildings that had religious or social uses and even monuments to Jewish personalities and victims of the Nazis. Thus this compilation is presently one of the most important sources of information about the Jewish cultural heritage in Saxony-Anhalt.

Those with an interest in synagogue buildings can also be referred to specialized bibliographies, such as Synagogen (Stuttgart, 1994). [ak/gh]

Junge Kunst: Malerei bis Multimedia; 9. Juli bis 12. September 1999; 50 Jahre Grosse Kunstausstellung München; CD-ROM-Katalog [Modern Art: Painting to Multimedia; July 9 through September 12, 1999; 50 Years of the Great Munich Art Exhibition]. Andreas Kühne. Index of Artist Names by Thomas Leon Heck. München: Ausstellungsleitung Grosse Kunstsausstellung im Haus der Kunst e.V., 1999. 1 CD-ROM. Contains: Katalog der aktuellen Ausstellung [Catalog of the Current Exhibition]; Große Kunstausstellung 1949-1999: Farbige Abbildungen der Titelseiten der Kataloge 1949-1999; Index der Künstlernamen und Abbildungen in den Katalogen der Großen Kunstausstellung im Haus der Kunst München von 1949-1998 [Great Art Exhibition 1949-1999: Color Illustrations of the Catalog Title Pages 1949-1999; Index of Artists' Names and Illustrations in the Catalogs of the Great Exhibition in the Haus der Kunst München, 1949-1998]; Mitgliederindex der Neuen Gruppe… [Member Index of the Neue Gruppe…]. ISBN 3-924249-31-8 (Nous-Verlag Heck): DM 39.00. (Ausstellungsleitung..., Prinzregentenstr. 1, D-80538 München, fax [49 89] 291 3424) [00-1/4-233]

Index der Künstlernamen und Abbildungen der Kataloge der Großen (Deutschen) Kunstausstellungen im Haus der Kunst in München von 1937-1999 [Index of Artists' Names and Illustrations from the Catalogs of the Great (German) Art Exhibitions in the Haus der Kunst in Munich, 1937-1999]. Thomas Leon Heck. Tübingen: Nous-Verlag Heck, 1999. 250 p. 21 cm. ISBN 3-924249-33-4: DM 98.00 [00-1/4-234]

Since 1937 (interrupted in the period 1945-1948) the Haus der Kunst (House of Art) in Munich has been holding an annual "Great Art Exhibition" to showcase the latest trends in contemporary art. The CD-ROM contains an index to all the catalogs except for 1937 to 1944, and 1999 in an easy-to-install format. Added features are listed in the bibliographical citation above. The catalogs document about 7,000 names; artists whose work is illustrated in the catalogs have an asterisk next to their names. With a little more technical effort and hypertext links, this could have been a truly useful cumulative index of artists, but as it is, the search capacity makes it only marginally more useful than the printed version. [be/hh]

Reutlinger Künstler-Lexikon: bildende Künstlerinnen und Künstler mit Bezug zu Stadt und Kreis Reutlingen vom Mittelalter bis zur Gegenwart [Encyclopedia of Reutlingen Artists: Graphic Artists with Connections to the City and District of Reutlingen from the Middle Ages to the Present]. Thomas Leon Heck and Joachim Liebchen. Reutlingen; Tübingen: Nous-Verlag Heck, 1999. 293, 36 p. ill. 29 cm. ISBN 3-924249-26-1: DM 80.00 [00-1/4-235]

Over 1,200 artists are presented in this work, their inclusion based on birth or residence of at least a year in the district of Reutlingen, plus such indicators of artistic significance as mention in the scholarly literature, receipt of prizes, and representation in collections. (In addition, room is made for famous "painter-poets," such as Eduard Mörike and Hermann Hesse.) Entries include a biography, along with information about exhibitions, memberships, criticism, location of works, copyright, and writings. Only a handful of the artists found here are well known, and the selection of illustrations, in a series of plates at the end, is not as representative as one would like. [sh/gw]

Oberösterreichische Künstlerbibliographie [Bibliography of Upper Austrian Artists]. Comp. Johannes Wunschheim. Previous title: Oberösterreichische Künstler-Bibliographie. 24 cm. Linz: Oberösterreichischer Musealverein. [00-1/4-236]

1986/95. 1999. xi, 324 p. (Jahrbuch des OÖ. Musealvereins, Gesellschaft für Landeskunde, 143, pt. 1, Supplementary Volume)

This third installment of the Oberösterreichische Künstlerbibliographie offers bibliographical entries from 1986 through 1995, plus additional entries for the decades 1966-75 and 1976-85 (that were covered mainly in the two previous volumes) for 1,917 artists who either were born or worked in the province of Upper Austria. Brief biographical information for each artist is also presented, but unlike the earlier volumes, this one gives only years of birth and death instead of exact dates. At the same time, though, it draws upon a much richer pool of sources than the previous volumes, with greater emphasis on the artistic vis-à-vis the historical literature, and a much larger volume of titles overall. A cumulative volume would have made this bibliography easier to use. [sh/gw]

Atlas der siebenbürgisch-sächsischen Kirchenburgen und Dorfkirchen [Atlas of Transylvanian Saxon Fortified Churches and Village Churches]. Hermann Fabini. 2 vols. Hermannstadt: Monumenta-Verlag; Heidelberg: Arbeitskreis für Siebenbürgische Landeskunde, 1999. 31 cm. [00-1/4-237]

Vol. 1. Text. 2d rev. ed. xxxii, 870 p. ill. ISBN 973-97644-5-2 (Monumenta-Verl.); ISBN 3-929848-16-3 (Arbeitskreis): DM 135.00

Vol. 2. Bildband [Illustrations]. viii, 392 p. ill. ISBN 973-98825-0-1 (Monumenta-Verl.); ISBN 3-929848-15-5 (Arbeitskreis): DM 135.00

Although it was published with the support of the Arbeitskreis für Siebenbürgische Landeskunde (Working Group on Transylvanian Culture) in Heidelberg, which in 1995 issued the first volume (on the Kronstadt district) of its own inventory of Transylvanian monuments (Denkmaltopographie Siebenbürgen), this is a separate work, focused not on geographical areas but on a genre of monument. The author has been involved for many years with the restoration and administration of old Transylvanian church buildings, and is already known for his Kirchenburgen in Siebenbürgen (Leipzig, 1985). Unlike this earlier work, which used only outstanding examples to illuminate the overall history and development of the genre, the Atlas offers the most comprehensive overview yet of all Transylvanian Saxon churches, organized for easy reference. That its introductory chapters do not reflect the high level of scholarship found in the earlier work is regrettable but does not diminish its usefulness.

Entries are arranged alphabetically by German place name, with the corresponding Romanian and Hungarian names given in both the entries and the index. Each entry offers maps, historical information, description of the church building, and references to relevant literature. The second volume provides photographs and other illustrations, following the same order as the text entries. Unfortunately, the photos lack dates and are often too small to impart a sense of a building's current state of repair or possible alteration. Even so, as a comprehensive guide to a cultural heritage facing an uncertain future, this is a work of considerable value to cultural and art historians of the region, as well as to anyone with a personal or family interest in Transylvania. [ak/gw]

Baumeister des Barock und Rokoko in Thüringen [Master Builders of the Baroque and Rococo in Thuringia]. Hermann Heckmann. Berlin: Verlag Bauwesen, 1999. 234 p. ill. 24 cm. ISBN 3-345-00658-8: DM 98.00 [00-1/4-239]

Baumeister des Barock und Rokoko in Mecklenburg, Schleswig-Holstein, Lübeck, Hamburg [Master Builders of the Baroque and Rococo in Mecklenburg, Schleswig-Holstein, Lübeck, Hamburg]. Hermann Heckmann. Berlin Verlag Bauwesen, 2000. 491 p. ill. 24 cm. ISBN 3-345-00692-8: DM 158.00 [00-1/4-240]

These are the third and fourth volumes in an unnumbered series, the first two volumes of which dealt with Saxony and Brandenburg-Prussia. Their intent is to "convey an understanding of the background, training, personal situation, career highs and lows, daily life, and many-faceted activities" of the master builders of the time in these regions (22 for Thuringia, 52 in the other areas). But because this kind of information is sparse, the emphasis in the volumes lies in presenting the edifices erected by these builders. There are numerous black-and-white photos, unfortunately undated, but of excellent quality, supplemented by drawings. Both volumes contain an introduction that mentions other builders of the region and illustrates some of their constructions. Both also include bibliographies. The volume that covers Hamburg contains an appendix for that city with four indexes of persons who were active there as carpenters, masons, in other building-trade related groups, or as engineers. [sh/nb]

Signaturenlexikon = Dictionary of Signatures. Paul Pfisterer and Claire Pfisterer. Berlin [et al.]: de Gruyter, 1999. xvi, 993 p. 25 cm. ISBN 3-11-014937-0: DM 520.00; ISBN 3-11-015819-1: DM 1,498.00 (with the Monogrammlexikon) [00-1/4-241]

Monogrammlexikon = Dictionary of Monograms. 2 vols. Berlin [et al.]: de Gruyter. 25 cm. ISBN 3-11-015819-1: DM 1,498.00 (with Signaturenlexikon) [00-1/4-242]

Vol. 1. Internationales Verzeichnis der Monogramme bildender Künstler seit 1850 [International Register of Artists' Monograms since 1850]. Franz Goldstein. 2d ed., rev. and enl. by Ruth and Hermann Kähler. 1999. xv, 1,136 p. ISBN 3-11-014453-0: DM 638.00

Vol. 2. Internationales Verzeichnis der Monogramme bildender Künstler des 19. und 20. Jahrhunderts [International Register of Monograms of 19th- and 20th-Century Artists]. Ed. Paul Pfisterer. 1995. xx, 1,067 p. ISBN 3-11-014300-3: DM 638.00

Taken together, these works may be seen as a continuation of the standard reference for monograms before about 1850, Georg Kaspar Nagler's Monogrammisten from the same publisher. Volume 1 of the Monogrammlexikon is a recent updating of Franz Goldstein's 1964 work covering the post-1850 period, while volume 2 was originally published in 1995 as a supplement to the Goldstein work. Together with the Signaturenlexikon, which limits its scope to 19th- and 20th-century artists, a corpus of roughly 16,300 signatures and some 53,400 monograms has become available. The main part of the Signaturenlexikon displays 22 signatures per page, accompanied by the artist's name and, possibly, a date. The second part, a "biographical index," offers brief additional information: birth and death dates, locations where the artist worked, techniques employed, pseudonyms. A list of sources is also included.

The two volumes of the Monogrammlexikon are organized similarly: 40 monograms are displayed per page, followed by an index of the monograms and a biographical index. Both volumes contain a list of sources.

Compendia of this sort are of interest chiefly to art collectors, and for all their extensiveness, the Signaturenlexikon and Monogrammlexikon do not claim complete coverage. Many signatures and monograms missing from these works can be found in other recent books, such as the Encyclopedia of Artists' Signatures, Symbols and Monograms (Land O'Lakes, Fla., 1999), Signatures & monogrammes d'artistes des XIXe et XXe siècles (Paris, 1998), and Come riconoscere un quadro dell'Ottocento (Milano, 1998). [sh/gw]

Dictionnaire mondial de la bande dessinée [Worldwide Dictionary of the Comic Strip]. Patrick Gaumer and Claude Moliterni. Rev. ed. Paris: Larousse-Bordas, 1998. 880 p. ill. 29 cm. ISBN 2-03-523520-0: FF 315.00 [00-1/4-244]

The 1994 first edition of this work (see RREA 3:101) has now been enlarged and brought up to date, with some 2,050 articles (up from 1,800, erroneously reported in the earlier review as 8,000) and 1,300 illustrations (up from 1,100). With a few exceptions (a small number of topics, technical terms, and corporate bodies), the articles are devoted to information on characters, authors, artists, publishers, magazines, and series. Entries are relatively detailed and include references to publications, but not to secondary literature. As in the first edition, coverage is overwhelmingly francophone, although 10 new countries have been added: Algeria, Bosnia, China, Croatia, Lebanon, Russia, Slovenia, South Africa, Taiwan, and Zaire. [sh/gw]

Dictionnaire encyclopédique des héros et auteurs de BD [Encyclopedic Dictionary of Comic Book Heroes and Authors]. Henri Filippini. Grenoble: Glénat. 29 cm. (Opera mundi). [00-1/4-246]

Vol. 1. Animaux, histoire, humour, policier [Animals, History, Humor, Detectives]. 1998. 789 p. ill. ISBN 2-7234-2735-8: FF 290.00

Vol. 2. Western, héros juvéniles, aventure, quotidian [Westerns, Young Heroes, Adventure, Newspaper Comics]. 1999. 821 p. ill. ISBN 2-7234-2785-4: FF 290.00

The present set (projected for three volumes) represents a reworking and expansion of the author's 1992 Dictionnaire thématique des héros de BD, and differs from competing works in several ways. Rather than a single alphabetical sequence, or entry by name of "hero," the entries for the "heroes" are organized by the genre represented in the title of each volume, and under each genre alphabetically by name of the comic strip/book/series. While characters discussed in the articles are highlighted in bold type, there is no index for them in the two volumes so far published. Authors are presented in a separate sequence within each volume, with brief biographical information, but with no references to the discussions of their work in the "heroes" sections.

Every "heroes" entry is accompanied by one to three reproductions, and there are also colored plates of cover illustrations. Coverage is heavily focused on the francophone countries, and while Italy is also well represented, Germany and the English-speaking countries are not. Though a final judgment will have to await the appearance of the third volume, at this point the format is difficult to deal with. [sh/gw]

Encyclopédie de la bande dessinée érotique[Encyclopedia of the Erotic Comic Strip]. Henri Filippini. Rev. ed. Paris: La Musardine, 1999. 302 p. ill. 26 cm. ISBN 2-84271-082-7: FF 190.00 [00-1/4-247]

The editor published a precursor version of this encyclopedia in 1997. This newer edition includes eight further cartoonists. The lexicon itself is preceded by a short history of the genre, which is not least a history of censorship and includes the United States in its purview. The main body of the lexicon is primarily limited to Europe, with France and Italy supplying the preponderance of author/cartoonists. This is in accordance with publishing reality, while the limited representation from the United States and Japan, for instance, undoubtedly proceeds from the fact that works from the latter countries are little read by the French. Each author/artist is given a two-page spread that intersperses illustrations amongst the biographical and artistic data, so that one can get an impression of the varying cartoon "styles," which are no less differentiated in this genre than in comics in general. The three indexes cover personal names, titles of publications or series, and album titles. [sh/rdh]

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