BE - Fine Arts

2009/2010

BE - Fine Arts

Lexikon Künstler in der DDR [Lexicon of Artists in the GDR (German Democratic Republic)]. Dietmar Eisold. Berlin: Verlag Neues Leben, 2,010. 1081 p. 24 cm. ISBN 978-3-355-01761-9: EUR 39.90

Dietmar Eisold, presumably by all rights the author of this lexicon—although he calls himself “editor,” pointing to the counsel and assistance he received from other scholars in the fields of art and culture—served as page editor for fine arts with the daily East German newspaper Neues Deutschland from 1971 to 1991. This seems an excellent background for the biographical documentation of the GDR art scene depicted here. In over 7,000 articles he presents all types of artists above and beyond painters, sculptors, and illustrators to include craftsmen, photographers, and caricaturists, along with architects and designers of art, of interiors, of theater sets, of puppets, of graphics, and of books. Professional artists from 1945 to 1990 form the main focus, which in the Soviet Zone and the GDR meant those with relevant advanced degrees and with membership in the Verband Bildender Künstler [Association of Artists]. Most amateur artists are ignored. Articles range from two lines to seven columns of information, gathered from publicly available sources, listing biographical data, works, and exhibits (plus a ranking of importance within the central hierarchical structure of GDR exhibits). These are followed by a bibliography of secondary literature. The articles run on without obvious categories or line breaks, making the search for information difficult. The volume is not illustrated beyond color images found on the cover itself. This lexicon is labeled a project of the Gesellschaft zum Schutz von Bürgerrecht und Menschenwürde [Society for the Protection of Civil Rights and Human Dignity], yet the significance of that sponsorship is left unexplained, even in an afterword by the head of that organization. In any case, this work should be of interest to larger scholarly libraries. [sh/rdh]

Meilensteine der Architektur: Baugeschichte nach Personen, Bauten und Epochen [Milestones of Architecture: Architectural History via Persons, Buildings, and Epochs]. Renate Kastorff-Viehmann. Stuttgart: Kröner, 2010. ix, 580 p. ill. 18 cm. (Kröners Taschenausgabe, 347). ISBN 978-3-520-34701-5: EUR 26.90

In the introduction the author characterizes this work as a presentation of architectural history (i.e., Western architectural history) through “significant ideas, outstanding architects, and representative architecture,” an approach reflected in the work’s subtitle. The 17 chapters proceed chronologically from “Architecture of the Early High Cultures and Antiquity” (chapter 2) to “The Second Modern Period—Postmodernism—Late Modernism: Tendencies since 1945” (chapter 17). In the early chapters on antiquity and the medieval period (chapters 2-4) the presentation is organized around significant buildings and styles. Beginning with chapter 5 (Renaissance) the emphasis shifts and the “milestones” become outstanding individual architects and their works. Each chapter begins with highlighted “boxes” summarizing the main characteristics of the period. The text then presents leading architects of the time and discusses their works in relation to the history and culture of the period. The Renaissance, for example, is introduced with three “note boxes” with the headings “Renaissance means,” “Column orders,” and “Characteristics of the Renaissance are.” The period is then presented through discussions of four dominant architects of this period: Brunelleschi, Alberti, Bramante, and Palladio. (Michelangelo is included in the chapter on the Baroque). Other important architects of the period are included in a list of 14 “other architects,” for whom only names, dates, and selected buildings are included.

The illustrations in each chapter are limited (appropriately) to architectural drawings. There are indexes of persons and buildings, although the buildings are listed by their specific names only, so that one needs to know an edifice’s precise name to locate it. An arrangement by place would have been more useful. The selective bibliography, arranged by chapters at the end of the book, is composed chiefly of German-language titles and would have benefitted considerably by expansion. It is difficult to know how to classify this as to type of reference work. It is intentionally selective and does not claim to be a complete history of architecture. It is basically architectural history structured chiefly around individuals and their works. For an excellent example of a work which presents architectural history embedded in cultural and social history compare Deutsche Architektur seit 1900 by Wolfgang Pehnt (see RREA 13:137). [sh/jc]

Damascus: Ottoman Modernity and Urban Transformation (1808-1918). Stefan Weber. 2 vols. Aarhus: Aarhus University Press, 2009. 463, 662 p. ill. 28 cm. (Proceedings of the Danish Institute in Damascus, 5). ISBN 978-87-7934- 424-2: EUR 201.95

There are some cities whose names immediately evoke an entire spectrum of associations. Damascus is undoubtedly one of them. Syria’s capital city embodies a complexity without equal. The continuous development of its urban structure and city life has created a unique cosmos that reflects the history of every epoch. This excellent two-volume work Damascus by Stefan Weber focuses on the period of Ottoman rule between 1808 and 1918 and covers in detail all aspects of life in the city, beginning with the various types of buildings and their functions and proceeding to the wide-branching families that populate Damascus.

An introductory chapter discusses aspects of Weber’s research and his working methods. Chapter Two focuses on “protagonists of change,” in particular how the Ottoman regime and Damascene society interacted with each other as the city developed. The third, most comprehensive chapter, covering “testimonies to change,” considers the institutions and organization of urban building efforts and delineates all important elements in the development of the city, especially in the 19th and early 20th centuries, knowledgeably adding new facets to information presented in previous publications on the history of Damascus. Public spaces such as Marga Square and the Suk area are discussed, but the emphasis is on private buildings and their accoutrements, as the city is rich in jewels of Middle Eastern private culture. In this chapter’s superlatively detailed presentation of these treasures (even though some of them are unfortunately in lamentable condition) and in the catalog in volume 2 Weber’s work attains a totally new dimension. The fourth chapter considers the “quality of changes” in the city. Weber demonstrates how foreign ideas and practices from other cosmopolitan areas, such as Istanbul and Beirut or even Europe, were influential but became transformed into a Damascene idiom.

The second volume offers a comprehensive catalog of building types, as well as three appendixes (listing city council members between 1871 and 1900; all Damascus cafes mentioned in the text; and all known wall paintings) and a detailed concordance. The catalog attempts to cover all relevant information concerning the building history and functions of an edifice. A blueprint and/or site plan is given for each building, as are, often, historical and current photographs. The concordance contains listings of archives and maps, a bibliography, a glossary, an index, and a map of the city. Seven folding maps are also included in the volume.

Weber has produced a work that will long be a standard reference in the field. The only improvement to be wished would be more differentiated—and hence easier to read—blueprints in the first volume. The city of Damascus is to be congratulated that this work has examined its treasures and presented them to the public in an exemplary fashion. [mki/nb]

Polyglosso eikonographemeno lexiko horon vyzantines architektonikes kai glyptikes = Multilingual Illustrated Dictionary of Byzantine Architecture and Sculpture Terminology. Ed. Sophia Kalopissi-Verti et al. Herakleio: Panepistemiakes Ekdoseis Kretes, 2010. xxxvii, 667 p. 30 cm. ISBN 978-960-52-4317-3: EUR 60 (PO BOX 1385, 71110 Herakleio, fax [30] 2810 391085)

An RREA Original Review by George I. Paganelis (California State University, Sacramento)

“The gaps in the domain of terminology of Byzantine art and architecture are indisputable.” Thus begins the editors’ prologue to this dictionary, a project conceived over 30 years ago and intended to lay the groundwork for the standardization of Byzantine architectural and sculptural vocabulary as an aid to specialists and students, while at the same time preserving the linguistic richness of expression and heritage of many of those languages where Byzantium flourished.

The first of its kind, this polyglot dictionary draws from a broad swath of general and technical lexicons in various languages and the extensive literature in the fields of Byzantine architecture and sculpture. Comprised of over 1,000 carefully selected entries, it does not provide definitions of terms, but rather translations and illustrations for a broad range of words in 10 languages; however, the abundant illustrations often make the meanings of terms clear.

The front matter is presented in both Greek and English, but readers should take note of the somewhat involved user instructions, symbols, and abbreviations comprising the work’s apparatus. The body of the work consists of two parts: Part A contains the main entries based first on the Greek term, with translations provided in nine languages: English, Albanian, French, German, Italian, Romanian, Bulgarian, Russian, and Serbian. For the last three of these languages, terms are given in Cyrillic and in Latin transliteration. Many terms have endnote annotations, and most are illustrated through either original drawings, re-drawings of previously published measurements, or original photographs. Legends to illustrations are presented in Greek and English.

Part B consists of nine bilingual dictionaries, each with words in one of the languages referenced above and in Greek, which enable users of these languages to identify the Greek equivalent of the term they seek and then locate it in Part A along with its translations in the other languages, illustration or illustrations, and corresponding endnotes. Part B thus functions as a set of indexes to the fuller entries in Part A. The regionally classified bibliography within the larger general bibliography concluding the work is particularly useful.

As a reference tool, this dictionary brings together the extensive multilingual vocabulary on Byzantine architecture and sculpture, helping to foster the editors’ goal of standardizing terminology and providing a model for future dictionaries of this kind in other disciplines, particularly those within classical and medieval studies. The main criticism of the work lies in the discordant visual presentation of Part A in terms of the size and placement of illustrations, the resultant positioning of entries, and the overall use of white space. Despite this point, Polyglosso eikonographemeno lexiko horon vyzantines architektonikes kai glyptikes is an important contribution to Byzantine studies and the fields of architecture and sculpture and is recommended for collections in those areas.

Neue Landschaft Lausitz: Katalog 2010 = New Landscape of Lusatia. Ed. Katja Sophia Wolf for the Internationale Bauausstellung Fürst-Pückler-Land 2000- 2010. Transl. Michael Robinson. Berlin: Jovis-Verlag, 2010. 304 p. ill. 25 cm. map. ISBN 978-3-86859-042-5: EUR 19.80

Bergbau-Folge-Landschaft: Konferenzdokumentation: Internationale Konferenz “Chance: Bergbau-Folge-Landschaft,” September 2009; IBA-SEE = Post-Mining Landscape. Ed. Brigitte Scholz and Oliver G. Hamm for the Internationale Bauausstellung Fürst-Pückler-Land 2000-2010. Berlin: Jovis-Verlag, 2010. 240 p. ill. maps. 24x17 cm. ISBN 978-3-86859-043-2: EUR 19.80

International architecture exhibitions have been around for a hundred years. A previous exhibition in Saxony-Anhalt focused on the new concept of “city,” while the exhibition and conference represented in these two volumes deal with the reclamation of a Saxony-Anhalt landscape destroyed by the strip mining of coal. The catalog, titled Neue Landschaft Lausitz, is divided into two parts. The first part consists of chapters titled “Conceptualize,” “Organize” and “Communicate,” which lay out the challenges and planning scenarios in the Internationale Bauausstellung’s (IBA) projects and activities. The second part introduces all 30 IBA projects, each described according to a uniform scheme; the third part consists of several addenda, including a chronology of all IBA projects undertaken since 2000. A regional map showing all IBA projects is included with the volume.

The conference proceedings volume Bergbau-Folge-Landschaft presents a global view of post-mining landscapes, with scenarios and solutions from France, Portugal, USA, Chile, and South Africa. In three sections, described as “Regions in Transition,” “Reflections,” and “Future Prospects,” the presentations seek to answer questions of how to design the reconstruction project, what the resulting landscape should offer, and what energy-political and economic outcomes must be considered.

Both these volumes are in English and German. Future visitors to the Lausitz region will be able to use these two volumes as a guide to the past and future Lusatian landscape. [mki/hh]

Pflege historischer Gärten: Theorie und Praxis [Care of Historic Gardens: Theory and Practice]. Ed. Michael Rohde. Leipzig: Edition Leipzig, 2008. 560 p. ill. 25 cm. (Muskauer Schriften, 6). ISBN 978-3-361-00643-0: EUR 14.95

This volume consists of two parts, which address the “theory of the planting and care of historical gardens in the past” and “practice of the care and preservation of historic gardens today.” Both sections are divided into the same four chapters, covering forests, flowers, paths, and water features. The historical section, richly illustrated with pictures from old garden books, covers the Renaissance to the early 20th century. The second part is based on condition reports from 2000 to 2003 for 30 significant gardens and parks, listed alphabetically by German state. It describes the development, condition, and care of each garden. The final section, giving “results and recommendations,” is again arranged by forests, flowers, paths, and water features. A comprehensive bibliography completes the book. The arrangement of the text makes this volume a useful handbook on both the history and the present state of the care and preservation of historic gardens. The reviewer will see the editor’s local Schlossgarten Weikersheim in a new light after studying all the detail in this volume. [sh/hh]

Weniger ist Zukunft: 19 Städte—19 Themen [Less is the Future: 19 Cities—19 Themes]. Ed. Phillipp Oswalt for the Ministerium für Landesentwicklung und Verkehr des Landes Sachsen-Anhalt. Berlin: Jovis-Verlag, 2010. 875 p. ill. maps. 26 cm. ISBN 978-3-86859-100-2: EUR 39.80

This is the final volume of the series Die anderen Städte = The Other Cities that began five years ago to accompany the Internationale Bauausstellung Stadtumbau Sachsen-Anhalt [International Construction Exhibition: City Redesign in Saxony-Anhalt]. Less is the Future profiles the IBA-sanctioned projects completed in 19 cities in Saxony-Anhalt over the past eight years. This volume is the catalog of the Bauhaus Dessau Exhibition of the same name held April 9-October 16, 2010.

The main focus is on city planning in times of a decreasing population and shrinking budgets. In its formatting and stylistic practices the volume reflects the various approaches to this problem taken by the cities profiled. The personality of each of the cities is different, and the catalog responds to this. The different cities are treated in different fonts, for example, and ragged margins serve to create tension on the printed page reflecting the tension modern cities are under.

This work is divided into five parts. The first part consists of a word of welcome and preface. The second part reviews the history of city planning and development in Saxony-Anhalt in the last 1,300 years—from the Middle Ages, through industrialization, and reconstruction after World War II. The third part focuses on approaches taken by the 19 cities in dealing with the changes brought about by a shifting social and population structure, as they cope with a new definition of “city.” Various city models are described: the compact city with a concentrated city center; the city center as the hub of outlying suburbs; the ring city as a model for traffic flow; the network city that provides infrastructure and organization, and finally city renewal as a complete new beginning. This third part closes with a concise overview of all the 19 projects completed in Saxony-Anhalt, supplemented with maps and photos. The fourth part, entitled Reflexionen und Kommentare [Reflections and Commentaries], consists of thought-provoking essays on the future of the shrinking city, illustrated with fullpage photographs. The fifth part offers a conceptual review of future possibilities and challenges facing the cities of Saxony-Anhalt out through 2050. Various scenarios are discussed. The volume closes with a list of illustrations.

This weighty work will be a useful reference for city planners, architects, and geographers, but will also be attractive for tourists seeking a city guide, although they may do well to consult it before and after their visits to the cities that are profiled in the work. [mki/jb]

Gemalt für die Ewigkeit: Geschichte der Ikonen in Russland [Painted for Eternity: A History of Icons in Russia]. Christoph Schmidt. Köln: Böhlau, 2009. 303, [12] p. ill. 22 cm. ISBN 978-3-412-20285-9: EUR 24.90

Veneration of sacred images in Russia has flourished throughout the centuries and survived unscathed the repressions of the communist era. The present book traces the history of icons in Russia from their introduction in the eastern Roman empire and Byzantium to the baptism of Rus’ in 988 and then their spread into the Slavic territories, presenting the tradition from historical, political, and aesthetic viewpoints. It explains the various subjects depicted in the icons and discusses their regional variations and styles. The book also presents biographies of the few icon painters whose names are known, such as Andrei Rublev and Dionisii. It further discusses the place of icons in inter-religious disputes and their use as “magical” weapons in war. The volume concludes with an examination of the aesthetic dimension of icon worship (including its aesthetic and thematic development and change) and a consideration of the interactions between icons, text, and myth. The appendix contains chapter annotations, an extensive bibliography, a list of illustrations, and an index.

This work is valuable not only because it delivers a wealth of information about the history of icon worship in Russia alone, but also because it never fails to place it against a backdrop of the European and Byzantine traditions of venerating sacred images. This clarifies the place of Russian icons in a broader cultural and geographical context and also makes it possible to accentuate the unique characteristics of the Russian icon tradition. Numerous color plates and black-and-white illustrations contribute greatly to this title’s success. It is recommended as a valuable addition to the shelves of a finearts library collection. [ks/as]

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