von Bohde, Daniela. (2011) Physiognomische Denkfiguren in Kunstgeschichte und visuellen Wissenschaften - Lavater und die Folgen. Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, 56 (1). pp. 89-121.
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Abstract
Dass die Physiognomik eine große Bedeutung für die Porträtmalerei hatte, ist bekannt. Weniger bekannt ist, dass sie auch die Methodik der Kunstgeschichte und anderer visueller Wissenschaften prägte. Vice versa haben kunsthistorische Deutungsverfahren die Physiognomik beeinflusst – sei es die Physiognomik Lavaters oder jüngere Varianten wie die Charakterologie oder die Rassenkunde. Die Interdependenz von physiognomischen und kunsthistorischen Methoden zeigt sich besonders deutlich am Stilbegriff. Winckelmann entwickelte seine Vorstellung vom Stil als Ausdruck des Geistes eines Volkes im Rückgriff auf die Physiognomik. Den kunsthistorischen Stilbegriff adaptierten wiederum Lavater und spätere Physiognomen. Diese Verflechtungen kennzeichnen die Kunstgeschichte des 19. Jahrhunderts, vor allem aber der 1920er, 30er und 40er Jahre, als es einerseits ein allgemeines Interesse an der Physiognomik als einer der Sprache überlegenen visuellen Hermeneutik gab und als andererseits rassenphysiognomische Denkmuster in der Kunstgeschichte rezipiert wurden. Mit sehr unterschiedlichen Zielen versuchten Kunsthistoriker wie Wilhelm Pinder, Wilhelm Fraenger oder Hans Sedlmayr eine physiognomische Kunstgeschichte zu begründen. Nach dem zweiten Weltkrieg wurden die Bezüge wieder lockerer, doch scheinen sie sich mit den neueren bild- wissenschaftlichen Ansätzen wieder zu intensivieren. Die Physiognomik erweist sich so als ein problematischer Vorläufer der Bildwissenschaft.
The importance of physiognomics for portrait painting is well known. It is less known, how- ever, that this mode of inquiry informed the methodology of art history and other visual sci- ences. The methodology of art history, in turn, affected physiognomics, as can be seen in the studies of Lavater and later developments such as characterology and racial science. The in- terdependence of physiognomics and art history becomes most obvious in the concept of style as it was developed in the late 18th century by Winckelmann. Lavater and later physiognomists drew on his idea that style expresses the spirit of a people, an idea that had itself drawn upon physiognomic concepts. The interference of the two disciplines shaped art history in the 19th and 20th centuries. In the 1920s, 30s and 40s, things developed basically in two directions: physiognomics was reevaluated as a form of visual hermeneutics superior to language, and racial physiognomics was integrated into art history. In this period, art historians such as Wilhelm Pinder, Wilhelm Fraenger and Hans Sedlmayr explicitly developed physiognomic methodologies. After World War II the ties between art history and physiognomics loosened. In our time they seem to be tightening again as physiognomics reveals itself to be a problematic forerunner of visual studies.
The importance of physiognomics for portrait painting is well known. It is less known, how- ever, that this mode of inquiry informed the methodology of art history and other visual sci- ences. The methodology of art history, in turn, affected physiognomics, as can be seen in the studies of Lavater and later developments such as characterology and racial science. The in- terdependence of physiognomics and art history becomes most obvious in the concept of style as it was developed in the late 18th century by Winckelmann. Lavater and later physiognomists drew on his idea that style expresses the spirit of a people, an idea that had itself drawn upon physiognomic concepts. The interference of the two disciplines shaped art history in the 19th and 20th centuries. In the 1920s, 30s and 40s, things developed basically in two directions: physiognomics was reevaluated as a form of visual hermeneutics superior to language, and racial physiognomics was integrated into art history. In this period, art historians such as Wilhelm Pinder, Wilhelm Fraenger and Hans Sedlmayr explicitly developed physiognomic methodologies. After World War II the ties between art history and physiognomics loosened. In our time they seem to be tightening again as physiognomics reveals itself to be a problematic forerunner of visual studies.
Faculties and Departments: | 04 Faculty of Humanities and Social Sciences 04 Faculty of Humanities and Social Sciences > Departement Künste, Medien, Philosophie > Fachbereich Kunstgeschichte |
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UniBasel Contributors: | von Bohde, Daniela |
Item Type: | Article |
Article Subtype: | Research Article |
Publisher: | Felix Meiner Verlag |
ISSN: | 2366-0740 |
Note: | Publication type according to Uni Basel Research Database: Journal article |
Last Modified: | 11 Jan 2019 16:59 |
Deposited On: | 11 Jan 2019 16:36 |
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