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The Global ETD Search service is a free service for researchers
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Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 101 to 103 of 103 (0.468 seconds)Spelling suggestions: "subject:"then art market"" "subject:"them art market""
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Ulrich Hübner - Stadt, Land, SeeWesterhausen, Simone 30 March 2021 (has links)
In der vorliegenden Arbeit wird die Bedeutung der Landschafts- und Marinemalerei für die nationale Einheit und bürgerliche Identifikation im Kaiserreich und in der Weimarer Republik beispielhaft am Werk des Berliner Secessionskünstlers Ulrich Hübner (1872-1932) untersucht. Zu Beginn wird die Rolle der Landschaft für die Konstitution von Staatswesen und nationaler Identität allgemein erläutert, um deutlich zu machen, vor welchem Hintergrund die Landschaftsmalerei Ulrich Hübners einen Beitrag zur bürgerlich-nationalen Identitätsfindung im (neugegründeten) Nationalstaat leisten konnte. Im Hauptteil werden dazu anhand Hübners biographischer Stationen unterschiedliche Gesichtspunkte, wie die pluralistischen Einflüsse auf Hübners Landschaftsmalerei, seine Rolle in der Berliner Secession, seine Positionierung auf dem Kunstmarkt, seine Rezeption durch die Kunstkritik und seine Funktion an der Akademie der Künste, untersucht.
Hübners Konzentration auf Küstendarstellungen, Seestücke und Stadtansichten führte in Abgrenzung zur Marinemalerei zu dem neuen Typus der Stadt- und Wasserlandschaft, zwischen klassischer Veduten- und Landschaftsmalerei und impressionistischen Stimmungsbildern. Auf Grundlage des erstellten Werkverzeichnisses wird durch die Betrachtung Hübners Werks im Gesamtzusammenhang des Berliner Kunstgeschehens unter dem Aspekt des wirtschaftlichen und gesellschaftlichen Erfolges und der Entwicklung des privatwirtschaftlichen Kunstmarktes deutlich, wie ein Künstler in diesem System agierte. Hübners Erfolg mit dem neuen Typus der Stadtlandschaft und der Konzentration auf bestimmte Vertriebswege und erfolgreiche Motive steht exemplarisch für den deutschen Impressionismus in Zeiten des Stilpluralismus. Als Vertreter einer moderaten Moderne wurden seine Gemälde heimatlicher Landschaften Identifikationsbilder des aufgeschlossenen Bürgertums und somit eine Versicherung von Kontinuität in den politisch bewegten Zeiten vom Kaiserreich bis zum Ende der Weimarer Republik. / This doctoral thesis examines the significance of landscape and maritime painting for the national unity and civil identification in Imperial Germany and the Weimar Republic through the case study of the oeuvre of the Berlin Secession artist Ulrich Hübner (1872-1932).
In the first instance, we will outline the effect that landscape painting in general had on the constitution of the political system and national identity in order to assess the extent of which Hübner’s landscape painting contributed towards the shaping of a civil-national identity in the newly founded nation state. To this effect we will then study key events in his biography, focusing on the following aspects: the pluralist influences that shape Hübner’s landscape painting, his role in the Berlin Secession, his place in the art market, art criticism’s response to his work and his position at the Berlin Academy of Arts.
Hübner’s focus on coastal views, sea- and cityscapes, as opposed to maritime painting, lead to the new type of Urban Landscape and Waterscape which is situated between classical Veduta and landscape painting on one hand and impressionist “Stimmungsbilder” on the other. The catalogue raisonné will form the basis on which we examine his oeuvre in the context of the greater Berlin art scene with particular emphasis on his commercial and social success on one hand as well as seen within the more specific framework which is the development of the commercial art market on the other. The success Hübner had with his new type of Urban Landscape and his focus on specific commercial channels and successful subject matters is exemplary for the German Impressionism in times of stylistic pluralism. Representing a moderate Modernism, his paintings of “Heimat”-landscapes became symbols that the liberal bourgeoisie could identify with and thereby a guarantee of continuity during the politically agitated times from the beginning of the German Empire to the end of the Weimar Republic.
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Building careers, managing capitalsFlynn, Emma January 2015 (has links)
I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.
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Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler / Johann Friedrich von Uffenbach. Collector - Donor - ScientistMeyerhöfer, Dietrich 28 January 2020 (has links)
No description available.
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