Horst Bredekamp Boeken

Horst Bredekamp's subject is the surprising resonance of the image of the embodied state that dominates the frontispiece to Leviathan: the treatise on humanity in its "political" dimension published in 1651 by the English philosopher Thomas Hobbes. Opening with a succinct exposition of how intimately this image is related to some of the fundamental themes addressed by Hobbes, Bredekamp then rigorously pursues the art-historical question of the authorship of the title-page. In the central chapters, the frontispiece is assessed in relation both to venerable visual and intellectual traditions and to some of the scientific innovations of the mid-17th century. The conclusion is devoted to the importance of several of the most far-reaching preoccupations of Hobbes as a profound and original thinker.

Galileo’s O, Volume III, is perhaps without peer in the history of the book. In this work, historians in various fields revise the results they presented in the first two volumes, which focused on the New York copy of Sidereus Nuncius, written in 1610. The analysis of this book was conceived as a uniquely multidisciplinary and cooperative undertaking, and many of its findings remain valid. Yet the subject of analysis proved to be the work of an international group of forgers. Volume III describes the chronology and methods by which the discovery of forgery was made – a veritable watershed moment in the continuing struggle between the ever-more refined methods of forgers and new methods used to apprehend them. Ultimately, the work also provides insight into the psychology of specialists who “research themselves” in order to prevent similar errors in the future.

Die Publikation stellt eine Auswahl der großformatigen Gemälde und zahlreichen Arbeiten auf Papier Tom Drake Bennetts vor, die 2002/03 entstanden sind. Der 1952 in England geborene Maler irischer Abstammung, der heute in Berlin und Irland lebt, verfolgt in seinen aktuellen Arbeiten gestalterische Ideen, die sich zuerst bei einem Aufenthalt als Artist in residence im irischen Cork im Winter 2000/01 entwickelten und in der Folge eine neue Werkgruppe entstehen ließen. Im Zentrum des Buches stehen zwei Annäherungen an seine Arbeit und Person: Die Kunstkritikerin und Kunsthistorikerin Doris von Drathen widmet sich unter dem Titel 'Im Exil der Sprache' den Leinwandarbeiten in Öl und Acryl. Der Kunsthistoriker Horst Bredekamp nähert sich dem aktuellen Schaffen des Künstlers über minutiöse Spurensuche vor allem in den vielschichtigen Gouachen/Collagen und hat dabei 'Vexierspiele im Naturraum des Zufalls' entdeckt.

Focusing on the baroque Kunstkammer, this text delves into the interplay of art, science, and scholarship in early modern Europe, highlighting how these collections of curiosities reflect the era's intellectual pursuits. It posits that the Kunstkammer serves as a precursor to contemporary cyberspace, suggesting that the ways in which knowledge and creativity were curated and displayed in the past continue to influence modern digital experiences.

Using beautifully reproduced visuals, this book not only reveals how scientific images play a constructive role in shaping the findings and insights they illustrate, but also - however mechanical or detached from individual researchers' choices their appearances may be - how they come to embody the styles of a period, a mindset, and more.

To a greater extent than still widely assumed, the German scholar Aby Warburg drew, throughout his life, on the lessons of two of its early episodes: his travels of 1895-96 among Pueblo Indian communities in the North American Southwest, and his residence of 1896-97 in Berlin, which he prized as a center for the study of ethnography, ethnology, and anthropology. Over the next three decades, this pioneering thinker was able to affect a fruitful amalgamation of those disciplines with that of art history (in which he had himself been trained): the origin of a form of cultural studies that continues to exert an extraordinary intellectual allure. Quoting from Warburg's diaries, notebooks, and correspondence, this newly translated study throws fresh light on a most eventful journey through the realm of ideas.

Focusing on the concept of "embodiment," this work explores the limitations of the pragmatic turn in contemporary philosophy, which often interprets the world as a projection of the knowing self. It critiques the prevailing notions and delves into the implications of this perspective, suggesting that while promising, it does not fully capture the complexities of human experience and existence. The author invites readers to reconsider the relationship between perception and reality within philosophical discourse.

The Fondation Louis Vuitton by Frank O. Gehry rises from the Bois de Boulogne as a new landmark in the Parisian skyline. Gehry's dynamic architecture is both glittering and multifaceted: is it a sailing vessel, an iceberg, or a sea monster? It fascinates with its wealth of references and, at the same time, escapes any clear-cut definition. Three outstanding representatives of different generations of art history, James S. Ackerman (+), Irving Lavin, and Horst Bredekamp have together paid a visit to the Fondation Louis Vuitton. They explore the building in three richly illustrated essays that try to fathom the floating architecture of the "magician" Gehry in the context of both art and architectural history.

Der erste Band des Kunsthistorischen Jahrbuches „Bildwelten des Wissens“ gilt jenen Bildern, die in Prozessen ihre Gültigkeit haben. Gemeint sind sowohl Erkenntnis- als auch Arbeitsprozesse und Laborpraktiken, aber auch prozessuale Entwicklungen von Bildgegenständen. Mit dieser Zuspitzung soll die im Jahrbuch zu führende Debatte um Bilder als Wissensobjekte, die sich nicht allein im Illustrativen erschöpfen, eröffnet werden. Bei der Vorstellung, dass Bilder den Gegenstand, und nicht zunächst sich selbst abbilden, wird leicht übersehen, dass Darstellungen eben nicht nur vorgängig Gedachtes bloß wiedergeben, sondern mit ihren eigenen Mitteln Wissen zugleich auch herstellen.