Lessing Gotthold Ephraim - Space and time in artistic practice and aesthetics: the legacy of Gotthold Ephraim Lessing

Sarah J. Lippert is Associate Professor of Art History in the Visual Arts Programme at the University of Michigan-Flint, as well as the Director of the Society for Paragone Studies. She holds a Bachelor of Arts (Honours) in Art History and Criticism, as well as a Master of Arts in Art History, from Western University, and received her Ph.D. in Art History from the Pennsylvania State University. She has been the recipient of a Samuel H. Kress Fellowship in the History of Art, as well as a fellowship from the Social Sciences and Humanities Research Council of Canada. Her research expertise is as a scholar of eighteenth and nineteenth-century French and British art, specialising in aesthetic theory, painting and sculpture, and the history of artistic competition, known as the paragone. Recent publications include articles in the international journals Artibus et Historiae and Dix-Neuf, whilst her forthcoming book The Paragone in Nineteenth-Century Art will be published in 2018.

Although Lessings Laocon is his most celebrated text, cited in almost every discussion of time and space in the arts, it has not received such intensive, imaginative and challenging consideration by writers interested primarily in the visual arts until this thoughtfully assembled and fascinating group of essays.

James H. Rubin, Stony Brook, State University of New York

This book is dedicated to Dr Brian Curran for his inspiring mentorship as a dedicated doctoral advisor, his masterful work as an extraordinarily accomplished art historian, and his generosity of spirit

Contents

Sarah J. Lippert

Gabriela Jasin

Franco Cirulli

Eric Garberson

Sarah J. Lippert

Chad Airhart

Thomas Morgan Evans

Rob Marks

Timothy W. Hiles

Sarah J. Lippert

Contributors

Chad Airhart is Associate Professor of Art History at Carson-Newman University. He received his Ph.D. from the University of Texas at Dallas in Aesthetics. As a professional painter and an accomplished art historian he possesses a unique background for explorations into the interaction of theory and practice in the history of aesthetics. His work centres on Contemporary painting in America and Europe.

Franco Cirulli holds a Ph.D. in Philosophy from Boston University. His areas of specialisation are eighteenth and nineteenth-century philosophy, and the history of aesthetics. His work includes Hegels Critique of Essence a Reading of the Wesenslogik (2006) and he is currently working on a manuscript on the development of the aesthetics of painting in Germany, from Winckelmann to G.W.F. Hegel.

Thomas Morgan Evans is a teaching fellow in the History of Art at University College London. He has recently completed a Henry Moore Postdoctoral Fellowship (201214). His research interests include the work of Andy Warhol and he is currently working on Contemporary art from the 1970s in New York.

Eric Garberson is Associate Professor of Art History and the director of the interdisciplinary doctoral programme in Media Art & Text at Virginia Commonwealth University in Richmond. His research focuses on the historiography and institutional formation of art history as a discipline in late eighteenth and early nineteenth-century Germany, with an emphasis on Berlin. Publication projects include Art History in the University: Toelken Hotho Kugler (Journal of Art Historiography 5, December 2011) and Art History in the University 2: Ernst Guhl.

Timothy W. Hiles is an Associate Professor of Art History at the University of Tennessee. Hiless area of expertise is late nineteenth and early twentieth-century European art and the history of photography. He served as the universitys School of Art Associate Director from 2001 to 2005. In addition to dedicating himself to teaching and advising students, he has authored Thomas Theodor Heine: Fin-de-Sicle Munich and the Origins of Simplicissimus, as well as scholarly articles, papers and book chapters. He focuses his research on the intersection of literature and visual arts in the microcosms of turn-of-the-century Vienna and Munich, and on American twentieth-century photography. He is an advocate for accessibility on college campuses and recently co-authored An Integrated Information System for the Disabled in The International Journal of Diversity in Organizations, Communities & Nations.

Gabriela Jasin is Professor of Art History at Savannah College of Art and Design. She graduated with a Bachelor of Arts from Wesleyan University and a Master of Arts and Doctor of Philosophy from Rutgers, State University of New Jersey. She specialises in the art of the baroque and Rococo periods in Europe. She has taught courses on special topics including Gianlorenzo Bernini and the art of spectacle, and a graduate seminar that pictured Berninis sculpture, architecture and writing in terms of twentieth-century film and theatre theory. Her published work includes Newtonian Science and Lockean Epistemology in Chardins Soap Bubbles, in an edited volume Visualising the Unseen, Imagining the Unknown, Perfecting the Natural (2007).

Sarah J. Lippert is Associate Professor of Art History in the Visual Arts Programme at the University of Michigan-Flint, as well as the Director of the Society for Paragone Studies. She holds a Bachelor of Arts Honours in Art History and Criticism, as well as a Master of Arts in Art History, from Western University, and received her Ph.D. in Art History from the Pennsylvania State University. She has been the recipient of a Samuel H. Kress Fellowship in the History of Art, as well as a fellowship from the Social Sciences and Humanities Research Council of Canada. Her research expertise is as a scholar of eighteenth and nineteenth-century French and British art, specialising in aesthetic theory, painting and sculpture, and the history of artistic competition, known as the paragone. Recent publications include articles in the international journals Artibus et Historiaeand Dix-Neuf, whilst her forthcoming book The Paragone in Nineteenth-Century Art