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Daniela Hammer-Tugendhat - The Visible and the Invisible (Edition Angewandte)

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Daniela Hammer-Tugendhat The Visible and the Invisible (Edition Angewandte)

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The book addresses the debates on Rembrandt, Metsu, Vermeer, and Hoogstraten that are currently taking place in art history and cultural studies. These focus mainly on the representation of gender difference, the relationship between text and image, and the emotional discourse. They are also an appeal for art history as a form of cultural studies that analyses the semantic potential of art within discursive and social contemporary practices.

Daniela Hammer-Tugendhat: author's other books


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Table of Contents Daniela Hammer-Tugendhat Daniela - photo 1
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Daniela Hammer-Tugendhat Daniela Hammer-Tugendhat is professor emeritus for - photo 2

Daniela Hammer-Tugendhat

Daniela Hammer-Tugendhat is professor emeritus for the history of art at the University of Applied Arts in Vienna.

She was born in Caracas 1946, studied art history and archaeology at the Universities of Bern and Vienna and wrote her doctoral thesis on Hieronymus Bosch under Otto Pcht. She has taught at the Universities of Vienna, Salzburg, Basel, Oldenburg and Frankfurt and is one of the pioneers in establishing gender studies in German-speaking academia. Hammer-Tugendhat is on the supervisory board of the International Research Center for Cultural Studies in Vienna (IFK) and on the editorial board of the Zeitschrift fr Kulturwissenschaften. She was elected as a reviewer for the European Research Council Advanced grant; in 2010 she received the Gabriele Possanner State Prize. Her research on the methodology of art history as Kulturwissenschaft is focused on Early Modern painting, specifically from the Netherlands, ranging from the representational politics of text and image to gender studies and the representation of emotions in the arts.

Literature

Only works that are either cited multiple times or are of particular relevance to the subject are listed in the following.

Ann Jensen Adams,Der sprechende Brief. Kunst des Lesens, Kunst des Schreibens. Schriftkunde und schoonschrijft in den Niederlanden im 17. Jahrhundert, in: Sabine Schulze (ed.), Leselust. Niederlndische Malerei von Rembrandt bis Vermeer, exh. cat. Schirn Kunsthalle, Frankfurt a. M. 1993, p. 6992

Ann Jensen Adams (ed.), Rembrandts Bathsheba Reading King Davids Letter, Cambridge 1998

Ann Jensen Adams, Disciplining the Hand, Disciplining the Heart: Letter-Writing Paintings and Practices in Seventeenth-Century Holland, in: exh. cat. Dublin, Greenwich 2003, p. 6376

Aigremont, Fu- und Schuhsymbolik und Erotik, Leipzig 1909

Albert Blankert, Gilles Aillaud, John Michael Montias, Vermeer, Paris 1987

Svetlana Alpers, Described or Narrated? A Problem in Realistic Representation, in: New Literary History VIII, 1976, p. 1541

Svetlana Alpers, The Art of Describing. Dutch Art in the Seventeenth Century, Chicago 1983

Svetlana Alpers, Rembrandts Enterprise. The Studio and the Market, London 1988

Francis Ames-Lewis, Mary Rogers (eds.), Concepts of Beauty in Renaissance Art, London 1997

Marie-Luise Angerer, Desire after Affect, London 2014

Daniel Arasse, Vermeers Ambition, Dresden 1996

Hermann Ulrich Asemissen, Gunter Schweikhart, Malerei als Thema der Malerei, Berlin 1994

Aleida und Jan Assmann (eds.), Schleier und Schwelle, vol. 2: Geheimnis und Offenbarung, Munich 1998; vol. 3: Geheimnis und Neugierde, Munich 1999

Mirjam de Baar, Machteld Lwensteyn, Marit Monteiro, Agnes Sneller (eds.), Choosing the Better Part. Anna Maria van Schurman (16071678), Dordrecht, Boston, London 1996

Hans-Jrgen Bachorski (ed.), Ordnung und Lust. Bilder von Liebe, Ehe und Sexualitt in Sptmittelalter und Frher Neuzeit, Trier 1991

Mieke Bal, Reading Rembrandt. Beyond the Word-Image Opposition, Cambridge 1991

Mieke Bal, Norman Bryson, Semiotics and Art History, in: Art Bulletin 73/2, 1991, p. 176208

Mieke Bal, Reading Bathsheba: From Mastercodes to Misfits, in: Adams 1998, p. 119146

Jurgis Baltruaitis, Le miroir, essai sur une lgende scientifique, rvlations, science fiction, Paris, 1978

Ilsebill Barta, Zita Breu, Daniela Hammer-Tugendhat, Ulrike Jenni, Irene Nierhaus, Judith Schbel (eds.), Frauen, Bilder, Mnner, Mythen, Kunsthistorische Beitrge, Berlin 1987

Michael Baxandall, Painting and Experience in Fifteenth-Century Italy, Oxford 1988

Dieter Beaujean, Bilder in Bildern. Studien zur niederlndischen Malerei des 17. Jahrhunderts, Weimar 2001

Jochen Becker, Der Blick auf den Betrachter: Mehrdeutigkeit als Gestaltungsprinzip niederlndischer Kunst des 17. Jahrhunderts, in: LArt et les rvolutions, Section 7, XXVIIe congrs international dhistoire de lArt, Strasbourg 1989, p. 7692

Jochen Becker, Are these Girls really so neat? On Kitchen Scenes and Method, in: Freedberg, Vries, p. 138173

Thomas O. Beebee, Epistolary Fiction in Europe 15001850, Cambridge University Press 1999

Mechthild Beilmann, Das Regentenstck in Leiden , Munich 1989

Claudia Benthien, Anne Fleig, Ingrid Kasten (eds.), Emotionalitt. Zur Geschichte der Gefhle, Cologne, Weimar, Vienna 2000

Claudia Benthien, Inge Stephan (eds.), Mnnlichkeit als Maskerade. Kulturelle Inszenierungen vom Mittelalter bis zur Gegenwart, Cologne, Weimar, Vienna 2003

Harry Berger, Jr., Fictions of the Pose. Rembrandt against the Italian Renaissance , Stanford 2000

Jan Bialostocki, Man and Mirror in Painting. Reality and Transience, in: Studies in Honour of Millard Meiss, New York 1977, p. 6172

Albert Blankert, Kunst als regeringszaak in Amsterdam in de 17e eeuw. Rondom schilderijen van Ferdinand Bol, Amsterdam 1975

Albert Blankert, Johannes Vermeer van Delft, Oxford, New York 1978 (1975)

Yvonne Bleyerveld, Chaste, Obedient and Devout: Biblical Women as Patterns of Female Virtue in Netherlandish and German Graphic Art, ca 1500 1730, in: Simiolus 28, 4, 20002001, p. 219250

Gisela Bock, Margarete Zimmermann (eds.), Die europische Querelle des Femmes: Geschlechterdebatten seit dem 15. Jahrhundert, Stuttgart et al. 1997

Gottfried Boehm (ed.), Was ist ein Bild?, Munich 1994

Hartmut Bhme, Gefhl, in: Christoph Wulf (ed.), Vom Menschen. Handbuch. Historische Anthropologie, Weinheim, Basel 1997, p. 525548

Michaela Boenke, Krper, spiritus, Geist. Psychologie vor Descartes, Munich 2005

Volker Bohn (ed.), Bildlichkeit, Frankfurt a. M. 1990

Gaila Bonjione, Shifting Images: Susanna through the Ages, Florida State University 1997

Pierre Bourdieu, La domination masculine, Actes de la recherch en sciences 84, 1990

Christina von Braun, Inge Stephan (eds.), Gender@Wissen. Ein Handbuch der Gender-Theorien, Cologne 2005

Bernard Bray, Lart de la lettre amoureuse. Des manuals aux romans (15501700), The Hague, Paris 1967

Horst Bredekamp, Sybille Krmer (eds.), Bild, Schrift, Zahl, Munich 2003

Nicolaas J. Brederoo et al., Oog in oog met de spiegel, Amsterdam 1988

Celeste Brusati, Artifice and Illusion. The Art and Writing of Samuel van Hoogstraten, Chicago 1995

Norman Bryson, Vison and Painting. The Logic of the Gaze, London 1983

Norman Bryson, Two Narratives of Rape in the Visual Arts: Lucretia and the Sabine Women, in: Tomaselli, Porter 1989, p. 152173

Norman Bryson, Looking at the Overlooked. Four Essays on Still Life Painting, London 1990

Wiep van Bunge, Philosophy, in: Frijhoff, Spies 2004, p. 281346

Werner Busch, Rembrandts Ledikantder Verlorene Sohn im Bett, in: Oud Holland 97, 1983, p. 257265

Werner Busch, Das keusche und das unkeusche Sehen. Rembrandts Diana, Aktaion und Kallisto, in: Zeitschrift fr Kunstgeschichte 52, 1989, p. 257277

Rdiger Campe, Affekt und Ausdruck. Zur Umwandlung der literarischen Rede im 17. und 18. Jahrhundert, Tbingen 1990

Rdiger Campe, Manfred Schneider (eds.), Geschichten der Physiognomik. Text, Bild, Wissen, Freiburg im Breisgau 1996

Jane L. Carroll, Alison G. Stewart (eds.), Saints, Sinners, and Sisters. Gender and Northern Art in Medieval and Early Modern Europe, Aldershot, Burlington 2003

Jacob Cats, Huwelijk , edited by Agnes A. Sneller, Amsterdam 1993

Perry H. Chapman, Rembrandts Self-Portraits. A Study in Seventeenth-Century Identity, Princeton 1990

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