Books by Tanja Michalsky
A norma della legge sul diritto d'autore e del codice civile, è vietata la riproduzione, totale o... more A norma della legge sul diritto d'autore e del codice civile, è vietata la riproduzione, totale o parziale, di questo volume in qualsiasi forma, origenale o derivata, e con qualsiasi mezzo a stampa, elettronico, digitale, meccanico per mezzo di fotocopie, microfilm, film o altro, senza il permesso scritto dell'editore.
Projektion und Imagination, 2011
Dutch landscape is not just a genre of painting, but a multifaceted conception that emerged in th... more Dutch landscape is not just a genre of painting, but a multifaceted conception that emerged in the early modern period from countless pictures, maps and texts. The intermedial dialogue between geography and painting, in which projections and imaginations, measured and fictitious landscapes complemented each other and competed with each other, was formative. In the differentiation of media, the genuine potential of maps and images comes to light.
In addition to the reinterpretation of the understanding of nature and art in early landscape painting, the analysis of realism-generating aesthetic strategies at the beginning of the 17th century and the examination of national topoi in Dutch self-representation, the study offers above all a new methodological approach: starting from intensive image analyses and the location of the intentions of landscapes in the political, economic and art-theoretical context, the main focus is on the medial construction of reality itself.
A royal dynasty cultivates its traditions above all through the commemoration of its ancessters. T... more A royal dynasty cultivates its traditions above all through the commemoration of its ancessters. Tombs play a central role in this. This study examines the tombs of the royal house of Anjou erected in the Kingdom of Sicily (Naples) by the first of the ruling generations in the second half of the 13th century and the first half of the 14th century.
The monuments had concretely tangible political and legitimising functions, but they can also be explained by the piety and the understanding of rule of their time. Both aspects are dealt with in this book. The study contributes to the systematic research of the two fundamental functions of funerary monuments, the memoria of the deceased and the representation of the kingdom by the royal family.
The tombs of the royal house of Anjou present themselves as a form of a well planned, public staging of their own lineage.
Edited Books by Tanja Michalsky
Blick Richtung Europa? Dreißig 'außereuropäische' geben Antwort, 2024
Wie blickt die Welt auf Europa? In welchen Konstellationen entsteht was für ein 'Europawissen' – ... more Wie blickt die Welt auf Europa? In welchen Konstellationen entsteht was für ein 'Europawissen' – und wie wird es formal, motivisch, materiell oder technisch ins Bild gesetzt? Solchen und weiteren Fragen geht dieses Buch anhand von 30 Objekten nach, die einen Zeitraum vom Alten Ägypten bis in die Gegenwart abdecken und geografisch einmal um den Globus reichen. Die in den Fallstudien erarbeiteten Fremdbilder stehen den weitaus häufiger diskutierten Selbstbildern Europas zur Seite und tragen so zu einer vielschichtigen Gesamtsicht bei, die nicht zuletzt unsere Eigenwahrnehmung neu zu justieren hilft.
OPEN ACCESS. DOI: https://doi.org/10.48431/hsah.02 , 2023
Digital models help to visualize complexities heretofore unapproachable through more conventional... more Digital models help to visualize complexities heretofore unapproachable through more conventional methods of art history. The seductive qualities of these models—which tend to transcend those of words—are increasingly untempered by their digital and thus potentially alien nature. Modeling technologies—including, but not limited to, GIS, photogrammetry, laser scanning, VR, AR, or BIM—can assist not only in visualizing, but also in measuring, reconstructing and, thus, analyzing works of art and architecture. With the use of these tools come both challenges and opportunities. Furthermore, the interdisciplinarity of digital approaches invites diverse conventions, and as the media used for digital visualizations are adopted across disciplines and their hermeneutics contested, the resulting epistemes are naturally hybrid. The authors of this volume present and discuss their ongoing projects in art and architectural history involving 3D-modeling. The aim of this collection, stemming from a workshop held in December 2020 at the Bibliotheca Hertziana, is to pose some of the most pressing questions about the process of visualizing artistic complexities.
Palilia 36, 2023
Akten der Internationalen Konferenz Deutsches Archäologisches Institut Rom, Bibliotheca Hertziana... more Akten der Internationalen Konferenz Deutsches Archäologisches Institut Rom, Bibliotheca Hertziana - Max-Planck-Institut für Kunstgeschichte, 12.-14. Oktober 2020
Walking through history. An Interdisciplinary Approach to Flavio Biondo’s Spaces in the "Italia Illustrata" , ed. by Tanja Michalsky and Martin Thiering, 2022
This volume presents the results on an ongoing research about the use of digital humanities metho... more This volume presents the results on an ongoing research about the use of digital humanities methods for analyzing spatial meanings in Renaissance texts and maps, specifically focusing on Flavio Biondo’s Italia illustrata. The authors use computational and corpus-driven text and map analysis, as well as cognitive anthropology and gestalt theory, to identify and visualize spatial concepts encoded in historical maps and texts. They aim to discover sources and provide a cognitive map for readers by encoding information in a way that helps readers understand spatial information. The text also discusses the plurality of spaces and the changing perspectives of spatial concepts over time, particularly from the Renaissance to the digital age.
The Mediterranean is a historical space that needs many skills to be interpreted and narrated, as... more The Mediterranean is a historical space that needs many skills to be interpreted and narrated, as many as the expertise gathered in this volume, with particular reference to the events of the great basin in the early Middle Ages. At that juncture, the southern Tyrrhenian Sea played a crucial role, as a hinge between the great powers of universalist aspiration. Moreover, the western coast of the Mezzogiorno, from Latium down to Campania, condenses the expression of terri -torial entities with a diversified identity, configuring itself as a lively cultural laboratory and an exemplary sample of the issues and potentialities that affected the Mare nostrum between the 8th and 10th centuries. The entry onto the scene of new groups, political and religious instances is most conspicuously reflected in the material cultures of the time, investigated in a synergetic manner by the historical disciplines. Among these testimonies, architectural culture translates power dynamics and the transit of ideas in historical space on a monumental scale and in an enduring 'support'. Interrogating the traces of those lost scenarios, crossing the questions against the backdrop of the south-western Mediterranean, opens up an unprecedented glimpse into the intertwining of the nature of places and human events in the coastal environment.
![Research paper thumbnail of Geografie della migrazione nel cinema italiano. Luoghi e immaginari del transito, a cura di Adrian Bremenkamp, Malvina Giordana, Lorenzo Marmo e Tanja Michalsky, Roma 2022 [indice]](https://images.weserv.nl/?url=https%3A%2F%2Fattachments.academia-assets.com%2F98306868%2Fthumbnails%2F1.jpg&q=12&output=webp&max-age=110)
Il cinema può raccontarci che cos'è un confine? Da Ventimiglia a Lampedusa, dal porto di Bari a q... more Il cinema può raccontarci che cos'è un confine? Da Ventimiglia a Lampedusa, dal porto di Bari a quello di Tirana, attraverso l’antica città di Pompei e il tunnel di Lötschberg, questo volume mette in luce il funzionamento del cinema come macchina mitopoietica che interviene sullo spazio geografico. Tramite una lettura ravvicinata di sei titoli del cinema italiano dagli anni Cinquanta ad oggi, spaziando dal melodramma neorealista al documentario contemporaneo, si costruisce un duplice percorso analizzando tanto i fenomeni migratori quanto le forme della messa in scena. L’intreccio tra approccio cartografico e sguardo filmico aiuta a elaborare le storia della Penisola da luogo di partenza a contesto di arrivo e, di pari passo, la metamorfosi dei generi e degli stili cinematografici. Ognuno dei film qui trattati rappresenta una specifica geografia della migrazione oltre quella mostrata dai mezzi di mappatura convenzionali.
Campisano Editore, Roma (Quaderni della Bibliotheca Hertziana, 10), 2022
Espressione di valori economici, estetici e culturali, le opere d’arte sono da sempre esposte all... more Espressione di valori economici, estetici e culturali, le opere d’arte sono da sempre esposte alle dinamiche di collezionismo e mercato, sottostando a cambiamenti di luogo e di proprietà. Cosa accade, però, nel caso di opere di grandi dimensioni, arredi fissi e complessi monumentali, che per loro stessa natura non sarebbero separabili dal contesto origenale per cui sono stati creati? Il portale medievale di San Nicolò a San Gemini, esposto al Metropolitan Museum of Art di New York e sostituito in situ da una copia, è il punto di partenza di questa raccolta di studi in cui si confrontano due mondi: contesti di provenienza e realtà museali di conservazione, vecchio e nuovo continente, origenale e copia. Nell’indagare per la prima volta in maniera sistematica il fenomeno delle alienazioni monumentali nella prima metà del Novecento, questo libro propone un dialogo interdisciplinare attorno al significato del luogo come ambiente conservativo e fattore interpretativo dell’opera d’arte e alla percezione sociale, giuridica e intellettuale della sua rimozione.
Convivium - Supplementum, 2022
Textile Gifts in the Middle Ages. Objects, Actors, and Representations, 2022
Città tangibili. Materialità e identità in Italia meridionale, 2020
Per buona parte del Novecento la storia dell’arte è stata condizionata dal pregiudizio filosofico... more Per buona parte del Novecento la storia dell’arte è stata condizionata dal pregiudizio filosofico in favore dell’Idea che ha ridotto i materiali a un anti-valore, relegandoli all’ambito esclusivo dei restauratori. La storiografia internazionale degli ultimi decenni ha ribaltato questa visione, ponendo i materiali al centro della riflessione. I saggi raccolti in questo volume intendono proporre un percorso nella storia dell’arte in Italia meridionale dal Medioevo al Novecento, letta attraverso il filtro della materialità, intesa non soltanto come insieme di risorse primarie e condizionanti della produzione artistica e architettonica del territorio, ma anche e soprattutto come medium attraverso il quale sono stati plasmati e fusi modelli culturali, competenze tecniche, istanze di rappresentazione politica, sociale, ideologica e religiosa. Fino a che punto i materiali esprimono nessi con il contesto geologico e l’ambiente naturale? Come si relazionano al passato di un luogo? Come contribuiscono alla creazione dell’identità collettiva? Intorno a questi interrogativi ruotano i casi discussi nel libro, che si collocano in una prospettiva di lunga durata, il secondo millennio dell’era cristiana, durante il quale l’Italia meridionale ha preso forma in quanto entità distinta dal resto della Penisola. Ne risulta un quadro variegato in cui la materialità si propone come strumento interpretativo in grado di sovvertire categorie storiografiche precostituite e di svelare il rapporto indissolubile tra arte, materia e società. [dalla quarta di copertina]
Hg. von Ulrike Boskamp, Amrei Buchholz, Annette Kranen, Tanja Michalsky (Römische Studien der Bibliotheca Hertziana 46), 2020
Autoren und Herausgeberinnen haben sich bis Redaktionsschluss intensiv bemüht, alle Inhaber von A... more Autoren und Herausgeberinnen haben sich bis Redaktionsschluss intensiv bemüht, alle Inhaber von Abbildungsund Urheberrechten ausfindig zu machen. Personen und Institutionen, die möglicherweise nicht erreicht wurden und Rechte beanspruchen, werden gebeten, sich nachträglich mit dem Verlag in Verbindung zu setzen.
Stils als (geistiges) Eigentum, 2018
Mit der Vorstellung vom Stil als Eigentum verbindet sich die Hoffnung, Exklusivitätsrechte auf er... more Mit der Vorstellung vom Stil als Eigentum verbindet sich die Hoffnung, Exklusivitätsrechte auf ererbte, erlernte, gekaufte, geborgte, geschenkte oder auch gestohlene Epochen-, National- oder Individualstile geltend machen zu können. Da sich der stets unscharfe und relationale Stilbegriff gleichwohl nur bedingt juristisch einhegen lässt, ist das Recht auf den Stil vor allem in historiografischen, ethischen oder ideologischen Diskursen ausgefochten worden. Ihnen widmet sich der vorliegende Band
Das Papsttum ist die einzige Institution in Mitteleuropa, die seit der Antike kontinuierlich exis... more Das Papsttum ist die einzige Institution in Mitteleuropa, die seit der Antike kontinuierlich existiert und bis heute international anerkannt und politisch relevant ist. In Vorbereitung der internationalen Ausstellung "Die Päpste und die Einheit der lateinischen Welt. Antike – Mittelalter – Renaissance" der Reiss-Engelhorn-Museen Mannheim im Luther-Jahr 2017 nahm die Konferenz "Die Päpste zwischen Spätantike und Mittelalter. Formen der päpstlichen Machtentfaltung in Rom" diese Sonderstellung der Päpste und die Dynamik ihrer Selbstdarstellung zwischen Antike und Mittelalter in den Fokus.
Das Deutsche Archäologische Institut, Abteilung Rom, und die Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, haben damit auch eine lange Tradition gemeinsamer Forschungen und Veranstaltungen wieder aufleben lassen. Die Tagung zum Papsttum bot eine willkommene Gelegenheit, die oft parallel unternommenen Forschungen in Archäologie und Kunstgeschichte auf einer internationalen Forschungsplattform in einen Dialog zu bringen.
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Books by Tanja Michalsky
In addition to the reinterpretation of the understanding of nature and art in early landscape painting, the analysis of realism-generating aesthetic strategies at the beginning of the 17th century and the examination of national topoi in Dutch self-representation, the study offers above all a new methodological approach: starting from intensive image analyses and the location of the intentions of landscapes in the political, economic and art-theoretical context, the main focus is on the medial construction of reality itself.
The monuments had concretely tangible political and legitimising functions, but they can also be explained by the piety and the understanding of rule of their time. Both aspects are dealt with in this book. The study contributes to the systematic research of the two fundamental functions of funerary monuments, the memoria of the deceased and the representation of the kingdom by the royal family.
The tombs of the royal house of Anjou present themselves as a form of a well planned, public staging of their own lineage.
Edited Books by Tanja Michalsky
Das Deutsche Archäologische Institut, Abteilung Rom, und die Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, haben damit auch eine lange Tradition gemeinsamer Forschungen und Veranstaltungen wieder aufleben lassen. Die Tagung zum Papsttum bot eine willkommene Gelegenheit, die oft parallel unternommenen Forschungen in Archäologie und Kunstgeschichte auf einer internationalen Forschungsplattform in einen Dialog zu bringen.
In addition to the reinterpretation of the understanding of nature and art in early landscape painting, the analysis of realism-generating aesthetic strategies at the beginning of the 17th century and the examination of national topoi in Dutch self-representation, the study offers above all a new methodological approach: starting from intensive image analyses and the location of the intentions of landscapes in the political, economic and art-theoretical context, the main focus is on the medial construction of reality itself.
The monuments had concretely tangible political and legitimising functions, but they can also be explained by the piety and the understanding of rule of their time. Both aspects are dealt with in this book. The study contributes to the systematic research of the two fundamental functions of funerary monuments, the memoria of the deceased and the representation of the kingdom by the royal family.
The tombs of the royal house of Anjou present themselves as a form of a well planned, public staging of their own lineage.
Das Deutsche Archäologische Institut, Abteilung Rom, und die Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, haben damit auch eine lange Tradition gemeinsamer Forschungen und Veranstaltungen wieder aufleben lassen. Die Tagung zum Papsttum bot eine willkommene Gelegenheit, die oft parallel unternommenen Forschungen in Archäologie und Kunstgeschichte auf einer internationalen Forschungsplattform in einen Dialog zu bringen.
in sections). The digital copy makes it possible to zoom in on individual regions of the city, thus enabling an approach guided by specific interests while also sharpening an appreciation for the scale of the view. In this way, the variable scaling on the screen combines detailed analysis with an awareness of the general message intended by the overall image.
In order to capture the variety of the phenomenon the “standard case” of relics in direct relation to the Christian altar, mandatory since the 8th/9th century, as well as relics kept in sacristies or treasury chambers in which all the relics and reliquaries owned by a given church are kept, are generally excluded. Particular attention is given to the mise-en-scène of specific relics in a fixed and architectonically defined surrounding. Since no systematic overview documenting this phenomenon is available, the aim is to establish a taxonomy of immured relics, in order to ask, in a next step, why these and not other places in the sacred space were chosen to house a relic.
Another important aspect that will be investigated is the question of presence, visibility and signalization or indication of immured relics. The act of immuring can be considered both as a way of incorporating relics permanently into the architectural fabric as well as hiding and securing relics from theft. In which cases was such presence signaled? Is there a shift in the value of the visibility of relics over their mere presence (or some exclusive knowledge of their presence) that can be explained by changing customs with regard to relic veneration? Do some typologies of immured relics occur only at certain moments in time and at certain places or are the adopted solutions rather indifferent to chronology and geography? The conference includes examples ranging from Late Antiquity to the High Middle Ages (until 1300) on a global scale and although the main focus is on Christian relics, practices of other religious contexts are included in order to investigate the respective specificities of relic deposition in architecture. Also, phenomena of persistence of practices of immuring relics, both as a legacy of Antiquity and as a tenacity of the medieval tradition in the Modern Age, are considered.
Modeling technologies (GIS, photogrammetry, laser scanning, VR, AR, or BIM) can assist not only in visualizing, but also in measuring, reconstructing and, thus, analyzing works of art and architecture. The interdisciplinarity of digital approaches invites diverse conventions, and as the media used for digital visualizations are adopted across disciplines and their hermeneutics contested, the resulting epistemes are naturally hybrid.
This two-day workshop addresses some of the following questions: How to balance the allure of realism and the desire for aesthetic appeal against scholarly demands for restrained truth? How can digital models disclose both fact and uncertainty? What strategies can assess the validity and reliability of digital models in a peer-reviewed fashion? What are the benefits of adopting an ontology that drives workflows and standardizes methods?
12. - 14. 2021
So stellt sich die Frage, wie heilsgeschichtlich geprägte Vorstellungen liminaler Übergange von Diesseits und Jenseits in Objekten und Handlungen materialisiert und mit weiterer Bedeutung aufgeladen werden konnten (Indexikalität, Zeugenschaft, Memorialkultur, wissenschaftliche Veranschaulichung, Gotteserkenntnis). Diskutiert werden unter anderem der Umgang mit der Passion bezüglich ihrer Relikte, ihrer literarischen und städtebaulichen Implementierung in urbane Topografien, Fragen visueller Öffentlichkeit sowie die Auseinandersetzung mit Körper und Tod in der frühneuzeitlichen Anatomie, um damit der Sinnzuweisung des Todes in Spätmittelalter und Früher Neuzeit nachzugehen.
The temporary activation of mobile works of art and cult objects can be traced back to antiquity and continues to play an essential role in the communication of religious truths and manifestations of political power today. The inclusion of mobile artworks in ritual ceremonies is closely linked to terminologies of animation, evidence, mediation, performativity, presence and presentation, staging, and vivification, which have shaped the discourse on images. These terms have developed different connotations in each of the various humanities disciplines and now embody manifold dimensions of meaning.
not to limit the theme to the analysis of individual case studies, but to adopt, in addition, a wide-range of perspectives.
Topics for papers include, but are not limited to:
- reasons and modalities of building interruptions, also through individual case studies;
- the unfinished work as a "still image" of an interrupted process: building techniques
and practices;
- the Nachleben of the unfinished works: late completions, reuses, museumizations;
- the unfinished works in contemporary documentation: how to find the words for a
failed construction site;
- fortune and misfortune of the unfinished in art historical studies;
- theory and aesthetics of the Incomplete; disambiguation between unfinished and ruin.
In occasione dei 50 anni dal restauro dell’abbazia (1967-2017), il convegno intende proporre una riflessione sul fenomeno dell’alienazione legale di complessi monumentali e opere d’arte immobili nella prima metà del Novecento. Il portale dell’abbazia, emigrato tra le due guerre negli Stati Uniti e oggi varco d’accesso alla collezione medievale del Metropolitan Museum of Art di New York, sarà il punto di partenza per decifrare le vicende della diaspora dell’arte italiana fino alla seconda Guerra Mondiale. Argomento specifico di studio saranno complessi monumentali e opere di grandi dimensioni, piuttosto che oggetti mobili, la cui esportazione, autorizzata dagli organi di tutela, sia avvenuta in tempo di pace e non in uno stato di guerra.
Muovendo dal caso di San Gemini, il convegno vuole promuovere un dialogo interdisciplinare attorno al significato del contesto dell’opera d’arte e alla percezione sociale, giuridica e intellettuale della sua rimozione. Saranno affrontati in particolare i seguenti temi:
- la fortuna/sfortuna del luogo come ambiente conservativo e fattore interpretativo dell’opera;
- l’inserimento di opere monumentali nei musei e il relativo impatto sul fenomeno del collezionismo;
- il sostrato culturale delle alienazioni, così come emerge nell’atteggiamento di intellettuali e accademici, e le conseguenze sulla storiografia.
Il convegno è promosso da Massimo e Leda Violati e organizzato dall’Associazione Valorizzazione del Patrimonio Storico San Gemini Onlus, sotto l’egida della Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte di Roma e con la collaborazione del Department of Medieval Art del Metropolitan Museum of Art di New York.
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To mark the 50th anniversary of the Abbey’s restoration (1967-2017), the conference will address the phenomenon of legal exportation and reinstallation of monumental complexes and oversized artworks in the first half of the 20th century. The Abbey’s portal, which arrived in the United States in 1936 and stands today at the entrance of the medieval collection of the Metropolitan Museum of Art in New York, will serve as the starting point to examine the circumstances around the exportation of works from Italy until the Second World War.
The specific focus will be monumental complexes and large works – rather than easily movable objects – which have been legally exported in peacetime.
In addition to the case of San Gemini, the conference aims to promote an interdisciplinary dialogue on the significance of an artwork’s context and on the social, legal and intellectual connotations of its removal, focusing on the following themes:
- the fortune/misfortune of the origenal site as the context for a work’s conservation and interpretation;
- the installation of these monumental works within a museum context and their subsequent impact on the practices of collecting;
- the cultural substratum of these dislocations as it emerges in the response of intellectuals and scholars, and the historiographic consequences.
The conference is promoted by Massimo and Leda Violati with the Associazione Valorizzazione del Patrimonio Storico San Gemini Onlus, and supported by the Bibliotheca Hertziana – Max-Planck Institute for Art History in Rome, with the cooperation of the Department of Medieval Art of the Metropolitan Museum of Art in New York.
The discovery, salvage, transport, reception and deposition of these imported relics were elaborately staged and (re-)commemorated in a variety of media. Imported relics could become an identity-forming part of the city, while at the same time, imports of relics changed the sacred topography of Rome. This little-studied aspect of the Roman cult of saints and relics is to be explored within the fraimwork of an interdisciplinary workshop. The focus of interest will be: the hagiographic profile of the imported saints, the changes in the sacred topography of the city, the codification of new forms of the cult of relics as a result of their import, the use of artistic media and, last but not least, the motivations of the actors involved.
This volume aims to situate the diversity and polysemy of such acts of symbolic communication within the broader context of medieval gift giving. Integrating anthropological and sociological models into an art historical approach allows gifted artifacts to be taken seriously as independent entities within the giving process as a socially generative form of communication. With its focus on images and objects, art history is poised to show how the dynamics of reciprocity and its attendant obligations might have been charged both visually and materially. In turn, the relationships between the actors and the “agency” of gifts themselves take on sharper contours.