Vol. I of the Corpus of Baroque Ceiling Painting in Hungary Published

Barokk freskófestészet Magyarországon, I. kötet: Fejér, Komárom-Esztergom és Veszprém megye [Baroque ceiling painting in Hungary, Vol. I: Fejér, Komárom-Esztergom and Veszprém Countiers], szerk. Jernyei Kiss János, Budapest 2019, 520 p., ISBN: 978-61-05546-436-2

The first volume of the corpus of Baroque ceiling painting in Hungary has been published recently by the MMA publisher in Budapest, in collaboration with the Hungarian Museum of Architecture and Monument Protection Documentation Centre.

The publication is the result of the research project carried out earlier at the Pázmány Péter Catholic University, coordinated by János Jernyei-Kiss who also edited the present volume.

Following the modell of the “Corpus der barocken Deckenmalerei in Deutschland”, the 4 volume series will provide a complete catalogue of Baroque ceiling paintings Hungary.

The first volume is a collective work of 15 authors and catalogues 56 works in the central Transdanubian region of Hungary, that is in the territories of Fejér, Komárom-Esztergom és Veszprém counties.

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His Artibus: An Author (CFP)

His Artibus: An author, Her/His Environment and Artwork. Possibilities of Artists’ Biographies in the Present Day (CFP)

May 6 – 7, 2020
Masaryk University, Department of Art History
Brno, Arna Nováka 1, Czech Republic

One of the founders of the art historical discipline, Carl Friedrich von Rumohr, stated that a piece of artwork needs to be critically explained outside of itself and not according to the intention of its author. His statement stands at the beginning of an important tradition of a scientific approach to art history. In a similar sense, the thoughts of Michael Baxandall have been resonating until the present day. He reflected upon model situations of “patterns of intention” in relation to artwork, commissioning and an author and her/his environment. The philosophical and historical contributions of Michel Foucault and Roger Chartier, as well as methodological initiative of Pierre Bourdieu and Niklas Luhmann from the sociological perspective, enter the art historical debate about artworks and their authors collaterally in this tradition.

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