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Journal articles on the topic 'Staatliche Kunstsammlungen Dresden'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Klose, Christian. "Johan Niklas Byström and the so-called Venus of Stockholm. New research on a presumably lost sculpture." Opuscula. Annual of the Swedish Institutes at Athens and Rome 16 (November 15, 2023): 225–47. http://dx.doi.org/10.30549/opathrom-16-10.

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The inventory books of the Skulpturensammlung (Sculpture Collection) in the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections, SKD) mention a plaster cast of a Venus sculpture, moulded from the marble so-called Venus of Stockholm. In the first half of the 19th century this statue—always considered an ancient artwork—had been owned by the Swedish sculptor Johan Niklas Byström, before it was sold to an English art collector. From that time on, the sculpture has been considered lost and it has remained unregarded by research. By contextualizing the Dresden plaster cast with other ancient Venus sculptures and textual sources, this article aims to show that the Venus of Stockholm was most likely an elaborate and mirror-reversed imitation made in its entirety in the 17th or 18th century. As such, the Venus of Stockholm was exceptional, because post-antique mirror-reversed copies of ancient sculptures are very rare. In addition, the article compares the Venus of Stockholm to statues sculpted by Byström, in order to highlight its impact on his oeuvre.

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2

McPhee, Ian. "Corpus Vasorum Antiquorum. Deutschland 76. Dresden 1, Staatliche Kunstsammlungen, Skulpturensammlung. By Rolf Hurschmann." American Journal of Archaeology 109, no. 4 (October 1, 2005): 806–7. http://dx.doi.org/10.1086/ajs40025711.

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3

Hamburger, Miriam. "Presença Karajá and the Fritz Krause collection." Hawò 3 (November 29, 2022): 1–47. http://dx.doi.org/10.5216/hawo.v3.72251.

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This article describes the current cooperation between Presença Karajá, aninterdisciplinary research project that maps and analyzes collections of Karajá dolls(ritxoko) in museum collections, and the GRASSI Museum for Ethnology in Leipzig,Germany, part of the Staatliche Kunstsammlungen Dresden (SKD). Together, theworking group analyzed the collection of ritxoko embedded in other Iny-Karajámaterials, gathered and documented by Dr. Fritz Krause (1881-1963) in 1908. Basedon Krause’s published works from his expedition, Iny-Karajá anthropological contributions, insights from Iny-Karajá representatives, and the ritxoko themselves, the working group investigated the provenance, ethnography, and anthropological data together, gathering valuable research results for the collection history as well asfor the Iny-Karajá themselves. Presença Karajá offered the Museum an opportunity to enhance the history of its collections as well as to support the goals of what the Museum calls “immaterial restitution”: strengthening Indigenous cultures and granting them greater sovereignty over their heritage.

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4

Picozzi, Maria Grazia. "Die Sammlung der Gipsabgüsse von Anton Raphael Mengs in Dresden. Katalog der Abgüsse. Rekonstruktionen, Nachbildungen und Modelle aus dem römischen Nachlaß des Malers in der Skulpturensammlung, Staatliche Kunstsammlungen Dresden. Bearbeitet von Moritz Kiderlen mit Farbaufnahmen von Hans-Peter Klut. Hrsg. von der Skulpturensammlung, Staatliche Kunstsammlungen Dresden." Gnomon 81, no. 2 (2009): 167–70. http://dx.doi.org/10.17104/0017-1417_2009_2_167.

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5

Kazansky, Nikolai N. "Two Latin Epigrams by Daniel Gotlieb Messerschmidt Dedicated to Iohannes Philipp Breyn (1680–1764)." Philologia Classica 15, no. 2 (2020): 230–45. http://dx.doi.org/10.21638/spbu20.2020.204.

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The article presents a publication of two epigrams written by D. G. Messeschmidt and dedicated to I. Ph. Breyn; both are preserved in the latter’s archive. The first epigram is an inscription in verse to Breyn’s portrait and was probably sent to him from Saint Petersburg following Messerschmidt’s return from Siberia, i.e. between 1727 and 1735 (and not 1701–1800 as indicated on the site of Dresden Fotothek). It is very likely that the inscription was meant to accompany the engraving a copy of which is preserved at Staatliche Kunstsammlungen Dresden (SKD, Kupferstich-Kabinett, Signatur/Inventar-Nr.: Anon 1, Singer 3769/9920) and may be seen on the website of Deutsche Fotothek Dresden (Archiv-Nr 169051). I. Ph. Breyn might have sent two portraits to Saint Petersburg, one of himself and one of his father, and Messerschmidt would have composed an inscription in verse for each. In 1739 an elegiac distich by Messerschmidt was published that was also incorporated in the frame of the portrait of Jakob Breyn, painted by the famous engraver P. G. Busch. S. S. Orekhov has suggested that P. G. Busch’s engraving might render the portrait drawn by the same unknown master (Deutsche Fotothek Dresden, Archiv-Nr 169050). Iohannes Philipp Breyn’s own portrait remained unpublished. The second poem is a dedication in an album that is preserved in I. Ph. Breyn’s museum in Gdansk (Forschungsbibliothek Gotha Chart. B 1002) and is dated November 1716. The poem is untitled (the fact that is also emphasized in the text), but introduced by an epigraph in Old Hebrew that has been extensively commented upon by Cyrill von Buettner (Bitner). The Latin poem that abounds in assonances and complex word play leaves the feeling of a certain emotional strain. Both poems, however, reflect Messerschmidt’s general erudition and character, as well as his enthusiastic admiration for I. Ph. Breyn as a senior colleague in scientific and medical studies.

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6

Scallen, Catherine B. "Rembrandt's Mark. Staatliche Kunstsammlungen Dresden, Stephanie Buck, and Jürgen Müller, eds. With Mailena Mallach. Exh. cat. London: Paul Holberton, 2019. 280 pp. £35." Renaissance Quarterly 74, no. 3 (2021): 938–40. http://dx.doi.org/10.1017/rqx.2021.116.

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7

Kourou, Nota. "Corpus Vasorum Antiquorum. Deutschland. Dresden, Staatliche Kunstsammlungen. Skulpturensammlung. Mit einem Anhang zum Kunstgewerbemuseum. Band 4: Geo-metrische und Korinthische Keramik. Bearbeitet von Christiane Dehl-von Kaenel." Gnomon 94, no. 5 (2022): 445–48. http://dx.doi.org/10.17104/0017-1417-2022-5-445.

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8

Márton, András. "Dehl-von Kaenel Christiane, Dresden, Staatliche Kunstsammlungen Skulpturensammlung. Mit einem Anhang zum Kunstgewerbemuseum. Geometrische und korinthische Keramik (Corpus Vasorum Antiquorum, Dresden, 4 ; Deutschland, 106), Munich, Beck, 2019, 1 vol. 119 p., 49 pl. n/b et coul., ISBN : 978-3-769-63783-0." Revue archéologique 75, no. 1 (May 24, 2023): 173–76. http://dx.doi.org/10.3917/arch.231.0173.

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9

Queyrel, François. "K noll Kordelia, V orster Christiane (éd.), Skulpturen von der ägäischen Frühzeit bis zum Ende des Hellenismus ( Skulpturensammlung Staatliche Kunstsammlungen Dresden, Katalog der antiken Bildwerke , Band I), Munich, Hirmer Verlag, 2017, 1 vol. 23 × 28, xiv + 408 p., fig. ds t., ISBN : 978-3-7774-2829-1." Revue archéologique 76, no. 2 (November 29, 2023): 396–97. http://dx.doi.org/10.3917/arch.232.0396.

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10

Burghardt, Dirk, Andreas Schmid, and Rainer Graf. "Benchmarking als Treiber der Digitalisierung für ein modernes Kulturmanagement." Verwaltung & Management 28, no. 2 (2022): 70–75. http://dx.doi.org/10.5771/0947-9856-2022-2-70.

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Die Staatlichen Kunstsammlungen Dresden sind einer der bedeutendsten Museumsverbünde Deutschlands und verfügen über Kunst- und Kulturgegenstände von unschätzbarem Wert. Das Management der SKD ist aufgrund seiner komplexen Struktur, knapper öffentlicher Mittel und Post-Corona-Unsicherheiten herausfordernd. Ein kontinuierlicher Weiterentwicklungsbedarf ist auch vor dem Hintergrund der Digitalisierung angezeigt. Im Rahmen eines Projekts zur Weiterentwicklung der Führungs- und Verwaltungsstrukturen wurden auf Basis von Benchmarks Verbesserungspotenziale abgeleitet, die in ihrer Konsequenz die Aufbau- und Ablauforganisation infrage stellten und wichtige Impulse für die weitere Digitalisierung der Organisation lieferten. Kultureinrichtungen können aus Benchmarks und Industriestandards lernen, was bisher aufgrund der institutionellen Besonderheiten infrage gestellt wird.1 Diese Erkenntnis ist für ein modernes und digitales Kulturmanagement entscheidend, weil bewährte Methoden, Instrumente und Lösungen auf den Kulturbetrieb übertragen werden können - was letztlich existenzsichernd wirkt.

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11

Vlachou, Vicky. "VASES IN A GERMAN MUSEUM - (C.) Dehl-von Kaenel (ed.) Corpus Vasorum Antiquorum. Deutschland. Dresden, Staatliche Kunstsammlungen, Skulpturensammlung. Band 4. Geometrische und Korinthische Keramik. (Deutschland, Band 106.) Pp. 119, ills, colour pls. Munich: Bayerische Akademie der Wissenschaften in Kommission bei C.H. Beck, 2019. Cased, €98. ISBN: 978-3-7696-3783-0." Classical Review 70, no. 2 (July 9, 2020): 474–77. http://dx.doi.org/10.1017/s0009840x20000980.

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12

Burghardt, D., and M. Geißdorf. "Die rechtlichen Grundlagen der Restitution: Kunstwerke aus jüdischem Besitz und die Rückgabepraxis in den Staatlichen Kunstsammlungen Dresden." KUR - Kunst und Recht 8, no. 6 (2006): 145. http://dx.doi.org/10.15542/kur/2006/6/3.

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13

Korus, Olena. "Ukrainian Porcelain in the Porcelain Collection of the Dresden State Art Collections." Folk art and ethnology, no. 2 (June 30, 2023): 76–80. http://dx.doi.org/10.15407/nte2023.02.076.

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During the current russian-Ukrainian war, which has been going on since 2014, the progressive circles of Ukrainian society, in particular scholars, have been faced with the question of decolonizing and de-imperializing Ukrainian history and culture. The task of returning to the orbit of the national cultural heritage is especially acute concerning works of Ukrainian origin that are stored in museum collections abroad. It should be noted that this cultural heritage is generally labelled as «russian» in the world, regardless of the cultural and artistic environment, as well as of where and when (during the russian empire or the USSR), it was created. After February 24, 2022, when russia launched a large-scale offensive on the territory of Ukraine, many Ukrainian museum workers and scholars fled the war and began working under support programmes at Western European cultural institutions. Their primary task was to search local museum collections for detecting works by Ukrainian artists and correcting their attribution. The article’s authoress, while the military operations in Ukraine are ongoing, got the opportunity to work at the Porcelain Collection of the Dresden State Art Collections (Die Staatlichen Kunstsammlungen Dresden, SKD). In the context of mentioned factors, she drew attention to the attribution of two porcelain plates from the Porcelain Collection of the Dresden State Art Collections, which were listed in the database as russian-made. Furthermore, one of the plates was listed as having been made in Moscow Region, whereas in fact both plates were created at Ukrainian factories in Korets and Baranivka (now Rivne and Zhytomyr regions, respectively). The article’s authoress corrected the attribution and dating, whereupon the items were posted in the online collection on the museum’s website of the Dresden State Art Collections. In the article, these items are presented in the context of these manufactories’ production. A comparative analysis of principles of their decoration with the ornamentation of porcelain items of the Meissen manufactory from the Porcelain Collection of the Dresden State Art Collections has also been done.

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14

Trimble, Jennifer. "The Herculaneum Woman statue types and their ongoing history - JENS DAEHNER (ed.), with texts by J. DAEHNER, K. KNOLL, C. VORSTER, M. WOELK, THE HERCULANEUM WOMEN: HISTORY, CONTEXTS, IDENTITIES (The J. Paul Getty Museum, Los Angeles/Skulpturensammlung, Staatliche Kunstsammlungen Dresden 2007). Pp. xiv + 178, c.100 figs. including c.60 in colour. ISBN 978-0-89236-882-2. $50." Journal of Roman Archaeology 22 (2009): 592–600. http://dx.doi.org/10.1017/s1047759400021127.

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15

Sidorova, Elena. "MoMA Goes beyond the Iron Curtain: The Eastern European Tour of The Prints of Andy Warhol." Arts 13, no. 2 (February 21, 2024): 42. http://dx.doi.org/10.3390/arts13020042.

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In 1990, three years after Andy Warhol’s death and one year after the fall of the Berlin Wall, the Museum of Modern Art (MoMA) organized the first one-man show of this pop artist in Eastern Europe. The Prints of Andy Warhol, although never shown at the MoMA in New York, traveled to the Fondation Cartier pour l’Art Contemporain in Jouy-en-Josas, France, the Národní Galerie in Prague, Czechoslovakia, the Staatliche Kunstsammlung in Dresden, the GDR, the Mücsarnok in Budapest, Hungary, and the Muzeum Narodowe in Warsaw, Poland. The current paper analyzes the cultural–political context of The Prints of Andy Warhol. It first discusses the place of both American pop art and Eastern Europe in MoMA’s International Program (IP) and then explores the organizational challenges, art historical contents, and public reception of the exhibition. The paper concludes by examining the broader impact of The Prints of Andy Warhol on both the growing awareness of American pop art in Eastern Europe and MoMA’s cultural diplomacy in this region after the fall of the Iron Curtain.

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16

Schierup, S. "CLASSICAL VASES FROM GERMANY - E. Böhr (ed.) Corpus Vasorum Antiquorum. Deutschland. München, Antikensammlungen, ehemals Museum Antiker Kleinkunst. Band 18. Attisch bilingue und rotfigurige Schalen. (Deutschland, Band 98.) Pp. 159, ills, pls. Munich: C.H. Beck, 2015. Cased, €98. ISBN: 978-3-406-67748-9. - E. Hofstetter-Dolega (ed.) Corpus Vasorum Antiquorum. Deutschland. Dresden, Staatliche Kunstsammlungen, Skulpturensammlung. Band 2. Attisch rotfigurige Keramik. (Deutschland, Band 97.) Pp. 111, ills, pls. Munich: C.H. Beck, 2015. Cased, €98. ISBN: 978-3-406-67747-2." Classical Review 67, no. 1 (October 10, 2016): 227–29. http://dx.doi.org/10.1017/s0009840x16001645.

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17

Rous, Anne-Simone. "Winfried Müller / Martina Schattkowsky / Dirk Syndram (Hrsg.), Kurfürst August von Sachsen. Ein nachreformatorischer „Friedensfürst“ zwischen Territorium und Reich. Beiträge zur wissenschaftlichen Tagung vom 9. bis 11. Juli 2015 in Torgau und Dresden. Hrsg. v. den Staatlichen Kunstsammlungen Dresden u. dem Institut für Sächsische Geschichte und Volkskunde e.V. Dresden, Sandstein 2017." Historische Zeitschrift 308, no. 2 (April 5, 2019): 502–3. http://dx.doi.org/10.1515/hzhz-2019-1136.

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18

Bartman, Elizabeth. "Musei Capitolini and Dresden: two state-of-the-art portrait catalogues, including portraits of children - KLAUS FITTSCHEN, PAUL ZANKER, Aufnahmen von Gisela Fittschen-Badura, KATALOG DER RÖMISCHEN PORTRÄTS IN DEN CAPITOLINISCHEN MUSEEN UND DEN ANDEREN KOMMUNALEN SAMMLUNGEN DER STADT ROM. Band IV, Text. Band IV, Tafeln. KINDERBILDNISSE; NACHTRÄGE ZU DEN BÄNDEN I-III; NEUZEITLICHE ODER NEUZEITLICH VERFÄLSCHTE BILDNISSE; BILDNISSE AN RELIEFDENKMALERN (Beiträge zur Erschleißung hellenistischer und kaiserzeitlicher Skulptur und Architektur Band 6; Deutsches Archäologisches Institut; W. De Gruyter, Berlin 2014). Textband xiv + 200 Seiten. Tafelband mit 204 Seiten, 176 Tafeln mit 735 Abbildungen und 22 Beilagen mit 90 Abbildungen. ISBN 978-3-11-035362-4. - KORDELIA KNOLL und CHRISTIANE VORSTER (herausgegeben von), bearbeitet von Dietrich Boschung, Jens M. Daehner, Frank Martin, Joachim Raeder, Friederike Sinn und Christiane Vorster, Fotografien Hans-Peter Klut und Elke Estel, SKULPTURENSAMMLUNG, STAATLICHE KUNSTSAMMLUNGEN DRESDEN. KATALOG DER ANTIKEN BILD-WERKE III. DIE PORTRÄTS (Hirmer Verlag, München 2013). S. xii + 493, c.600 ills. including 16 colour plates. ISBN 978-3-7774-2133-9. EUR 69." Journal of Roman Archaeology 29 (2016): 628–35. http://dx.doi.org/10.1017/s1047759400072482.

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19

Pötschke, Dieter. "Luther und die Fürsten. Selbstdarstellung und Selbstverständnis des Herrschers im Zeitalter der Reformation. Hg. v. den Staatlichen Kunstsammlungen Dresden: Dirk Syndram, Yvonne Wirth, Iris Yvonne Wagner (Katalog); Dirk Syndram, Yvonne Wirth, Doreen Zerbe (Aufsatzband). Dresden: Sandstein 2015. ISBN 978-3-95498-158-8 (Katalog); ISBN 978-3-95498-159-5 (Aufsatzband); ISBN 978-3-95498-160-1 (beide Bände im Schuber). – 360 S. (Katalog), 348 S. (Aufsatzband), 500 meist farbige Abb.; 62,– Euro." Jahrbuch für die Geschichte Mittel- und Ostdeutschlands 64, no. 1 (October 10, 2019): 247–50. http://dx.doi.org/10.1515/jgod-2018-0015.

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20

"Rosalba Carriera." Bühnentechnische Rundschau 117, no. 4 (2023): 58. http://dx.doi.org/10.5771/0007-3091-2023-4-058.

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21

"The romantic spirit: German drawings, 1780-1850, from the Nationalgalerie (Staatliche Museen, Berlin) and the Kupferstich-Kabinett (Staatliche Kunstsammlungen, Dresden), German Democratic Republic." Choice Reviews Online 26, no. 10 (June 1, 1989): 26–5472. http://dx.doi.org/10.5860/choice.26-5472.

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22

Sabetai, Victoria. "Book Review of Corpus vasorum antiquorum. Germany 97. Dresden, Staatliche Kunstsammlungen, Skulpturensammlung 2: Attisch rotfigurige Keramik, by Eva Hofstetter-Dolega." American Journal of Archaeology 120, no. 4 (October 2016). http://dx.doi.org/10.3764/ajaonline1204.sabetai.

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