The Museum’s Discourse on Art

dc.date.accessioned2020-09-11T11:45:29Z
dc.date.available2020-09-11T11:45:29Z
dc.date.issued2000
dc.identifierdoi:10.17170/kobra-202009041731
dc.identifier.urihttp://hdl.handle.net/123456789/11801
dc.language.isoengeng
dc.publisherStanford University Press
dc.publisher.placeStanford/CA
dc.relation.isbn0-8047-3564-6
dc.rightsUrheberrechtlich geschützt
dc.rights.urihttps://rightsstatements.org/page/InC/1.0/
dc.subject.ddc700
dc.subject.swdFriedländer, Max J.ger
dc.subject.swdBode, Wilhelm vonger
dc.subject.swdMuseumger
dc.subject.swdKunstger
dc.subject.swdBerlinger
dc.titleThe Museum’s Discourse on Arteng
dc.title.subtitleThe Formation of Curatorial Art History in Turn-of-the-Century Berlineng
dc.typeTeil eines Buches
dc.type.versionpublishedVersion
dcterms.abstractWhen the Cerman museum curator Max J. Friedländer attempted to describe the field of discourse in which he situated his art criticism, he confronted two different attitudes of art-historical scholarship and associated them with clearly distinct images of professional behavior. There is good reason to assume that Friedländer intended to create the impression of an archetypal metaphor for his audience of 1920. Yet, besides its function as a literary device, the juxtaposition that he offered to his readers referred to a specific experience in contemporary reality. As exemplified by Friedländer's account. the appearance of two different and potentially conflicting discourses on the history of art at the turn of the century was weil registered by contemporaries when reflecting on their position within the cultured public.eng
dcterms.accessRightsopen access
dcterms.creatorJoachimides, Alexis
dcterms.source.collectionMuseums and Memoryeng
dcterms.source.editorCrane, Susan A.
dcterms.source.identifierISBN 0-8047-3564-6
dcterms.source.pageinfo200-219 und 248-252
kup.iskupfalse

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