Die Fotokampagne: der Bilder-Feldzug der Kunstgeschichte
This text provides an overview of the art historical photo campaign, considering the technical and historical developments and emphasizing the fundamental operation of appropriation associated with it. The article is intended as an initial exploration of the subject and a catalyst for further resear...
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| Format: | Elektronisch Artikel |
| Sprache: | German |
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2024-11-12
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| Zusammenfassung: | This text provides an overview of the art historical photo campaign, considering the technical and historical developments and emphasizing the fundamental operation of appropriation associated with it. The article is intended as an initial exploration of the subject and a catalyst for further research. Since its inception shortly before the mid-19th century, photography has been utilized to document works of art, becoming a crucial tool in the field of art history, which evolved into an academic discipline during this era. Photographing collections and buildings continues the tradition of older practices like hand drawing and printmaking. With the advent of photographic technology, however, image creation became almost instantaneous. Advancements such as the use of motor vehicles in the early 20th century significantly expanded the reach of photography. The term "photo campaign," previously used in French and English, also became prevalent in the German-speaking world by this time. The term's aggressive connotation, reminiscent of military operations, was particularly evident in the numerous photo campaigns conducted in territories occupied by the German Wehrmacht during World War II. Post-war, photo campaigns diminished in professional practice due to a distancing from past excesses and methodological shifts in art history. Concurrently, aided by technological progress, researchers and amateurs began taking photographs themselves. Modern dissemination infrastructures like color printing and a vibrant book market facilitated easier access to illustrations. The digital technology of recent decades further expanded the image material base, with features like unrestricted reproducibility and semi-automatic image capturing processes. Consequently, the acquisition of images in scientific practice appears to be transitioning from an expansive act of conquest towards a selection and copying process |
| Beschreibung: | Online-Ressource (34 Seiten) 24 Illustrationen |
| ISSN: | 1618-8101 |
| DOI: | 10.48633/ksttx.2024.3.107003 |
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| spelling | Schelbert, Georg 1966- Verfasser (DE-588)133448231 aut Die Fotokampagne der Bilder-Feldzug der Kunstgeschichte Georg Schelbert 2024-11-12 Online-Ressource (34 Seiten) 24 Illustrationen txt rdacontent c rdamedia cr rdacarrier This text provides an overview of the art historical photo campaign, considering the technical and historical developments and emphasizing the fundamental operation of appropriation associated with it. The article is intended as an initial exploration of the subject and a catalyst for further research. Since its inception shortly before the mid-19th century, photography has been utilized to document works of art, becoming a crucial tool in the field of art history, which evolved into an academic discipline during this era. Photographing collections and buildings continues the tradition of older practices like hand drawing and printmaking. With the advent of photographic technology, however, image creation became almost instantaneous. Advancements such as the use of motor vehicles in the early 20th century significantly expanded the reach of photography. The term "photo campaign," previously used in French and English, also became prevalent in the German-speaking world by this time. The term's aggressive connotation, reminiscent of military operations, was particularly evident in the numerous photo campaigns conducted in territories occupied by the German Wehrmacht during World War II. Post-war, photo campaigns diminished in professional practice due to a distancing from past excesses and methodological shifts in art history. Concurrently, aided by technological progress, researchers and amateurs began taking photographs themselves. Modern dissemination infrastructures like color printing and a vibrant book market facilitated easier access to illustrations. The digital technology of recent decades further expanded the image material base, with features like unrestricted reproducibility and semi-automatic image capturing processes. Consequently, the acquisition of images in scientific practice appears to be transitioning from an expansive act of conquest towards a selection and copying process number:3 year:2024 Kunsttexte.de [S.l.], 2024 Ausgabe 3 (2024): Renaissance (DE-604)BV014034525 1618-8101 (DE-600)2063498-5 application/pdf 6,0 MB https://journals.ub.uni-heidelberg.de/index.php/kunsttexte/article/view/107003 Resolving-System kostenfrei Volltext https://doi.org/10.48633/ksttx.2024.3.107003 Resolving-System kostenfrei Volltext |
| spellingShingle | Schelbert, Georg 1966- Die Fotokampagne der Bilder-Feldzug der Kunstgeschichte |
| title | Die Fotokampagne der Bilder-Feldzug der Kunstgeschichte |
| title_auth | Die Fotokampagne der Bilder-Feldzug der Kunstgeschichte |
| title_exact_search | Die Fotokampagne der Bilder-Feldzug der Kunstgeschichte |
| title_full | Die Fotokampagne der Bilder-Feldzug der Kunstgeschichte Georg Schelbert |
| title_fullStr | Die Fotokampagne der Bilder-Feldzug der Kunstgeschichte Georg Schelbert |
| title_full_unstemmed | Die Fotokampagne der Bilder-Feldzug der Kunstgeschichte Georg Schelbert |
| title_short | Die Fotokampagne |
| title_sort | die fotokampagne der bilder feldzug der kunstgeschichte |
| title_sub | der Bilder-Feldzug der Kunstgeschichte |
| url | https://journals.ub.uni-heidelberg.de/index.php/kunsttexte/article/view/107003 https://doi.org/10.48633/ksttx.2024.3.107003 |
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