Christine Göttler – författare

In early modern Europe, discernment emerged as a key notion at the intersection of various domains in both learned and artisanal cultures. Often used synonymously with judgment, ingenuity, and taste, discernment defined the ability to perceive and understand the secrets of nature and art, and became explicitly connected with a kind of knowledge available only to experts in the respective fields. With contributions by historians of art and historians of science, and with geographic coverage focusing on the Low Countries and their multiple connections to different parts of the world, this volume reframes recent scholarship on what the editors term ’cultures of knowledge and discernment’ in the early modern period. The collection is innovative in its focus on investigating types of knowledge linked to what was then called the ’science’ (scientia) of art, to artistic expertise and connoisseurship, and to ’secrets of art and nature.’

Early modern views of nature and the earth upended the depiction of land. Landscape emerged as a site of artistic exploration at a time when environments and ecologies were reshaped and transformed. This volume historicizes the contingency of an ever-changing elemental world, reframing and reimagining landscape as a mediating space in the interplay between the natural and the artificial, the real and the imaginary, the internal and the external. The lens of the “unruly” reveals the latent landscapes that undergirded their conception, the elemental resources that resurfaced from the bowels of the earth, the staged topographies that unsettled the boundaries between nature and technology, and the fragile ecologies that undermined the status quo of human environs. Landscape and Earth in Early Modernity: Picturing Unruly Nature argues for an art history attentive to the vicissitudes of circumstance and attributes the regrounding of representation during a transitional age to the unquiet landscape.

This collection embraces the increasing interest in the material world of the Renaissance and the early modern period, which has both fascinated contemporaries and initiated in recent years a distinguished historiography. The scholarship within is distinctive for engaging with the agentive qualities of matter, showing how affective dimensions in history connect with material history, and exploring the religious and cultural identity dimensions of the use of materials and artefacts. It thus aims to refocus our understanding of the meaning of the material world in this period by centring on the vibrancy of matter itself. To achieve this goal, the authors approach the material through four themes, glass, feathers, gold paints, and veils, in relation to specific individuals, material milieus, and interpretative communities. In examining these four types of materialities and object groups, which were attached to different sensory regimes and valorizations, this book charts how each underwent significant changes during this period.

In early modern Europe, discernment emerged as a key notion at the intersection of various domains in both learned and artisanal cultures. Often used synonymously with judgment, ingenuity, and taste, discernment defined the ability to perceive and understand the secrets of nature and art, and became explicitly connected with a kind of knowledge available only to experts in the respective fields. With contributions by historians of art and historians of science, and with geographic coverage focusing on the Low Countries and their multiple connections to different parts of the world, this volume reframes recent scholarship on what the editors term ’cultures of knowledge and discernment’ in the early modern period. The collection is innovative in its focus on investigating types of knowledge linked to what was then called the ’science’ (scientia) of art, to artistic expertise and connoisseurship, and to ’secrets of art and nature.’

Dieser Band versammelt die Beiträge der Tagung «Helvetische Merkwürdigkeiten. Wahrnehmung und Darstellung der Schweiz in der Kunst- und Kulturgeschichte seit dem 18. Jahrhundert». Im Zentrum der Beiträge stehen bildliche und narrative Entwürfe, die von jeher das Bild der Schweiz prägten. Diese Entwürfe, so genannte helvetische ‘Merkwürdigkeiten’, werden aus Sicht der Kunst- und Kulturgeschichte vorgestellt und untersucht. Viele der Bilder und Texte avancierten in der Eigen- wie auch in der Fremdwahrnehmung zu Trägern einer nationalen Identität: Sie wurden zum kulturellen Erbe der Eidgenossenschaft stilisiert und darüber hinaus zu Idealen der westlichen Welt verklärt. Das Spektrum der unterschiedlichen Vorstellungs- und Bildwelten umfasst verschiedene Kunstgattungen, darunter Architektur, Malerei, Grafik, Gartenkunst, Flachschnitzerei und Glasmalerei. In den Beiträgen werden die Artefakte und Phänomene bezüglich ihrer Konstruktionen hinterfragt und unter verschiedenen Aspekten – etwa im Kontext von Erinnerungskulturen, Identitätskonstruktionen, Historiografien, Inventarisierungen, Sammlungspolitik, Ausstellungskonzeptionen und Denkmalinszenierungen – diskutiert. Ziel dieser Untersuchungen ist es, Strukturen und Strategien offen zu legen, die seit dem 18. Jahrhundert zu den vermeintlich authentischen, typischen und letztlich nationalen Bildwelten der Schweiz führten.

This book explores the dynamic relationships between sites, peoples, objects, and images during the first age of globalization in early modern Europe. It investigates interactions, interconnections, and entanglements on both micro and macro levels, and aims to understand the specific dynamics of processes of translocal and transcultural intersection. Linking global perspectives with the history of material culture, Sites of Mediation highlights the potential of objects, artefacts, and things to connect (urban) cultures and imaginaries. Individual chapters focus on a number of European cities, which all operated on different levels of global and interregional connections and are presented here as sites of connectivity, encounters, and exchange.Contributors are: Tina Asmussen, Nadia Baadj, Benedikt Bego-Ghina, Davina Benkert, Daniela Bleichmar, Susanna Burghartz, Lucas Burkart, Christine Göttler, Franziska Hilfiker, Nicolai Kölmel, Ivo Raband, Jennifer Rabe, Antonella Romano, Michael Schaffner, Sarah-Maria Schober, Claudia Swan, and Stefanie Wyssenbach.

Sensation is the subject of a burgeoning field in the humanities. This volume examines its role in the religious changes and transformations of early modern Europe. Sensation was not only central to the doctrinal disputes of the Reformation, but also critical in shaping new or reformed devotional practices. From this vantage point the book explores the intersections between the world of religion and the spheres of art, music, and literature; food and smell; sacred things and spaces; ritual and community; science and medicine. Deployed in varying, often contested ways, the senses were essential pathways to the sacred. They permitted knowledge of the divine and the universe, triggered affective responses, shaped holy environments, and served to heal, guide, or discipline body and soul.Contributors include Alfred Acres, Barbara Baert, Andrew R. Casper, Wietse de Boer, Sven Dupré, Iain Fenlon, Laura Giannetti, Christine Göttler, Jennifer R. Hammerschmidt, Joseph Imorde, Rachel King, Jennifer Rae McDermott, Walter S. Melion, Matthew Milner, Sarah Joan Moran, Yvonne Petry, and Klaus Pietschmann.

At the turn of the sixteenth century, the notion of world was dramatically being reshaped, leaving no aspect of human experience untouched. The Nomadic Object: The Challenge of World for Early Modern Religious Art examines how sacred art and artefacts responded to the demands of a world stage in the age of reform. Essays by leading scholars explore how religious objects resulting from cross-cultural contact defied national and confessional categories and were re-contextualised in a global framework via their collection, exchange, production, management, and circulation. In dialogue with current discourses, papers address issues of idolatry, translation, materiality, value, and the agency of networks. The Nomadic Object demonstrates the significance of religious systems, from overseas logistics to philosophical underpinnings, for a global art history.Contributors are: Akira Akiyama, James Clifton, Jeffrey L. Collins, Ralph Dekoninck, Dagmar Eichberger, Beate Fricke, Christine Göttler, Christiane Hille, Margit Kern, Dipti Khera, Yoriko Kobayashi-Sato, Urte Krass, Evonne Levy, Meredith Martin, Walter S. Melion, Mia M. Mochizuki, Jeanette Favrot Peterson, Rose Marie San Juan, Denise-Marie Teece, Tristan Weddigen, and Ines G. Županov.

How did the early-modern Christian West conceive of the spaces and times of the afterlife? The answer to this question is not obvious for a period that saw profound changes in theology, when the telescope revealed the heavens to be as changeable and imperfect as the earth, and when archaeological and geological investigations made the earth and what lies beneath it another privileged site for the acquisition of new knowledge.With its focus on the eschatological imagination at a time of transformation in cosmology, this volume opens up new ways of studying early-modern religious ideas, representations, and practices. The individual chapters explore a wealth of – at times little-known – visual and textual sources. Together they highlight how closely concepts and imaginaries of the hereafter were intertwined with the realities of the here and now.Contributors: Matteo Al Kalak, Monica Azzolini, Wietse de Boer, Christine Göttler, Luke Holloway, Martha McGill, Walter S. Melion, Mia M. Mochizuki, Laurent Paya, Raphaèle Preisinger, Aviva Rothman, Minou Schraven, Anna-Claire Stinebring, Jane Tylus, and Antoinina Bevan Zlatar.

This collection engages with the agentive qualities of matter and it shows how affective dimensions in history connect with material history. It also explores the religious and cultural identity dimensions of the use of materials and artefacts.

Early modern views of nature and the earth upended the depiction of land. Landscape emerged as a site of artistic exploration at a time when environments and ecologies were reshaped and transformed. This volume historicizes the contingency of an ever-changing elemental world, reframing and reimagining landscape as a mediating space in the interplay between the natural and the artificial, the real and the imaginary, the internal and the external. The lens of the “unruly” reveals the latent landscapes that undergirded their conception, the elemental resources that resurfaced from the bowels of the earth, the staged topographies that unsettled the boundaries between nature and technology, and the fragile ecologies that undermined the status quo of human environs. Landscape and Earth in Early Modernity: Picturing Unruly Nature argues for an art history attentive to the vicissitudes of circumstance and attributes the regrounding of representation during a transitional age to the unquiet landscape.