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In der Kunstgeschichte steht 'Eklektizismus' oft für den Vorwurf einer unoriginellen Zusammenstellung mehrerer, nicht immer passender Vorbilder. Die hier versammelten Aufsätze machen deutlich: Dies war nicht immer so, und es gibt auch heute gut begründete, anders gelagerte Werturteile.Die sechzehn aus einer internationalen Methodentagung an der Universität Bonn hervorgegangenen Beiträge erklären u.a. den Eklektizismus als Streit- und Wertbegriff, befragen ihn als positiv verstandenes kunsttheoretisches Konzept neu und beleuchten unterschiedliche eklektische Verfahren durch die Jahrhunderte. Jenseits traditioneller Debatten zu diesem Thema in der Architektur liegt hier erstmalig ein Schwerpunkt auf den bildenden Künsten. Der Eklektizismus als historisches Phänomen und verschiedene eklektische Verfahren der künstlerischen Praxis treten so aus dem Schlagschatten einer kunstkritischen Auseinandersetzung heraus, die es ihrerseits neu auszuloten gilt.In art history the term "eclecticism" is often used to criticise the unoriginal combination of several models which may not always fit together. The essays in this collection make it clear that this was not always the case and that even today there exist well-founded alternative judgements.The sixteen contributions from an international conference held at the University of Bonn explain eclecticism as a controversial and evaluative term, re-examine it as a positive concept in art history, and shed light on various eclectic processes through the centuries. As well as the traditional debates on this theme in architecture, the book emphasises for the first time its role in the visual arts. Eclecticism as a historical phenomenon and different eclectic practices in art are thus brought out of the shadows of a critcal debate which merits new evaluation.
(Text)
In art history the term eclecticism is often used to criticise the unoriginal combination of several models which may not always fit together. The essays in this collection make it clear that this was not always the case and that even today there exist well-founded alternative judgements.
The sixteen contributions from an international conference held at the University of Bonn explain eclecticism as a controversial and evaluative term, re-examine it as a positive concept in art history, and shed light on various eclectic processes through the centuries. As well as the traditional debates on this theme in architecture, the book emphasises for the first time its role in the visual arts. Eclecticism as a historical phenomenon and different eclectic practices in art are thus brought out of the shadows of a critcal debate which merits new evaluation.
