Max Imdahl

Max Imdahl ( born September 6, 1925 in Aachen, † October 11, 1988 in Bochum, Germany ) was a German art historian, particularly the illustrative interpretation of modern art and the reflection of the methods of art historical research has explored.

Life and work

Max Imdahl initially saw himself primarily as a painter and found a early picture ( Man of Sorrows ) and public recognition ( Blevins Davis price). He turned then, however, almost all of the history of art; only in his last years he has painted again intense.

Imdahl taught from 1965 until his death in 1988, art history as the first professor of art history at the newly founded Ruhr- University Bochum. He also acted as Head of the department of modern art collections in the Ruhr University. His areas of research and teaching were the Ottonian, the painting of Giotto, the painting by the Dutch Baroque and French classicism and the development of art since the late 19th century. Particularly interested Imdahl the theoretical debate on the artistic design means color and line of the discourses of the early modern academies until the early 20th century. As one of the first German university teachers at all Imdahl has represented the newer and latest art as self-evident subject areas of art history with emphasis.

Max Imdahl standing art historical methods with no sense of the specific circumstances of each work of art critically. His teaching and his writings are characterized by intensive image analysis in a descriptive and interpretive reenactment of individual works from. His method image equitable interpretation he gave the name Ikonik. Only in the elusive nature of the artwork by the language which will genuinely bildgestifteter sense experience. According show Imdahls texts pronounced term reflection and largest linguistic detail.

In its own compartment Imdahl was seen until the early 1980s as an outsider. The traditionalists evaluated his methodological approach as an attack on the dominant at the time of his methods of style and form history and the iconography and iconology; they also rejected the preoccupation with contemporary art. Marxist interpreters to and after 1968 threw his image analysis on a lack of historical awareness and criticized his penchant for Concrete (for a free standing ) Art Western provenance. Support for his ideas found Imdahl contrast with philosophers, theologians and Catholic in the research group " poetics and hermeneutics ", which he himself belonged.

He was from 1966 to 1968 member of the documenta - Council documenta 4 in Kassel in 1968.

Because Imdahls subject orientation and because Bochum was one of the few consistently involved in the Modern University Institute at that time, numerous pupils of Max Imdahl have acted with appropriate emphasis in the curatorial field. Her work has particularly influenced the museum landscape in North Rhine -Westphalia.

At Max Imdahl reminiscent " Situation Kunst - For Max Imdahl " the Park of Weitmar House in Bochum as part of the university art collections; there is also archived written documents pertaining to. A Max Imdahl Scholarship for Art Education is awarded since 1993 by the North Rhine -Westphalia Foundation.

On 1 January 2011 the Ruhr- University Bochum taught in honor of Max Imdahl a new, named after him, visiting professor. It was a year filled with the Protestant theologian Margot Käßmann.

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